Album Gallery
Lovemen
Written-By – C. Fultz, L. Moore
2:57
A2 If I Could Say What's On My Mind
Written-By – Leon Moore
4:25
A3 (Girl) I Love You
Written-By – C. Hampton, J. Bridges, T. Nixon
3:12
A4 I Love You, You Love Me
Written-By – C. Hampton, J. Bridges, T. Nixon
4:47
A5 We've Only Just Begun
Written-By – P. Williams, R. Nichols
4:47
B1 Dedicated To The One I Love
Written-By – L. Pauling, R. Bass
6:53
B2 My Baby Love
Written-By – J. Bridges, S. Chandler, W. Brown
2:54
B3 I'm For You, You For Me
Written-By – C. Hampton, J. Bridges, T. Nixon
4:47
B4 Love....Can Be So Wonderful
Written-By – Leon Moore
3:31
Label: We Produce Records – XPS-1901
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Released in 1972 on the Stax-distributed We Produce label, Lovemen by The Temprees is a quintessential Memphis soul album, widely regarded as a premier, smoldering "make-out" record. Driven by Jasper “Jabbo” Phillips’ high-register falsetto, the LP features a mix of smooth, slow-jam originals and memorable covers. It is considered a criminally underrated, essential classic for soul collectors.
The album is defined by a soft, romantic, and smooth vocal approach, with Jasper “Jabbo” Phillips providing standout, high-falsetto leads.
Standout Tracks: Their rendition of “Dedicated to the One I Love” is often cited as the definitive, most beautiful version. Other highlights include “If I Could Say What's on My Mind,” “Love... Can Be So Wonderful,” and “I Love You, You Love Me”.
The sound is rooted in early '70s soul, focusing on deep, slow-burn grooves rather than heavy funk. The album is highly recommended for fans of smooth 1970s soul and vocal harmony groups.
Despite its quality, the album initially struggled commercially as Stax Records was unsure how to market such a sweet, melodic sound.
Lovemen is now recognized as a premier, sought-after "lowrider oldies" record, with reissues available that highlight its original, high-fidelity analog sound. For years, the album was a rare find, often requiring "crate digging" for original We Produce Records vinyl. However, Real Gone Music recently released an all-analog reissue cut from the original master tapes, available in black and "valentine red" vinyl.
... And The Message Is Love - The Best Of Al Green
Executive-Producer – Al Green
Producer, Written-By – Eban Kelly, Jimi Randolph 4:21
2 The Message Is Love
Written-By, Producer, Arranged By – Arthur Baker, Richard Scher 6:22
3 You Know And I Know
Executive-Producer, Written-By – Al Green
Producer – Errol Thomas
Written By, Producer – Paul Zaleski 3:58
4 As Long As We're Together
Producer – Eban Kelly, Jimi Randolph, Paul Zaleski
Producer, Executive-Producer,
Written-By – Al Green 3:52
5 Put A Little Love In Your Heart (W / Annie Lennox)
Producer – David A. Stewart
Written-By – Jackie De Shannon, Jimmy Holiday, Randy Myers 3:48
6 Going Away
Producer – Willie Mitchell
Written-By – Al Green 3:34
7 He Ain't Heavy
Executive-Producer – Al Green
Producer – Errol Thomas, Paul Zaleski
Written-By – Bob Russell, Bobby Scott 4:00
8 True Love
Written-By – Al Green
Written-By, Producer – Willie Mitchell 4:27
9 Soul Survivor
Written-By, Producer – Eban Kelly, Jimi Randolph 4:40
10 Tryin' To Do The Best I Can
Producer – Eban Kelly, Jimi Randolph, Paul Zaleski
Written-By, Producer, Executive-Producer – Al Green 3:04
11 Mighty Clouds Of Joy
Producer – Eban Kelly, Jimi Randolph, Paul Zaleski
Producer, Executive-Producer – Al Green
Written-By – B. Buie, R. Nix 4:17
12 You've Got A Friend (W / Billy Preston)
Executive-Producer – Al Green
Producer – Deborah McDuffie
Written-By – Carole King 5:35
13 I Feel Like Going On
Producer – Willie Mitchell
Written-By – Al Green 3:09
14 Tryin' To Get Over You
Producer – Eban Kelly, Jimi Randolph, Paul Zaleski
Written-By, Producer, Executive-Producer – Al Green 2:05
15 Nearer My God To Thee
Arranged By – Al Green
Producer – Willie Mitchell 3:46
Label: A&M Records – 540 255-2
Format: CD, Compilation
Country: Europe
Released: 1994
Genre: R&B Soul, Gospel
Style: Soul, Christian
Released in 1994, ... And The Message Is Love - The Best Of Al Green (A&M Records – 540 255-2) is a 15-track compilation specifically focusing on the soul icon's 1980s recordings for the A&M label.
The compilation generally receives positive marks from collectors, with average user ratings ranging between 4.13/5 and 4.29/5 on enthusiast platforms like Discogs.
Reviewers often contrast this era with Green's 1970s Hi Records prime. While some fans describe it as "pure class" and a top-tier collection of his later work, others find the 80s production style less compelling than his legendary "Love and Happiness" era.
Listeners frequently note that this collection leans heavily into Green's gospel and religious influences, which became more prominent during his years with A&M.
’Nuff Said!
Recorded live at the Westbury Music Fair, this performance is steeped in the immediate aftermath of MLK's murder, lending it immense historical weight.
Simone's anger, sorrow, and unwavering commitment to the Civil Rights movement are palpable, particularly in "Why? (The King of Love Is Dead)" and "Mississippi".
Expect classic Simone—stark piano, bluesy inflections, gospel roots, and soulful delivery—with a loose, energetic feel, interspersed with audience interaction and live chatter.
The album concludes with the exceptional studio soul track, "Do What You Gotta Do," offering a different flavor from the live set, which, backed with "Ain't Got No - I Got Life," was her most successful single, reaching #2 on the UK Pop charts in 1968.
Many laud it as one of her most emotionally resonant live albums, praising its vibrancy, emotional depth, and powerful political statements. Some find the live sound, occasional audience coughs, or awkward live banter detracts from the otherwise great performances, and some tracks are less memorable than others.
Overall, 'Nuff Said! is essential listening for its raw emotion and historical significance, capturing Nina Simone at a pivotal moment, channeling national grief and unwavering strength through her unique artistry.
100 Proof Aged In Soul
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.
1990
A2 I Need You 3:05
A3 Heavenly 4:01
A4 You've Got My Soul On Fire 3:59
A5 Ain't No Justice 5:50
B1 1990 4:06
B2 Zoom 13:45
Written and Produced by Norman Whitfield
Label: Gordy – G 966V1
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre:
R&B Soul
Style: Seventies Soul, Motown
The Temptations' 1973 album 1990 is a high-quality, psychedelic soul/funk record praised for its gritty, Sly Stone-influenced sound, blending politically charged messages with classic funk grooves, marking a strong release in their Norman Whitfield era, though some found it lacked major "killer" hits compared to earlier work, with tracks like "Ain't No Justice" and "Zoom" highlighted for their potent funk.
The album is a departure from their earlier, smoother ballads, this album leans heavily into psychedelic funk and soul, with a raw, gritty texture,.
roduced by Norman Whitfield, it features complex arrangements and grooves reminiscent of Sly & The Family Stone, moving away from overly polished sounds.
It balances socially conscious messages (like the title track "1990") with traditional love songs, showing the group's evolving focus.
Standout Tracks: "Ain't No Justice," "Zoom," and "Psychedelic Shack" (long version) are frequently cited as highlights for their deep funk and psychedelic elements.
Many fans consider it a favorite, a "dope" record where every track sizzles with funk and soul. Seen as a strong, high-quality album from the era, even if it didn't produce massive crossover hits, it's considered a high point in their funk-oriented period.
In summary, 1990 is a must-listen for fans of deep funk and psychedelic soul, showcasing The Temptations at their most musically adventurous under Whitfield's vision, offering a rich, funky experience.
20-20
Producer – Russ Titelman
Written-By – Clif Magness, Mark Mueller, Tom Keane
3:55
A2 Please Don't Walk Away
Producer – Russ Titelman
Written-By – James Newton Howard, Steve Lukather
3:51
A3 I Just Wanna Hang Around You
Producer – Russ Titelman
Written-By – Cruz Sembello, Daniel Sembello, Jon Sembello, Michael Sembello
4:41
A4 Nothing's Gonna Change My Love For You
Producer – Michael Masser
Written-By – Gerry Goffin, Michael Masser
4:04
A5 Beyond The Sea (La Mer)
Lyrics By [English] – Jack Lawrence
Producer – Russ Titelman
Written-By – Charles Trenet
4:10
B1 20 / 20
Producer – Russ Titelman
Written-By – Randy Goodrum, Steve Kipner
4:07
B2 New Day
Producer – Russ Titelman
Written-By – Cecil & Linda Womack
4:27
B3 Hold Me
Co-producer – Danny Sembello, Michael Sembello
Producer – Russ Titelman
Written-By – Daniel Sembello, Michael Sembello
4:02
B4 Stand Up
Producer – Russ Titelman
Written-By – Neil Larsen
5:07
B5 You Are The Love Of My Life
Harmony Vocals – Roberta Flack
Producer – Michael Masser
Written-By – Linda Creed, Michael Masser
2:50
Label: Warner Bros. Records
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Jazz, Soul, Pop
Style: Contemporary R&B, Smooth Jazz
George Benson's 20/20 (1985) is a polished, pop-leaning smooth jazz/R&B album known for its strong production, catchy melodies, and inclusion of hits like "Nothing's Gonna Change My Love for You" (later a hit for Glenn Medeiros), "You Are the Love of My Life" (duet with Roberta Flack), and the upbeat "New Day," though it divided some critics who preferred his jazz roots, while fans embraced its accessible, romantic vibe and quintessential 80s sound.
The standout tracks for critics are often the high-tech title track "20/20" and an "outstanding" big-band arrangement of "Beyond the Sea," which features jazz luminaries and is praised for its "velvet" arrangement.
Styles: Crossover Jazz, Pop Soul, Quiet Storm, Adult Contemporary R&B, featuring lush keyboards, synthesizers, and warm arrangements, primarily produced by Russ Titelman and recorded in many different studios, is often described as having a distinctly dated, "cheesy" 80s synth sound.
Many fans love it as a classic 80s record, praising its production, romantic appeal, and variety, even if it moved far from pure jazz. Some critics found it overly pop and emotionally empty, while others appreciated its escapist value and Benson's smooth vocals and guitar work.
It showcases Benson's ability to adapt to contemporary sounds, fitting into his diverse discography. Critics generally view 20/20 as a full embrace of a commercial pop sound, a move that alienated some long-time jazz fans.
In Summary, 20/20 is a definitive 80s pop-soul album from George Benson, offering romantic ballads and upbeat tracks that were commercially successful and beloved by fans, even if it alienated some jazz purists.
25 Miles
Written-By – E. Starr, H. Fuqua, J. Bristol
2:59
A2 I'm Still A Struggling Man
Written-By – D. McNeil, J. Bristol
2:25
A3 Backyard Lovin' Man
Written-By – D. Dean, D. Richards
2:28
A4 He Who Picks A Rose
Written-By – E. Smiley, E. Holland, N. Whitfield
2:28
A5 Soul City (Open Your Arms To Me)
Written-By – Richard Morris (2)
2:39
A6 You Beat Me To The Punch
Written-By – R. White, Wm. Robinson
2:31
B1 Gonna Keep On Tryin' Till I Win Your Love
Written-By – N. Whitfield, B. Strong
2:48
B2 Pretty Little Angel
Written-By – C. Paul, M. Valvano, S. Wonder
2:15
B3 If My Heart Could Tell The Story
Written-By – J. Dean, Wm. Weatherspoon
2:28
B4 Who Cares If You're Happy Or Not (I Do)
Written-By – J. Holland, J. Dean, Wm. Weatherspoon
2:46
B5 24 Hours (To Find My Baby)
Written-By – Edwin Starr
2:40
B6 Mighty Good Lovin'
Written-By – William Robinson
2:44
Label: Gordy – GS940
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Motown
25 Miles is the second studio album by American soul singer Edwin Starr, released in April 1969 on Motown's Gordy label. It served as his first major project after Motown acquired his previous label, Ric-Tic Records.
The album is a quintessential late-1960s soul and R&B record, characterized by driving rhythms, funky instrumentation, and Starr's powerhouse vocals. The record is noted as one of Starr's best vocal showcases, ranging from rough-hewn passion to tender vulnerability and even soaring falsetto.
While Johnny Bristol and Harvey Fuqua produced the title track, the album also features production by the legendary Norman Whitfield, who would later produce Starr's massive hit "War".
The album's success was largely driven by the title single, "Twenty-Five Miles," which reached #6 on both the U.S. Pop and R&B charts in early 1969. The song depicts a man walking 25 miles to reunite with his woman, with the iconic "stomping" sound in the intro created by actual footsteps on a wooden board in the studio. Originally credited to Starr, Bristol, and Fuqua, songwriting credits were later shared with Bert Berns and Jerry Wexler due to similarities to their song "32 Miles out of Waycross".
25 Miles is generally praised as a high-energy "underrated" gem in the Motown catalog, often noting its "funky fabulous" sound that extends beyond the hit title track.
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 Change Of Heart
Written-By – Marcus Miller 6:26
A2 Imogene
Written-By – Marcus Miller 5:26
A3 High Roller
Written-By – David Sanborn, Michael Colina 4:39
A4 Tintin
Mixed By – The French Acrobats
Written-By – Philippe Saisse 4:05
B1 Breaking Point
Written-By – David Sanborn, Michael Colina 4:26
B2 A Change Of Heart
Written-By – David Sanborn, Michael Colina 5:07
B3 Summer
Written-By – Ronnie Foster 5:45
B4 The Dream
Written-By – Michael Sembello 4:58
Label: Warner Bros. Records – 925 479-1
Format: Vinyl, LP, Album
Country: Europe
Released: 1987
Genre: Jazz, Latin, Funk. Soul
Style: Contemporary Jazz
David Sanborn's 1987 album, A Change of Heart, is a pivotal, commercially successful, but polarizing release, praised for its funky, slick 80s production, killer tracks like "Chicago Song" and "Tin Tin," and Sanborn's signature "crying" sax, but criticized by some for leaning too heavily into "smooth jazz" and synthesized sounds, marking a high point of his commercial peak before returning to more complex jazz on later works like Another Hand.
The album blends funky jazz-funk with contemporary 80s production, featuring drum machines, synths, and prominent electric bass, notes The Second Disc and movingtheriver.com.
It features Marcus Miller (Miles Davis's cohort) and collaborations with Bernard Wright, Ronnie Foster, and Steve Gadd, notes Amazon UK and movingtheriver.com.
Standout Tracks: "Chicago Song" (funky, rhythmic), "Tin Tin" (raging funk), and "The Dream" (a popular ballad) are frequently mentioned favorites, notes movingtheriver.com, All About Jazz, and Amazon UK.
Seen as a commercial peak, solidifying his status but also leading to the "smooth jazz" label, a sound Sanborn sometimes resisted, notes movingtheriver.com and The Second Disc.
A key jazz-funk album of its era, showcasing his unique, expressive sax, though later seen as part of a creative period before his return to form with Another Hand (1991), notes movingtheriver.com.
A Change of Heart is a definitive '80s album, a funk-infused, radio-friendly record loved by many for its catchy grooves, but recognized as a departure from purer jazz, making it essential for fans of his crossover work.
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".
Eric Benet
A Fifth Of Funk
Bass – Bootsy Collins
Drums – Tyrone Lampkin
Guitar – Gary Shider
Horns – Horny Horns
Keyboards – Bernie Worrell
Producer, Written-By – George Clinton 8:12
2 Lonnie Greene– I Didn't Know That Funk Was Loaded
Bass – Donnie Sterling
Drums, Written-By – Lonnie Greene
Guitar – Tony Thomas
Producer – Donnie Sterling, Lonnie Greene, Ron Dunbar 5:25
3 Ron Ford– Thumparella (Oh Kay)
Producer, Written-By – Ron Ford
3:46
4 Jessica Cleaves– Eyes Of A Dreamer
Arranged By – Wade Marcus
Producer – Ron Dunbar
Written-By – Jessica Cleaves 3:49
5 Philippe Wynne– I Found You
Backing Vocals – Brandy
Producer – Philippe Wynne, Ron Dunbar
Written-By – Philippe Wynne 4:36
6 Brides Of Funkenstein– Ice Melting In Your Heart
Bass – Junie Morrison
Drums – Tyrone Lampkin
Guitar – Gary Shider, Junie Morrison
Keyboards – Bernie Worrell
Producer, Written-By – Ron Dunbar 5:18
7 Treylewd With Flastic Brain Flam– Clone Ranger
Bass – Stevie Pannall
Drums – Tony Davis
Guitar – Dewayne McKnight, Gary Shider
Producer – Gary Shider, George Clinton
Vocals – Brides, Parlet 5:55
8 Bernie Worrell– Who Do You Love
Bass – Skeets
Drums – Tyrone Lampkin
Guitar – Gary Shider
Keyboards – Bernie Worrell
Percussion – Larry Fratangelo
Producer – Bernie Worrell, George Clinton
Written-By – Bernie Worrell 5:02
9 Brides Of Funkenstein– Up Up And Away
Bass – Rodrick Chandler
Drums – Jerry Jones
Guitar – Eddie Willis
Keyboards – Bernie Worrell, Rudy Robinson
Producer, Written-By – Ron Dunbar 4:33
10 Junie Morrison– Can't Get Over Losing You
Producer, Instruments, Vocals, Written-By – Junie Morrison 6:42
11 Dr. Funkenstein & Brides Of Funkenstein– Rat Kissed The Cat
Bass – Billy Bass
Drums – Tiki Fulwood
Guitar – Gary Shider, Gary Cooper
Horns – Horny Horns
Keyboards – Bernie Worrell
Producer – George Clinton
Written-By – Ben Edwards 6:26
12 Funkadelic– Too Tight For Light
Producer – George Clinton, Junie Morrison
Written-By – Junie Morrison 5:00
13 George Clinton, Diane Brooks & Funkadelic– Every Little Bit Hurts
Producer – George Clinton 8:06
14 George Clinton– Final Thoughts (Interview) 5:00
Label: AEM Record Group – 25761-2
Series: George Clinton's Family Series – 5
Format: CD, Compilation
Country: US
Released: 1994
Genre: R&B Funk, Soul
Style: P.Funk, Disco
A Fifth of Funk, a 1994 release in the George Clinton Family Series, is a compilation of previously unreleased P-Funk tracks from various bands within the collective. As part of a series designed to present "raw, uncut sweetness" from the P-funk musical stable, the album offers a mixed but generally well-regarded collection of vintage P-Funk material.
The tracks feature the signature P-Funk sound, with strong bass lines (Bootsy Collins), keyboard work (Bernie Worrell), and guitar riffs (Eddie Hazel), even if some material is considered second-rate compared to the collective's peak 70s output.
The "raw" nature of some recordings, often sourced from soundboards or various recording apparatus, is noted, though this adds to its appeal as authentic, unearthed material rather than a polished studio album.
The album is recommended as a good entry point for new listeners interested in the original P-Funk sound, as well as a valuable addition for long-time fans looking for deep cuts and historical context.
The album serves as the fifth and final volume in the original George Clinton Family Series collection, providing a comprehensive look into the vast and varied output of the Parliament-Funkadelic universe.
The album has an average user rating of 4.6 out of 5 stars on Discogs. While contemporary critical reviews from 1994 are scarce, user opinions highlight its value as a treasure trove for P-Funk enthusiasts, particularly for the inclusion of rare or previously unreleased material featuring core P-Funk musicians.
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 Little More Soul
Written-By – Cobb, Whitley
2:06
A2 The Letter
Written-By – W. Carson
1:57
A3 Down In The Boondocks
Written-By – Joe South
2:21
A4 All My Hard Times
Written-By – Joe South
2:33
A5 Louie, Louie
Written-By – Berry
2:57
A6 To The Aisle
Written-By – Smith, Wiemer
2:33
B1 The Same Old Song
Written-By – Joe South
2:22
B2 A Little More Soul
Written-By – Langford, C. Pope, Key, J. Pope, Whitley, Smith
2:23
B3 Thank You For My Baby
Written-By – C. Pope, Key, J. Pope, Whitley, Smith
2:34
B4 Double Shot
Written-By – Vetter, Smith
2:15
B5 For The Love Of A Woman
Written-By – Joe South
2:57
Label: ABC Records – ABCS-627
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul, Southern Soul
The Tams' 1968 album, A Little More Soul, marked their resurgence with hits like "Be Young, Be Foolish, Be Happy," blending classic soul with pop and beach music, a sound that solidified their legendary status, especially in the Carolina beach scene and later the UK's Northern Soul movement, offering catchy, harmony-driven tunes that showcased their distinctive tropical-infused style despite some internal group changes, making it a significant entry in their career.
The album is anchored by the popular "Be Young, Be Foolish, Be Happy," a major R&B and Billboard hit that became a staple of beach music.
It embodies The Tams' unique "Beach Music" sound, characterized by smooth harmonies, tropical vibes, and danceable rhythms, bridging Motown and Southern Soul.
While some hits came from Joe South, this era also featured tracks penned by members like Ray Whitley and others, contributing to their distinctive sound.
The album was crucial for keeping The Tams in the spotlight, especially as "Be Young, Be Foolish, Be Happy" gained lasting popularity in the UK's Northern Soul scene years later.
It brought The Tams back to the charts after a period without major success, setting the stage for their later resurgence.
The album further cemented The Tams as icons of the "Carolina Shag" and beach music culture, a legacy built on feel-good, soulful pop. Its tracks remain beloved, showcasing the timeless quality of The Tams' blend of soul, pop, and R&B.
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 Matter Of Fact
Guest – Millie Jackson
Written-By – H. Scales, M. Griffin
5:43
A2 We Can't Hide It Anymore
Written-By – Barry Murphy
3:59
A3 He Ain't You
Written-By – B. Burg, D. Denehatheinz, J. Barry, L. Hartman
3:18
A4 Do You Wanna Make Love
Written-By – Peter McCann
3:48
B1 I'm Way Ahead Of You
Written-By – C. Putman, S. Throckmorton
4:38
B2 You Always Get Your Way
Written-By – B. Inger, S. Catton
3:35
B3 It's Only A Matter Of Time
Written-By – Joe Shamwell
2:52
B4 This Ain't No Time To Sleep Apart
Written-By – Guy Fletcher-Doug Flett
3:51
B5 Dr. Feelgood
Written-By – B. Goldberg, G. Goffin
3:25
Label: Kayvette – 803
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
A Matter Of Fact by The Facts Of Life, released in 1978 on Kayvette/RCA, is a soulful, funk-infused R&B album produced by the legendary Millie Jackson, showcasing the trio's strong harmonies with tracks like "Did He Make Love To You," mixing Southern soul with modern sensibilities, featuring Muscle Shoals backing and Jackson's mentorship.
It is characterized as a blend of Southern soul, deep soul, and disco. The sound features interplay and harmony between the trio—one female singer (Jean Davis) and two male singers (Keith Williams and Chuck Carter)—reminiscent of groups like the Soul Children.
Notable Tracks: "Did He Make Love To You": Described as the group's "masterpiece," this near six-minute dramatic piece features a theatrical argument between Keith Williams and Jean Davis, with interjections from Millie Jackson. Includes "We Can't Hide It Anymore," "I'm Way Ahead of You," and "Dr. Feelgood" (featuring Millie Jackson).
It's the group's second and final album, a gem from the late 70s R&B scene, capturing authentic emotional depth. While their first album found success with the hit single "Sometimes," A Matter of Fact was less commercially successful. It reached #54 on the Billboard R&B album chart, though its singles failed to achieve significant mainstream airplay.
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 Night To Remember
Producer, Arranged By – Ron Baker
Written-By – Ron Baker, Ron Tyson 5:36
A2 Time Will Tell
Producer, Arranged By – Ron Baker
Written-By – Ron Baker, Ron Tyson 2:37
A3 Immune To Love
Producer, Arranged By – Norman Harris
Written-By – Allan Felder, Norman Harris, Ron Tyson 3:38
A4 This Will Be A Night To Remember
Producer, Arranged By – Ron Baker
Written-By – Ron Baker, Ron Tyson 5:07
B1 I've Been Singing Love Songs (By Myself)
Producer, Arranged By, Written-By – Ron Baker 3:41
B2 (Where Have You Been) All My Life
Producer, Arranged By, Written-By – Ron Baker 3:15
B3 Somehow You Make Me Feel
Producer – Bruce Gray
Producer, Arranged By – T.G. Conway
Written-By – Bruce Gray, T.G. Conway 4:32
B4 It's Over
Producer, Arranged By – Ron Kersey
Written-By – Ron Kersey, Stephanie Andrews 4:15
Label: Salsoul Records – SZS 5511
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Philly, Disco
Eddie Holman's A Night to Remember (1977) is a highly-regarded Philly Soul/ disco album, praised for its sublime production by the Salsoul team (Norman Harris, Earl Young, Ron Baker) and Holman's exquisite, emotive falsetto, delivering heartfelt tracks like "You Make My Life Complete," a blend of classic soul with emerging disco elements, making it a beloved record for its beautiful vocals, lush strings, and timeless sound.
Working with Salsoul Records, the production features lush strings, subtle horns, and keyboards, creating an emotive backdrop for Holman's voice. His signature, heartfelt falsetto is a major draw, with critics calling it "sublime" and "heartfelt," matched by tender harmonies from the Sweethearts of Sigma.
The album successfully bridges Holman's old-school soul roots with the disco era, a unique pairing that proved highly effective. Holman's "stratospheric falsetto" is considered the highlight, described as being in "great shape" across both high-energy disco tracks and emotive ballads.
Standout Tracks:
"This Will Be a Night to Remember": The title track is widely regarded as one of Holman's most "electrifying moments," blending punchy disco rhythms with soaring vocals.
"Immune to Love": A standout ballad that showcases Holman's ability to convey deep heartache and sadness through his slow, deliberate vocal delivery.
"You Make My Life Complete": Cited as a top-tier track that demonstrates his range on slower, soul-heavy material.
Fans and critics regard it as a classic disco/soul record, with many praising its consistent quality. It's considered a significant work in Philly Soul and a testament to Holman's vocal talent, making it a beloved album for those seeking beautiful, soulful music.
A Pocket Full Of Miracles
Written-By – M. Tarplin, W. Robinson, W. Moore 3:40
A2 Who's Gonna Take The Blame
Written-By – N. Ashford, V. Simpson 3:25
A3 Darling Dear
Written-By – A. Story, H. Gordy, R. Gordy 3:07
A4 You've Got The Love I Need
Written-By – R. Jones, W. Robinson 3:25
A5 Get Ready
Written-By – W. Robinson 3:15
A6 Bridge Over Troubled Water
Written-By – A. Garfunkel, P. Simon 4:40
B1 Something / Something You Got
Written-By – C. Kenner, G. Harrison 4:25
B2 Point It Out
Written-By – Cleveland, Tarplin, Robinson 2:34
B3 Don't Take It So Hard
Written-By – C. Johnson, T. Johnson, W. Schofield 3:50
B4 Backfire
Written-By – W. Robinson 3:20
B5 The Reel Of Time
Written-By – A. Cleveland, J. Bristol, W. Robinson 3:40
B6 Wishful Thinking
Written-By – M. Johnson 2:57
Label: Tamla – TS-306
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Soul, Motown
A Pocket Full of Miracles is a 1970 Soul/R&B album by Smokey Robinson & The Miracles, released by Motown's Tamla label, known for its lush production, smoother harmonies, and hit singles like the topical "Who's Gonna Take the Blame," charting well on both Pop and R&B charts, showcasing the group's evolving sound with strong songwriting and cover choices.
Producerd by Smokey Robinson and Ashford & Simpson, it features deeper harmonies and a smoother style, signaling the group's direction into the 1970s.
Included "Point It Out," its charting B-side "Darling Dear," and the poignant "Who's Gonna Take the Blame" (written by Ashford & Simpson).
The album reached #56 on the Billboard Pop Albums chart and #10 on the R&B Albums chart.
It mixes original songs with reinvented covers of hits by artists like Bacharach & David, Paul Simon, and George Harrison, alongside collaborations with Stevie Wonder.
It's one of three albums The Miracles released in 1970. The album contains classic Motown production and superb material, with some tracks appearing on CD for the first time in later deluxe collections.
The album captures the group's sweet, soaring harmonies during a transitional period, featuring key members like Smokey, Claudette, Bobby Rogers, Ronnie White, Pete Moore, and Marv Tarplin.
A Portrait of Melba Moore
Written-By – D.C. Santana, L. Patillo 4:49
A2 Promised Land
Written-By – L. Huff, G. McFadden, J. Whitehead, V. Carstarphen 4:32
A3 I Don't Know No One Else To Turn To
Written-By – G. McFadden, J. Whitehead, V. Carstarphen 5:36
A4 Standing Right Here
Written-By – G. McFadden, J. Whitehead, V. Carstarphen 3:53
B1 Just Another Link
Written-By – G. McFadden, J. Whitehead, V. Carstarphen 3:26
B2 Living Free
Written-By – G. McFadden, J. Whitehead, V. Carstarphen 4:59
B3 Is This The End
Written-By – D. Brown, Tom Wallington, Bill Bloom 4:04
B4 Love And I Aren't Strangers Anymore
Written-By – G. McFadden, J. Whitehead, V. Carstarphen 5:04
Label: Buddah Records – BDS 5695
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
A Portrait of Melba, released in 1977, is a highly-regarded album praised for its excellent production by McFadden & Whitehead and Melba Moore's powerful gospel-influenced vocals. While it was not a major commercial hit at the time, it is considered a strong entry in her discography by many fans and reviewers.
The album features lush Philly soul rhythms and arrangements, with gorgeous strings provided by MFSB.
Reviewers on Discogs praise the top-notch production and excellent sound quality, with one user noting how Moore's voice floats perfectly within the mix.
The sound is described as well-produced and played, balancing mellower moments with infectious, groovier tracks.
Moore's vocals are frequently described as "amazing," showcasing her "big gospel soul pipes" and impressive range.
Key Tracks:
"Standing Right Here": This jazzy funk groove and NYC club hit is a standout track and a favorite among many listeners.
"You Are My River": Reviewers mention this track starts as a lush ballad before turning into a hardcore funk stomp.
"Just Another Link": Another track highlighted for its "raw dog stomp" groove.
"Promised Land": An additional bonafide NYC Club hit on the album.
Despite the high quality praised by fans, the album was Moore's first on the Buddah label to fall short of the Billboard 200 and the R&B albums chart. The single "Standing Right Here" only reached minor positions on the R&B and Dance charts. However, its quality and the involvement of McFadden & Whitehead solidified its reputation among soul and disco enthusiasts over time.
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.
A Powerful Soul
Producer – Leiber & Stoller
Written By [Incorrect] – Dave Crawford
Written-By [Uncredited] – Luther Dixon, Van McCoy 2:25
A2 Beg Me
Arranged By – Stan Green
Written-By – Rudy Clark 2:37
A3 The Breaking Point
Arranged By – Burt Bacharach
Written-By – H. David, B. Bacharach 2:18
A4 Who's Gonna Pick Up The Pieces
Arranged By – Teaco Wiltshire
Producer – Leiber & Stoller
Written-By – Florence Green, Van McCoy 2:44
A5 If I Didn't Love You
Arranged By – Stanley Applebum
Producer – Stan Green, Steve Tyrell
Written-By – Mark Barkan, Pam Sawyer 2:13
A6 I Wake Up Crying
Written-By – H. David, B. Bacharach 2:15
A7 Forget About Me
Producer – Stan Green
Written-By – Lori Burton, Pam Sawyer 2:42
A8 The Prophet
Arranged By – Carole King
Written-By – Luther Dixon, Rose McCoy 2:27
B1 Little By Little
Producer – Stan Green
Written-By – Kelly Owens, Rose McCoy 2:31
B2 I've Got To Be Strong
Arranged By – Tommy Kaye
Written-By – Ralph Bailey, Johnny L Northern, Tommy Kaye 1:54
B3 I Don't Want To Cry
Arranged By – Carole King
Written-By – Chuck Jackson, Luther Dixon 2:18
B4 This Broken Heart (That You Gave Me)
Written-By – Van McCoy 2:14
B5 Don't Believe Him, Donna
Written-By – Lee Thomas, Luther Dixon 2:19
B6 They Don't Give Medals (To Yesterdays Heroes)
Written-By – B. Bacharach, H. David 2:22
B7 The Love Of My Girl
Written-By – Ed Townsend 3:00
B8 I Can't Stand To See You Cry
Written-By – Van McCoy 3:29
Label: Kent Records – KENT 073
Format: Vinyl, LP, Compilation
Country: UK
Released: 1987
Genre: R&B Soul
Style: Sixties Soul
A Powerful Soul is a classic 1987 UK compilation LP by Chuck Jackson, released by Kent Records, showcasing his incredible New York Soul hits from Wand Records, featuring his signature powerful vocals on tracks like "I Can't Stand to See You Cry," "Little By Little," and "If I Didn't Love You," highlighting his suave delivery, emotional depth, and mastery of uptempo dancers and heart-wrenching ballads, cementing his status as a soul legend.
The album collects many of Jackson's best-known sides from his prime years on Wand Records (a Scepter subsidiary). It emphasizes Jackson's rich, dignified, and emotionally resonant baritone, capable of delivering both suave romance and raw heartbreak.
The tracks feature the lush arrangements, stellar production, and sophisticated songwriting (including Bacharach/David) that defined 1960s soul. It includes uptempo dancers like "Little By Little" and poignant ballads, showcasing his versatility.
Originally a UK LP (Kent Records), it's a sought-after release for fans of classic soul, later reissued and expanded on CD.
While many of Jackson's Wand-era recordings were later re-released on CD (such as the 24-track Good Things collection), A Powerful Soul remains a key historical release for fans because it first unearthed several tracks that were nearly lost to history. Jackson's work during this period, including several songs written by Burt Bacharach and Hal David, is considered some of the finest examples of 1960s soul.
A Quiet Storm
7:47
A2 The Agony And The Ecstasy
4:43
A3 Baby That's Backatcha
3:36
A4 Wedding Song
3:20
B1 Happy (Love Theme From "Lady Sings The Blues")
7:05
B2 Love Letters
4:04
B3 Coincidentally
4:22
Written by Michel Legrand (tracks: B1), Rose Ella Jones (tracks: A1, B2), William "Smokey" Robinson
Label: Tamla – T6-337S1
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Motown
Smokey Robinson's 1975 album A Quiet Storm is widely hailed as a landmark in R&B history, famously credited with inventing the "Quiet Storm" radio format and subgenre. Following two underperforming solo records, the album revitalized Robinson's career by showcasing a mature, "contemplative romantic soul" sound that diverged from the upbeat pop of his Miracles era.
Critics emphasize that the album defined a late-night, soulful programming style—low, slow, and sophisticated—that dominated radio for decades.
Reviews frequently highlight Robinson's "breathy" and "intimate" vocal delivery, often recorded with close-mic techniques to enhance the "languid intimacy" of the tracks.
The album is often noted for its cohesive "concept," with the title track’s synthesizer-simulated wind effects appearing throughout to bridge the songs.
AllMusic awards it 4.5/5 stars, calling it a "crown jewel" of 1970s soul, while Q Magazine has ranked it among the greatest Motown albums of all time.
A Real Mother For Ya
A2 Nothing Left To Be Desired 5:42
A3 Your Love Is My Love 4:38
A4 The Real Deal 5:53
B1 Tarzan 4:58
B2 I Wanna Thank You 6:05
B3 Lover Jones 5:23
Producer, Arranged By, Written-By, Liner Notes – Johnny Guitar Watson
Label: DJM Records – DJLPA-7
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Johnny "Guitar" Watson's A Real Mother For Ya (1977) is a landmark funk album, celebrated for its infectious grooves, witty lyrics, and masterful blend of blues, jazz, R&B, and art pop, showcasing Watson's unique personality, innovative production (including early vocoder use), and signature guitar/keyboard skills, establishing him as a funk pioneer with a timeless, fun, and influential sound.
It seamlessly mixes funky rhythms with blues roots, jazz sensibilities, and pop flair, creating a signature sound. Watson produced the album, playing most instruments (guitar, keys, synth) himself, achieving clear separation and adding "semi-psychedelic glitter".
Filled with clever, often comical, spoken asides and relatable, unpretentious lyrics, written by Watson.
Features early use of vocoders and Moog bass, foreshadowing later trends. Praised for finding a balance between R&B smoothness and gritty groove, considered a fun, essential listen in '70s funk.
Standout Tracks & Elements:
"A Real Mother For Ya": The title track is a prime example of his catchy, jive-talking style and funky appeal.
"Your Love is My Love": Spacey, vocoder-heavy, and ahead of its time.
"I Wanna Thank You": Showcases his strong piano skills alongside guitar.
"Tarzan": A fun, playful track featuring imaginative lyrics and strong hooks.
Overall, A Real Mother For Ya is considered a classic, capturing Watson at his peak and delivering a joyful, high-quality funk experience that remains fresh and highly enjoyable decades later.
A Soulful Christmas
Written-By – C. Bobbitt, H. Ballard, A. Ellis
A2 Santa Claus, Santa Claus
Written-By – C. Bobbitt, N. Jones
A3 Believers Shall Enjoy (Non Believers Shall Suffer)
Written-By – B. Hobgood, N. Jones
A4 Soulful Christmas
Written-By – C. Bobbitt, H. Ballard, A. Ellis
A5 Tit For Tat (Ain't No Taking Back)
Written-By – C. Bobbitt, N. Jones
A6 Christmas Is Coming
Written-By – B. Hobgood, N. Jones
B1 Say It Loud (I'm Black And I'm Proud) Part 1
Written-By – J. Brown
B2 Say It Loud (I'm Black And I'm Proud) Part 2
Written-By – J. Brown
B3 In The Middle
Written-By – B. Hobgood, N. Jones
B4 Let's Unite The Whole World At Christmas
Written-By – B. Hobgood, N. Jones
B5 You Know It
Written-By – B. Hobgood, A. Ellis
B6 Santa Claus Gave Me A Brand New Start
Written-By – B. Hobgood, N. Jones
Label: King Records – KS 1040
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul, Funk
Style: Soul, Funk
Released in 1968, James Brown’s A Soulful Christmas is a critically acclaimed, high-energy fusion of festive cheer and raw, socially conscious funk recorded during a tumultuous era in American history. It stands out as an essential holiday album, offering a unique blend of original songs, instrumental jams, and deep-groove soul that serves as a perfect, energetic alternative to traditional Christmas music.
Far from a commercial gimmick, the album deals with themes of peace, love, and social consciousness, particularly in standout tracks like "Let's Make Christmas Mean Something This Year".
It features a mix of intense vocal performances (e.g., "Santa Claus, Santa Claus") and driving funk instrumentals where the instruments act as percussion.
The album notoriously features this socially charged hit, which, while not a Christmas song, defines the cultural context of the 1968 release.
The album is noted for its excellent, punchy production, with strong guitar and bass, particularly when heard on vinyl.
While some listeners might prefer more traditional, vocal-heavy holiday music over the album's significant instrumental portions, A Soulful Christmas is widely regarded as a 5-star, essential addition to any funk or holiday collection.
A Whole New Thing
A2 If This Room Could Talk 3:00
A3 Run Run Run 3:14
A4 Turn Me Loose 1:52
A5 Let Me Hear It From You 3:35
A6 Advice 2:22
B1 I Cannot Make It 3:20
B2 Trip To Your Heart 2:30
B3 I Hate To Love Her 3:30
B4 Bad Risk 3:04
B5 That Kind Of Person 4:15
B6 Dog 3:10
Written by S. Stewart
Label: Epic – BN 26324
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Funk
Sly & the Family Stone's 1967 debut, A Whole New Thing, is a spirited, if uneven, R&B/funk precursor, praised for its raw energy, tight musicianship, and pioneering blend of soul, rock, and proto-psychedelia, showcasing the band's foundational sound with standout tracks like "Underdog" and "Trip to Your Heart," though it lacks the polish and big hits of their later classics. Reviewers note its significance as a creative seed for future funk, despite some underdeveloped songwriting and less cohesive psychedelic elements compared to their subsequent work.
The album pulses with high energy, strong horn arrangements, and infectious grooves, establishing the group's unique, multi-racial sound.
Hints of fuzz guitar and experimental sounds appear, but the psychedelic edge isn't fully developed, making it more R&B-focused than later albums.
It's seen as a vital, exciting debut that foreshadowed the band's revolutionary impact, even if it wasn't yet their masterpiece.
A unique aspect is that it was recorded live, contributing to its raw feel, though it predates Rose Stone's full involvement.
Generally considered a strong, fun debut with flashes of brilliance, establishing the core Family Stone sound. While not as consistent as Stand!, its raw creativity and hints of future greatness make it a must-listen for dedicated fans.
A Whole New Thing
Written-By – Jeffrey Bowen, James Ford, Truman Thomas
3:35
A2 Disco Dancin'
Written-By – Billy Preston
3:30
A3 Complicated Sayings
Written-By – Robert "Inky" Incorvaia
2:54
A4 Attitudes (Instrumental)
Written-By – Billy Preston
2:29
A5 I'm Really Gonna Miss You
Written-By – Billy Preston
3:48
B1 Wide Stride (Instrumental)
Written-By – Billy Preston
3:15
B2 You Got Me Buzzin'
Written-By – Robert "Inky" Incorvaia
2:42
B3 Sweet Marie
Written-By – Billy Preston, Joe Green
3:40
B4 Happy (Instrumental)
Written-By – Billy Preston, Jack Ackerman
2:20
B5 Touch Me Love
Written-By – Billy Preston, Jack Ackerman
3:22
B6 You Don't Have To Go
Written-By – Billy Preston, Joe Green
3:00
Label: A&M Records – SP 4656
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul, Funk
Style: Seventies Soul
A Whole New Thing (1977), Billy Preston's final album for A&M Records, is reviewed as an excellent, yet underappreciated, funk/soul record that features his signature organ and keyboard mastery. The album's strength lies in its blend of gospel-infused funk and New Orleans R&B, although some critics note a lack of a single cohesive direction.
The album is praised for its "good dose of gospel" in its funk music, drawing comparisons to artists like Sly Stone and the Isley Brothers. Reviewers highlight how the funkiness is where the album truly shines.
The album is particularly noted for its instrumental tracks, which are considered "worth checking out" by rare groove and crate digger fans. The instrumental "Wide Stride" is a standout track, recognized as one of Preston's first songs to prominently feature a modern polyphonic synthesizer.
Some critics suggest the album was a missed opportunity, feeling it was perhaps rushed and that Preston cast his creative net too wide by shoehorning too many ideas into one release. However, it is generally regarded as "good music" where Preston demonstrates his ability to sing and play with the best musicians.
Despite its quality, the album was not a major commercial hit upon release. Reviewers speculate this may be because Preston's "squeaky clean" music lacked the "nastiness" that was essential to the mainstream funk scene of the late 70s, which favored bigger personalities and fantasies.
User ratings on platforms like Discogs give the album an average rating of 3.74 out of 5, indicating a generally positive reception among fans and collectors.
In essence, A Whole New Thing is considered a strong, inventive funk/soul record showcasing Billy Preston's immense talent and forward-thinking use of keyboards, even if it didn't achieve massive mainstream success at the time.
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.
India Arie
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.
Action
Written-By – Toney, Saunders
3:47
A2 Lookin' Ahead
Written-By – Kevin Toney
5:30
A3 Mysterious Vibes
Written-By – Keith Killgo
4:46
A4 Something Special
Written-By – Keith Killgo
4:43
B1 Street Games
Written-By – Kevin Toney
4:45
B2 Soft And Easy
Written-By – Orville Saunders
4:25
B3 Dreaming About You
Written-By – Kevin Toney
5:49
Label: Fantasy – F-9535
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: Jazz, Funk, Soul
Style: Jazz-Funk, Soul, Funk
Released in 1977 on Fantasy Records, Action by The Blackbyrds is a critically regarded, smooth jazz-funk album produced by Donald Byrd, offering a more polished, laid-back sound compared to their earlier, harder funk works. It features standout tracks like "Mysterious Vibes" and "Supernatural Feeling," showcasing high-level musicianship and a spacey, mellow atmosphere that bridges 70s soul and jazz-funk.
Produced by Donald Byrd, the album also features contributions from notable musicians like Ray Parker Jr. on guitar. Action leans into a smoother, almost yacht-rock-adjacent jazz-funk, featuring lush production, synthesizers, and relaxed tempos.
The track "Mysterious Vibes" is widely cited as the album's masterpiece, a "slow jazzy stepper" frequently sampled in hip-hop. Other notable tracks include "Supernatural Feeling," "Soft & Easy," and "Dreaming About You".
While sometimes overshadowed by their earlier, more intense funk albums, Action is considered a refined, "under the radar" classic by many listeners. It is praised for its high-quality, 70s-era production, though some listeners may find it less energetic than previous efforts.
Often highlighted as a quintessential album for fans of 1970s jazz-funk, with some reviewers suggesting it as a definitive, must-own record for the band.
Reviewers often compare the album's ethereal sound to Earth, Wind & Fire or late-'70s Kool & The Gang, blending jazz musicality with proto-disco R&B. The album maintains strong community ratings, averaging roughly 4.3 to 4.5 out of 5 stars on collector platforms like Discogs.
Action Speaks Louder Than Words
A2 Time Machine 4:32
A3 My Mind Is Hazy 4:42
A4 Confusion 4:12
A5 Pretty Pimpin' Willie 4:00
B1 Tin Man 3:21
B2 Chocolate Pleasure 3:36
B3 People 2:54
B4 Ain't Nothin' But A Thing 2:59
B5 Out Among The Stars 5:35
Written by Castenell Jr. (tracks: A1 to A5, B2 to B5), Chocolate Milk (tracks: A1 to A5, B2 to B5), Richards (tracks: A1 to A5, B2 to B5), E. Dabon (tracks: A1 to A5, B2 to B5), Richard (tracks: A1 to A5, B2 to B5), Smith III (tracks: A1 to A5, B2 to B5), Williams (tracks: A1 to A5, B2 to B5), Harris (tracks: A1 to A5, B2 to B5), Tio (tracks: A1 to A5, B2 to B5), R. Dabon (tracks: A1 to A5, B2 to B5)
Label: RCA Victor – APL1-1188
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Bayou Funk
Chocolate Milk's 1975 debut, Action Speaks Louder Than Words, is a highly-regarded New Orleans funk/soul classic, praised for its tight musicianship, strong grooves, and politically-charged title track, blending traditional R&B with modern funk, with tracks like "Time Machine" and "Ain't Nothing But a Thing" highlighted as standout deep cuts, making it a timeless collector's item sampled heavily by hip-hop artists.
Produced by the legendary Allen Toussaint, the album features rich, funky grooves, powerful horns, a solid rhythm section, and polished vocals, embodying classic New Orleans funk with a cool, jazzy, and sometimes socially conscious edge.
The song "Action Speaks Louder Than Words" is a slow, moody funk track with a strong political message, built around a Moog bassline and searing guitars, becoming a major influence and sample source for artists like Public Enemy and Aaliyah.
Beyond the hit, tracks like the jazzy "Time Machine," "Ain't Nothing But a Thing," and "My Mind Is Hazy" are celebrated as essential funk cuts, notes Soul Brother Records.
The album is considered a must-have for funk and soul fans, valued for its quality from start to finish, avoiding filler, and its lasting impact, especially within hip-hop, mention Amazon.in and Juno Records.
Overall, it's a landmark debut, a solid funk LP with standout tracks and deep grooves, retaining its relevance and desirability for collectors.
The album has seen several modern reissues, including limited edition color vinyl pressings (e.g., blue or red) in 2015, 2024, and 2025, reflecting its enduring appeal to funk devotees.
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.
Adventures In Paradise
A2 Feelin' That Your Feelin's Right 4:22
A3 When It Comes Down To It 3:24
A4 Minnie's Lament 4:10
A5 Love And Its Glory
Harp – Dorothy Ashby 5:10
B1 Adventures In Paradise
Guitar [Second] – Dean Parks 3:15
B2 Inside My Love
Guitar [Second] – Dean Parks 4:45
B3 Alone In Brewster Bay 4:25
B4 Simple Things
Guitar [Second] – Dean Parks 3:44
B5 Don't Let Anyone Bring You Down 2:55
Written by E. T. Brown (tracks: A5), J. Sample (tracks: B1), L. Ware (tracks: A1, A2, B2), M. Riperton, R. Rudolph
Label: Epic – PE 33454
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk
Minnie Riperton's Adventures in Paradise (1975) is a highly praised, lush soul-jazz album that balances the ethereal beauty of her voice with earthy funk, showcasing sensuality in hits like "Inside My Love" while maintaining her signature purity, noted for its excellent musicianship, influences from Stevie Wonder, and sophisticated '70s vibe, often seen as a worthy, if slightly less commercially massive, follow-up to Perfect Angel. Critics laud its dreamy production, seamless blend of genres (soul, funk, jazz, pop), and Riperton's stunning vocal versatility, cementing it as a classic despite initial underperformance.
It features playful, mature themes and explicit lyrics (for the time) on tracks like the hit "Inside My Love," a slow-jam masterpiece, and demonstrates Riperton's incredible five-octave range, blending sweet innocence with powerful, dramatic delivery and her famous whistling.
Richly produced with jazz-funk grooves, subtle piano, strong basslines, and horns, creating a polished, immersive sound. Standout Tracks: "Baby, This Love I Have," "Inside My Love," "Adventures in Paradise," "Love and It's Glory," "Minnie's Lament".
Considered a 70s soul classic, influencing future generations, and praised for its "peace, love, and sensuality," solidifying Riperton as a legend.
What Critics Say: "An amazing display of talent... brings the funk of the 70s into any decade"; "Sublime... effortlessly bridges the gap between innocent wonder and worldly sensuality"; "Better than most stuff being released at the time... a pretty solid time"; "One of Riperton's greatest recordings... impeccably played, exceptionally made".
Overall Vibe: A feel-good, groovy, and sophisticated album that feels both intimate and expansive, fitting perfectly into the Quiet Storm soul movement. While it did not reach the commercial heights of her predecessor Perfect Angel, it is now a cult classic frequently cited as a foundational influence on neo-soul and hip-hop.
Adventures In The Land Of Music
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Ricky Smith, William Shelby
6:28
A2 Groove Control
Arranged By [Horn Arrangements] – Ben Wright
Arranged By [String Arrangements] – David Crawford
Written-By – Kevin Spencer, Nidra Beard, William Shelby
4:52
A3 Take Another Look At Love
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Leon Sylvers III
4:24
A4 Day And Night
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Wardell Potts, William Shelby
6:03
B1 Do Me Right
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Nidra Beard, William Shelby
6:03
B2 Something To Remember
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Gene Dozier, Linda Carriere (2), Nidra Beard
4:43
B3 Adventures In The Land Of Music
Arranged By [Horn Arrangements, String Arrangements] – Ben Wright
Written-By – Kevin Spencer, Richard Randolph, Ricky Smith
4:19
B4 Ice Breaker
Arranged By [Horn Arrangements, String Arrangements] – Gene Dozier
Written-By – Leon Sylvers III
5:22
Label: Solar – BXL1-3576
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul, Disco
Dynasty’s 1980 album Adventures In The Land Of Music is a acclaimed R&B/funk classic produced by Leon Sylvers III, showcasing tight instrumentation and soulful vocals. Known for its infectious, polished disco-funk grooves and strong, danceable tracks, the album defines the "SOLAR sound" with highlights like the title track, "Groove Control," and "Day and Night".
Leon Sylvers III delivers high-quality production, reminiscent of his work with Shalamar and The Whispers, creating a cohesive, polished feel. The album is considered a "solid" effort, featuring strong, harmonious, and danceable grooves.
Critics highlight the "top-notch musicianship" and the group's unique ability to balance upbeat dance floor fillers with "sultry jams" and romantic soul ballads. It is often described as an "Old Skool classic" that stood shoulder-to-shoulder with acts like Shalamar and The Whispers.
Key Tracks & Highlights:-
"I’ve Just Begun to Love You": The album's biggest commercial success, reaching #6 on the US Billboard R&B chart. It is noted for its infectious bassline and "Chic-influenced" groove.
"Adventures in the Land of Music" (Title Track): Celebrated for its "incredible arrangement," including Earth, Wind & Fire-style horns and jazzy choral vocals.
"Groove Control": A fan favorite praised for its catchy female-led vocal hooks and prominent, driving bassline.
"Day and Night": Recognized as a standout "sultry jam" that showcases the group's vocal prowess.
The album is highly regarded among funk and disco enthusiasts, with its title track famously sampled in Camp Lo’s 1997 hit "Luchini". It captures a 1980s R&B vibe, blending upbeat dance tracks with smoother, soulful moments.
Adventures In The Land Of Music remains a highly regarded, essential listen for fans of late 70s/early 80s, funk and soul. The album maintains strong standing among soul enthusiasts, with a 4.46/5 average on Discogs and a 3.42/5 on Rate Your Music.
After Dark
A2 Over You
Saxophone, Soloist – Dave Boroff
Vocals – Natalie Cole
Written-By, Producer – Carole Bayer Sager
Written-By, Producer, Arranged By – Burt Bacharach
4:38
A3 Lovin' You 4:08
A4 You Shoulda Kept A Spare
Saxophone, Soloist – Gerald Albright
4:46
A5 The Past
Arranged By – Gene Page
Arranged By [Background Vocals] – Kashif
3:27
B1 You Make My Nature Dance 4:30
B2 Perfect Lovers
Written-By, Producer – Burt Bacharach, Carole Bayer Sager
5:12
B3 After Midnite 3:40
B4 I Love Your Daughter 3:44
B5 After Dark 4:29
Written by Ray Parker Jr. (tracks: A1, A3 to B1, B3 to B5)
Label: Geffen Records – GHS 24124
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Funk
Released on August 25, 1987, After Dark is the fourth solo studio album by R&B musician Ray Parker Jr.. Published under Geffen Records, the album represents a shift toward a more sophisticated "adult soul" and smooth funk sound compared to his earlier work.
The album is characterized by a mix of smooth soul, funk, and R&B. Critics noted that Parker's vocals on this record sounded more somber and introspective than his previous releases.
Many tracks feature Parker's signature playful and sometimes highly sexualized wordplay, using mechanical and nature-based euphemisms for romantic encounters.
The album features production and songwriting from legendary duo Burt Bacharach and Carole Bayer Sager, particularly on the tracks "Over You" and "Perfect Lovers". It also includes performances by high-profile guest artists:
Natalie Cole: Duets with Parker on the ballad "Over You".
Philip Bailey: Provided background vocals.
Gerald Albright: Featured on saxophone for "You Shoulda Kept A Spare".
Session Musicians: Included notable names such as Jeff Porcaro (drums) and Nathan East (bass).
Key Tracks:-
"I Don't Think That Man Should Sleep Alone": The album's lead single, which focuses on male vulnerability and reached No. 5 on the Billboard R&B chart.
"Over You": A duet with Natalie Cole that served as a major ballad for the album.
"After Midnite": A soul-jazz instrumental featuring a guitar solo by Parker.
"After Dark": The title track and album closer, described as a mid-tempo funk groove with heavy use of wah-wah guitar.
The album peaked at No. 27 on the Billboard Top Soul Albums chart. While it was praised for its consistent production quality, some critics felt it was a "mixed bag," with some tracks feeling less inspired than his earlier hits with Raydio.
After The Rain
Written-By – Willie Dixon 4:36
A2 Ramblin' Mind
Written-By – M. Morganfield 4:44
A3 Rollin' And Tumblin'
Written-By – M. Morganfield 4:47
A4 Bottom Of The Sea
Written-By – M. Morganfield 5:21
B1 Honey Bee
Written-By – M. Morganfield 4:14
B2 Blues And Trouble
Written-By – M. Morganfield 4:20
B3 Hurtin' Soul
Written-By – C. Williams 4:35
B4 Screamin' And Cryin'
Written-By – M. Morganfield 4:50
Label: Cadet Concept – LPS-320
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Blues
Style: Chicago Blues
Muddy Waters’ 1969 album After the Rain is often reviewed as a "focused and lean" follow-up to the controversial, highly psychedelic Electric Mud. While it retains several members of the same experimental session band—including guitarist Pete Cosey and producer Charles Stepney—the album is generally seen as a more successful balance between innovative late-60s production and Waters’ traditional Chicago blues roots.
Unlike its predecessor, which leaned heavily into "acid-soaked" sounds, After the Rain tones down the overt psychedelia. Reviews highlight that the production feels more "organic" while still utilizing distorted guitars and fuzzy bass to create a "heavy and funky" atmosphere.
A common praise for this record is the clarity and passion of Muddy’s vocals. Unlike Electric Mud, where his voice was sometimes buried in the mix, After the Rain places him front and center, sounding as if he is "singing just 2 or 3 meters in front of you".
This album is significant because Muddy plays guitar on several tracks himself, showcasing his signature slide work on a Telecaster. This provides a traditional anchor for the more modern, "thumpin and chuggin" riffs provided by the session players.
Standout Tracks:
"I Am the Blues": Frequently cited as a "killer" opener that sets a raw, emotional tone.
"Rollin’ and Tumblin’": Described as a "barn burner" and a "funky blues" that could turn a "beer shack to matchwood".
"Bottom of the Sea": Noted for its "conceptual boldness" and abstract feel, featuring riffin' cellos and a unique, deep-sea sonic atmosphere.
Today, the album holds a "cult-like status" among fans. While some blues purists still find the 1960s production "kitschy," many modern reviewers consider it one of Muddy's most underrated releases, successfully bridging the gap between his 1950s classics and the rock-influenced landscape of the late 60s. On collector platforms like Discogs, recent pressings consistently receive high ratings (averaging 4.4 to 4.8 out of 5) for their "brilliant" and "raw" sound quality.
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.
Ain’t No ’Bout-A-Doubt It
Clavinet, Vocals – Hershall Kennedy
Guitar, Vocals – Dave Vega
Organ, Vocals – Robert Sam
Vocals, Drum Machine [Electric Funk Box] – Patryce Banks
Written-By, Bass, Vocals – Larry Graham
8:12
A2 Your Love
Clavinet, Synthesizer, Backing Vocals – Hershall Happiness
Drums – The Deacon
Guitar – David Dynamite
Lead Vocals, Backing Vocals – Chocolate
Organ, Piano, Backing Vocals – Butch
Written-By, Lead Vocals, Bass, Backing Vocals – Larry Graham
3:18
A3 It's Alright
Clavinet, Backing Vocals – Hershall Happiness
Drum Machine [Electric Funk Box], Backing Vocals – Chocolate
Drums – The Deacon
Guitar – David Dynamite
Organ, Backing Vocals – Butch
Written-By, Lead Vocals, Bass, Synthesizer, Backing Vocals – Larry Graham
3:46
A4 I Can't Stand The Rain
Bass, Backing Vocals, Drums – Larry
Clavinet, Backing Vocals – Hershall Happiness
Guitar – David Dynamite
Lead Vocals, Backing Vocals – Chocolate
Organ, Backing Vocals – Butch
Written-By – A. Peebles, B. Miller, D. Bryant
6:09
B1 It Ain't Nothing But A Warner Bros. Party
Clavinet, Vocals – Hershall Happiness
Drums – The Deacon
Guitar – David Dynamite
Vocals – Chocolate
Vocals, Organ, Piano – Butch
Written-By, Vocals, Bass – Larry Graham
6:03
B2 Ole Smokey
Acoustic Guitar – David Dynamite
Drum Machine [Electric Funk Box], Backing Vocals – Chocolate
Drums – The Deacon
Organ, Piano, Backing Vocals – Butch
Soloist, Trumpet, Clavinet, Backing Vocals – Hershall Happiness
Written-By, Lead Vocals, Bass – Larry Graham
3:15
B3 Easy Rider
Clavinet, Backing Vocals – Hershall Happiness
Drum Machine [Funk Box], Lead Vocals, Backing Vocals – Chocolate
Drums – The Deacon
Guitar – David Dynamite
Organ, Piano, Backing Vocals – Butch
Written-By, Lead Vocals, Bass, Backing Vocals – Larry Graham
2:56
B4 Water
Acoustic Guitar – David Dynamite
Clavinet, Vocals – Hershall Happiness
Drums – The Deacon
Organ, Backing Vocals – Butch
Vocals – Chocolate
Written-By, Vocals, Bass – Larry Graham
4:26
B5 Luckiest People
Guitar – David Dynamite
Vocals – Chocolate, Hershall Happiness
Vocals, Piano – Butch
Written-By, Lead Vocals, Bass, Drums, Backing Vocals, Organ, Clavinet, Timpani – Larry Graham
3:45
Label: Warner Bros. Records – BS 2876
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk
Ain't No 'Bout-A-Doubt It (1975) is widely considered one of the high points of Larry Graham's career, reaching No. 4 on the Billboard Top Soul Albums chart and featuring the No. 1 R&B single "Your Love".
Key Tracks and Highlights:
"The Jam": Frequently cited as the album's finest moment, this 8-minute track features a classic funk arrangement where band members are introduced one by one to take brief solos over a heavy groove.
"Your Love": A memorable R&B hit noted for its "doo-wop-esque" style and Larry Graham's showcase of his falsetto range.
"I Can't Stand the Rain": A "robust" and "soulful" cover of the Ann Peebles classic that replaces the original's spare framework with a stomping, vocal-heavy arrangement led by Patryce "Chocolate" Banks.
"Water": Praised for its "ruthless funk groove" and experimental production touches like backward tape loops, despite its heavy-handed religious lyrics.
"It Ain’t Nothing But a Warner Bros. Party": A bizarre homage to the band's record label that name-checks labelmates like The Doobie Brothers; critics often view it as a "gimmick" or contractually mandated filler.
The album was recorded at Wally Heider's San Francisco studio and is noted for its smooth, polished production that emphasizes rhythm and harmony. Modern listeners and collectors particularly prize the 180-gram vinyl reissues for their rich audio quality. Despite minor critiques of Side Two, it remains a definitive funk album that successfully captured the "communal spirit" of the mid-70s Bay Area scene.
Critics generally regard the album as a funk masterpiece, though reviews often highlight a notable disparity in quality between the two sides of the original LP.
While Side One is often called "blazing" or "essential," Side Two has been criticized by some for containing "showbiz-y schmaltz" and "filler" tracks.
Reviews consistently praise the "virtuosity" of the record, specifically Larry Graham’s archetypal slap-bass technique, which influenced generations of fusion and R&B players.
The album remains a staple for funk enthusiasts and has been reissued several times on CD and 180-gram vinyl.
Ain’t That A Bitch
A2 I Want To Ta Ta You Baby 5:47
A3 Superman Lover 5:43
B1 Ain't That A Bitch 5:02
B2 Since I Met You Baby 3:29
B3 We're No Exception 4:15
B4 Won't You Forgive Me Baby 5:17
Written by – Johnny Guitar Watson
Written by [Co-Written] – Renaldo Ray (track: A3)
Label: DJM Records – DJLPA-3
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Blues
Style: Seventies Soul, Funk, Disco
Johnny Guitar Watson’s 1976 album, Ain't That A Bitch, is widely regarded as a definitive masterpiece of 1970s funk. It marked Watson’s successful transition from a traditional blues guitarist to a "pimped-up" funk superstar, characterized by a flamboyant persona and humorous, street-wise lyrics.
The Wire magazine listed it among the "100 Records That Set the World on Fire," calling it the "best-sounding funk album of all time". The album was certified Gold in the US, selling over 500,000 copies. It produced two significant R&B hits: the infectious "Superman Lover" and the disco-inflected "I Need It".
Watson played nearly all instruments himself, including bass, keyboards, and guitar. His precise, "hard-plucked" guitar style and humorous spoken asides influenced artists ranging from Frank Zappa to modern hip-hop legends like Dr. Dre, who sampled Watson's work extensively.
The album marked Watson's move into the 70s funk era, combining blues, soul, and production techniques. The album's sound is considered high-quality and futuristic, with arrangements. The lyrics are humorous and suggestive, showcasing Watson's persona.
Songs often feature Watson's distinctive southern drawl and a humorous, "pimp-persona" delivery. The title track, for instance, humorously addresses socio-political issues like rising supermarket prices and economic struggles.
Key Tracks:-
"Superman Lover": A standout track featuring futuristic lyrics and a deep, infectious groove that remains a staple of 70s funk.
"I Want to Ta-Ta You Baby": Described as an "after-hours" soul-jazz gem, known for its sensual mood and organ-driven arrangement.
"Ain’t That A Bitch": The title track serves as a humorous but pointed meditation on working-class struggles, such as rising grocery prices and being underpaid.
"I Need It": A high-energy opener with a "disco tinge" that highlights Watson's charismatic vocal delivery.
User feedback for Johnny "Guitar" Watson's Ain't That a Bitch highlights its status as a foundational funk masterpiece that remains relevant decades after its release. Listeners frequently describe the album as a "fantastic old-school funk" staple that still sounds fresh today.
Long-time fans recall the album being a household staple in the 1970s, while newer listeners express surprise at how well the tracks hold up against modern music. For those looking to explore more, the album is frequently paired with its 1977 successor, A Real Mother For Ya, in various reissues.
Ain’t That Good News
Written-By – Sam Cooke
2:28
A2 Meet Me At Mary's Place
Written-By – Sam Cooke
2:40
A3 Good Times
Written-By – Sam Cooke
2:25
A4 Rome Wasn't Built In A Day
Written-By – Sam Cooke
2:30
A5 Another Saturday Night
Written-By – Sam Cooke
2:27
A6 Tennessee Waltz
Written-By – Pee Wee King, Redd Stewart
3:10
B1 A Change Is Gonna Come
Written-By – Sam Cooke
3:10
B2 Falling In Love
Written-By – Harold Battiste
2:40
B3 Home
Written-By – Jeff Clarkson, Harry Clarkson, Van Steeden
2:27
B4 Sittin' In The Sun
Written-By – Irving Berlin
3:12
B5 No Second Time
Written-By – Cliff White
3:00
B6 The Riddle Song
Adapted By – Sam Cooke
2:28
Label: RCA Victor – LSP-2899
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul
Released in early 1964, Sam Cooke’s Ain't That Good News is a critically acclaimed masterpiece and the last album released in his lifetime, blending upbeat soul with poignant, mature ballads. Featuring the iconic, defining anthem "A Change Is Gonna Come," the album showcases Cooke's artistic growth, offering a hopeful, soulful, and deeply human record that acts as a poignant final statement.
The album is often described as having a "harder" first side filled with catchy, uptempo pop-soul, while the second side leans into lushly orchestrated ballads and emotional anthems.
The centerpiece is "A Change Is Gonna Come," a landmark in music history with complex production, serving as a powerful Civil Rights anthem that remains one of the most significant songs of the 1960s.
The record reflects Cooke's increased control over his music and material, allowing him to showcase his incredible, velvety vocal range and talent for songwriting. Despite the turbulent times of 1964, the album is marked by an underlying sense of warmth, optimism, and resilience.
Key Tracks:-
"A Change Is Gonna Come": Widely considered one of the greatest songs of all time, offering a deeply personal and emotional experience.
"Good Times": A "bittersweet," high-energy track that captures the feel-good essence of the record's first half.
"Ain't That Good News": The title track, which offers a joyful, gospel-influenced sound.
"Rome Wasn't Built in a Day" & "Meet Me at Mary's Place": High-energy, soulful tracks that showcase the New Orleans sound influences.
Ain't That Good News is widely considered a solid, essential album that, while occasionally showcasing a slight divide between its pop and ballad sides, is elevated by Cooke's unparalleled voice.
It is seen as a "tragically unique" album, representing the pinnacle of a brilliant career cut short. Critics and fans agree that the album, and particularly "A Change Is Gonna Come," is a vital, enduring piece of musical history.
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 ’N All
Written-By – Maurice White, Sonny Burke, Verdine White 3:51
A2 Fantasy Written-By – Eddie delBarrio, Maurice White, Verdine White 4:38
A3.a In The Market Place (Interlude)
Written-By – M. White 0:43
A3.b Jupiter Written-By – Larry Dunn, Maurice White, Philip Bailey, Verdine White 3:55
A4.a Love's Holiday
Soloist, Guitar – Johnny Graham
Written-By – Maurice White, Skip Scarborough 5:43
A4.b Brazilian Rhyme (Interlude)
Arranged By [Horns, Strings] – Eumir Deodato
Written-By – M. Nascimento 1:20
B1 I'll Write A Song For You
Arranged By [Horns, Strings] – Eumir Deodato
Written-By – Al McKay, Philip Bailey, Steve Beckmeier 5:23
B2 Magic Mind
Written-By – Al McKay, Fred White, Larry Dunn, Maurice White, Philip Bailey, Verdine White 3:39
B3.a Runnin'
Soloist, Guitar – Al McKay
Soloist, Horn – Donald Myrick, Michael Harris
Written-By – Eddie delBarrio, Larry Dunn, Maurice White 6:45
B3.b Brazilian Rhyme (Interlude)
Arranged By [Horns, Strings] – Eumir Deodato
Written-By – M. Nasciment 1:20
B4 Be Ever Wonderful
Written By – M. White/L. Dunn
Written-By – Larry Dunn, Maurice White 5:08
Label: CBS – 86051
Format: Vinyl, LP, Album
Country: UK
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Earth, Wind & Fire's All 'N All (1977) is widely acclaimed as a funk/soul/jazz masterpiece, praised for its sophisticated production, intricate arrangements, diverse cultural influences (especially Brazilian), and spiritual depth, blending radio-friendly hits like "Fantasy" and "Serpentine Fire" with deep grooves and soaring vocals that solidified EWF's unique sound and won multiple Grammys. Critics noted its cohesive flow, featuring iconic tracks like "I'll Write a Song for You" and "Runnin'," marking a creative peak with stellar musicianship, though some found its lofty themes occasionally pretentious, it remained a commercial and artistic triumph.
The album delves deeper into spiritual and philosophical themes, referencing Eastern religions and universal brotherhood, presented through lush soundscapes.
It prominently features Latin and Brazilian rhythms, particularly on the iconic "Brazilian Rhyme (Interlude)," showcasing Maurice White's expanding musical vision.
Known for its tight harmonies, intricate horn arrangements, funky basslines, and jazz-inflected layers, balancing danceability with musical sophistication.
Standout Tracks:
"Fantasy": A dreamy, anthemic track known for its ethereal quality and strong vocal performances.
"Serpentine Fire": A funky, rhythmic dancefloor filler with a subtle Eastern groove.
"I'll Write a Song for You": A beautiful, emotionally resonant ballad showcasing Philip Bailey's powerful falsetto.
"Runnin'": A Grammy-winning instrumental with tight harmonies and intricate keyboards.
The album won Grammys for Best R&B Vocal Performance and Best R&B Instrumental. It achieved immense commercial success while maintaining artistic integrity.
All 'N All is celebrated for its cohesive flow, stunning production, and ability to blend diverse musical styles, cementing Earth, Wind & Fire's status as R&B legends.
Overall, All 'n All is consistently rated as an essential and top-tier album in the Earth, Wind & Fire catalog and a landmark recording in funk, soul, and R&B history.
EWF Earth Wind & Fire Earth, Wind & Fire
All I Need Is Time
Arranged By – David Van DePitte
Producer – Johnny Bristol
Written-By – David Jones, Johnny Bristol, Wade Brown
4:07
A2 All I Need Is Time
Arranged By – Artie Butler
Producer – Joe Porter
Written-By – Bud Reneau
4:30
A3 Heavy Makes You Happy
Arranged By – H.B. Barnum
Producer – Johnny Bristol
Written-By – Robert Bloom, Jeff Barry
3:45
A4 The Only Time You Love Me Is When You're Losing Me
Arranged By – H.B. Barnum
Producer – Clay McMurray
Written-By – Clay McMurray, Marty Coleman, Pam Sawyer
2:44
A5 Here I Am Again
Arranged By – Tom Baird
Producer – Clay McMurray
Written-By – Clay McMurray, Patricia Foster
3:40
B1 There's A Lesson To Be Learned
Arranged By – Tom Baird
Producer – Clay McMurray
Written-By – LaVerne Ware, Pam Sawyer
3:29
B2 Oh! What A Love I Have Found
Arranged By – Artie Butler
Producer – Joe Porter
Written-By – Bud Reneau
4:04
B3 The Singer
Arranged By – James Carmichael
Producer – Hal Davis
Written-By – Elliot Willensky
3:10
B4 Thank You (Falletin Me Be Mice Elf Agin)
Arranged By – Paul Riser
Producer – Johnny Bristol
Written-By – Sylvester Stewart
4:00
Label: Soul – S 739 L
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Motown
All I Need Is Time is a 1973 soul/funk album by Gladys Knight & the Pips, released on Motown's Soul Records shortly after the group moved to Buddah, featuring their signature emotive vocals, uptempo grooves, and covers like The Staple Singers' "Heavy Makes You Happy," highlighting their strong R&B sound with the hit title track single.
The album was produced by a team of Motown stalwarts, including Joe Porter, Johnny Bristol, Clay McMurray, and Hal Davis. It has since been characterized by critics as an "excellent and underrated" entry in their Motown discography.
This album is packed with the rich harmonies of The Pips and Gladys Knight's commanding, soulful voice, offering a blend of smooth ballads and energetic funk tracks that defined their iconic sound in the early '70s
The general verdict on All I Need Is Time characterizes it as a hidden gem and an underrated masterpiece within Gladys Knight & the Pips' Motown discography. While it was released as the group was transitioning to Buddah Records, listeners and critics alike praise its high production value and emotional depth.
The album maintains strong user ratings across music databases, including 4.45/5 on Discogs and positive standing on Rate Your Music. Retrospective reviews frequently note that the album "slipped through the cracks" because it was released just as the group achieved superstardom with hits like "Midnight Train to Georgia" on their subsequent label.
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.
All The Hits By Dee Dee Sharp - Volume II
Written-By – D. Leon, J. Sheldon
2:28
A2 Comin' Home Baby
Written-By – Tucker, Dorough
2:44
A3 Don't Make Me Over
Written-By – H. David - B. Bacharach
2:47
A4 Zip-A-Dee Doo-Dah
Written-By – A. Wrubel, R. Gilbert
2:43
A5 Limbo Rock
Written-By – Strange, Sheldon
2:23
A6 Wiggle Wobble
Written-By – L. Cooper
2:00
B1 Ride!
Written-By – Leon, Sheldon
2:24
B2 You Are My Sunshine
Written-By – C. Mitchell, J. Davis
2:40
B3 Tell Him
Written-By – Bert Russell
2:18
B4 First Star
Written-By – D. Pomus, M. Shuman
2:28
B5 The Push And Kick
Written-By – Rehak, Ranbeau, Slay
2:23
B6 Don't Hang Up
Written-By – Appell, Kal Mann
2:17
Label: Cameo – C1032
Series: All The Hits
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul, Pop
Style: Sixties Soul
All The Hits By Dee Dee Sharp - Volume II (often bundled with Volume I or part of compilations like The Best Of 1962-1966) collects her energetic 1960s dance hits, showcasing her "gutsy soul" style with tracks like "Mashed Potato Time," "The Wah-Watusi," and "Ride! Do the Bird," delighting fans with nostalgic, danceable R&B/Rock & Roll, though some buyers find the production standard, and it highlights her status as an underrated '60s female vocalist.
The album lives up to its name, featuring Dee Dee Sharp's signature dance craze songs from the early to mid-1960s.
It captures the classic Parkway Records sound, described as "stormin'" and energetic, with lots of youthful soul and danceable rhythms.
While generally well-received for its content, production is noted as typical of the era, often in mono, with some modern compilations combining her early hits.
Fans love it for nostalgia, praising Sharp as an "underrated" singer with great tunes. It's considered essential for '60s girl-group/dance music enthusiasts.
Some reviews mention that while great for nostalgia, the tracks are standard '60s pop fare, and a few buyers of specific CD releases have reported issues like skipping, though this seems more a pressing issue than the original album's quality.
In essence, it's a fun, essential listen for anyone enjoying early 1960s dance-pop and soul, showcasing Dee Dee Sharp's place in that era's music scene, even if she's often overlooked.
Alvin Stone (The Birth And Death Of A Gangster)
Written-By – Al Kent, Calvin Colbert
7:50
A2 Have A Little Mercy
Written-By – Al Kent, Calvin Colbert
5:35
A3 County Line
Written-By – Al Kent
3:25
B1 Let This Moment Last Forever
Written-By – Al Kent, Calvin Colbert
6:00
B2 Words
Written-By – Al Kent
6:00
B3 My Love Won't Stop At Nothing
Written-By – Al Kent
8:30
Label: Westbound Records – W-201
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Disco
The 1975 album Alvin Stone (The Birth And Death Of A Gangster) by the Fantastic Four is widely regarded by soul aficionados as the crowning achievement of the group's career. Released on Westbound Records, it represents a stylistic shift from their earlier Motown/Ric Tic era toward a more cinematic, gritty, and socially relevant sound.
Unlike a standard collection of soul tracks, the album functions as a "grimy crime film" in audio form. The title track chronicles the life of a fictional gangster, Alvin Stone, from his "bad seed" childhood to a violent end, featuring dramatic sound effects and screams.
The album blends 70s harmony soul with early disco and funk. Critics have compared the sound to a mix of The O'Jays and The Dramatics. James Epps' performance is frequently praised as "phenomenal" and the "brightest star" of the group’s discography.
Most tracks were written by A. Hamilton and C. Colbert, noted for their sophisticated arrangements and "righteous" post-Temptations vibe.
Notable Tracks:- "Alvin Stone (The Birth & Death Of A Gangster)" – The centerpiece with a throbbing beat and cinematic drama; "Have A Little Mercy" – Noted for its deep soulful vibe; "Let This Moment Last Forever" – Highlighted for its strong vocal harmonies; "My Love Won't Stop at Nothing" – An 8-minute epic that showcases the group's vocal range.
The album holds a high average rating of 3.93 to 4.75 out of 5 on Discogs, where users often label it "sheer soul pleasure" and "dynamite stuff". Reviewers often note that the lyrical storytelling predates the narrative styles found in modern gangsta rap.
Despite the high quality, the Fantastic Four remained "Detroit nightclub legends" who never quite achieved mainstream superstardom, making this a "must-have" for deep-cut soul collectors.
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.
And Now!
Written-By – Jackson, Jones, Cropper
2:40
A2 Jericho
Arranged By – Jackson, Jones, Dunn, Cropper
Written-By – Trad.
2:30
A3 No Matter What Shape
Written-By – Granville & Burland
2:50
A4 One Mint Julep
Written-By – Toombs
2:45
A5 In The Midnight Hour
Written-By – Cropper, Pickett
2:50
A6 Summertime
Written-By – Heyward, Gershwin
4:35
B1 Working In The Coal Mine
Written-By – Toussaint
2:40
B2 Don't Mess Up A Good Thing
Written-By – Sain
2:20
B3 Think
Written-By – Pauling
2:53
B4 Taboo
Written-By – Lecuona
4:20
B5 Soul Jam
Written-By – Jackson, Jones, Dunn, Cropper
3:00
B6 Sentimental Journey
Written-By – Homer, Green, Brown
3:10
Label: Stax – S 711
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul,
Style: Sixties Soul Instrumental
And Now! is the third studio album by Booker T. & the M.G.'s, released in November 1966 on Stax Records. It is significant as the first album to feature bassist Donald "Duck" Dunn on all tracks, bringing a funkier, more aggressive edge to their signature Memphis soul sound. The album features a mix of originals, like the Top 20 R&B hit "My Sweet Potato," and covers of popular hits, including "In the Midnight Hour" and "Summertime".
Marking a transition from Lewie Steinberg, the album cements the classic lineup of Booker T. Jones (organ), Steve Cropper (guitar), Donald "Duck" Dunn (bass), and Al Jackson Jr. (drums).
The album showcases a blend of Memphis soul, instrumentals, and pop/rock, characterized by Steve Cropper's sharp guitar work and Booker T.'s organ.
It includes a combination of originals and soul covers. Originals: "My Sweet Potato," "Coffee Cup," "Black," "Jive Man," "Soul Jam," and "Heads or Tails". Covers: "In the Midnight Hour," "Think," "I Never Loved a Man (The Way I Love You)," "Summertime," "Working in the Coal Mine," "One Mint Julep," and "Daydream".
It is described as a "magnificent, made-in-Memphis LP" that offers a "relaxed and loose" yet "lively, forceful collection". The album was reissued by Sundazed Music from the original analog master tapes.
The album showcases the group's development of the "Memphis Sound" characterized by tight, soulful grooves, Steve Cropper's economic guitar licks, and Booker T. Jones's fluid organ and piano work. Critics often describe the album as having a "nightclub feel," shifting between aggressive soul-funk and sultry, atmospheric ballads.
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.
Another Time, Another Place
Written-By – Gorman, Dixon 1:57
A2 Don't Put Me On
Written-By – Gorman, Hunter 5:20
A3 I've Loved, I've Lost, I've Learned
Written-By – Gorman, McLee 3:10
A4 Temporarily Out Of Order
Written-By – Gorman, Hunter 5:35
B1 Ladies (We Need You)
Written-By – Gorman, Harrington, Hunter 5:33
B2 Take This Love
Written-By – Gorman, Hunter 3:50
B3 It's Alright
Written-By – Croom, Gorman 4:02
B4 Thanks For Your Love (Happiness Is You)
Written-By – Gorman, Hunter 4:15
Label: Fantasy – F-9546
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Another Time, Another Place by The Originals is highly regarded as a successful transition from their Detroit "group soul" roots to a smoother, California-inspired R&B sound.
The album is noted for its polished production and "crackling smooth" arrangements, often compared to the style of Leon Ware. Critics highlight the group's "vocal prowess" and ability to deliver deep emotional resonance through smooth harmonies.
Moving away from traditional Motown-style soul, this record embraces a "California mode" that integrates soul and disco influences.
Notable Tracks:
"Fantasy Interlude": An instrumental opener frequently cited as a standout for its "smooth, sparkling" backings.
"Don't Put Me On" & "Temporarily Out Of Order": Core tracks that exemplify the album’s shift toward a more modern, mid-to-late 70s soulful sound.
"Ladies (We Need You)": Highlighted for its strong vocal arrangements and harmonious execution.
The production, led by group member Freddie Gorman, includes lush rhythm sections, keyboards, and sophisticated vocal interplay. It opens with an instrumental track, "Fantasy Interlude," which has been described as having a "crackling smooth Leon Ware type sound".
In summary, it is a standout record for the group, praised for its sparkle, hooks, and standout instrumental tracks.
Anything But Ordinary
2 Tell Me 4:45
3 Whatcha Gonna Do 5:34
4 I Only Think Of You 4:18
Vocals – Sheena Easton
5 My Heart, Your Heart 5:22
6 Anything But Ordinary 5:59
7 Top Of The Line 4:56
8 State Of Mind 5:43
9 Caravan 5:10
10 Be With You 5:31
Label: Sin-Drome Records – SD 8903
Format: CD, Album
Country: US
Released: 1994
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk, Contemporary R&B
Patrice Rushen's 1994 album, Anything But Ordinary, is an often-overlooked gem showcasing her smooth R&B/jazz fusion with strong romantic themes, featuring standout tracks like the hit-sampling "I Do," soulful "My Heart, Your Heart," and uplifting "Top of the Line," offering a mature evolution of her sound with contemporary production and guests like Sheena Easton, proving she remained a force in contemporary music beyond her 80s peak.
A blend of smooth R&B, jazz, and soulful funk, demonstrating Rushen's enduring versatility, it explores deep emotional connections, self-assurance ("State of Mind"), and enduring love.
Standout Tracks: "I Do": Cleverly samples her iconic "Forget Me Nots" and was a fan favorite; "My Heart, Your Heart": A soothing, romantic ballad with poignant lyrics about lost innocence; "Top of the Line": A clear guide to finding a quality partner, notes Amazon UK; "Tell Me": Another well-loved track from the album.
Features modern (for the mid-90s) sounds but retains Rushen's classic, rich musicality, with strong keyboard work and basslines. Includes background vocals from Sheena Easton on "I Only Think of You", Wikipedia.
While not as commercially massive as Straight from the Heart, Anything But Ordinary is praised by fans as a solid effort and a favorite, showcasing her continued musical growth. It's considered a testament to her talent, proving she stayed relevant and delivered quality music well into the 90s.
In essence, Anything But Ordinary is a must-listen for fans of Patrice Rushen or sophisticated R&B/Jazz, offering a mature, heartfelt, and musically rich experience that lives up to its title by delivering anything but the ordinary.
As Long As I Have
A2 One Girl 3:07
A3 There Goes My Baby 2:25
A4 It's Just A Matter Of Time 2:49
A5 Tell Me Baby 2:18
A6 Every Time 2:32
B1 Look Away 2:36
B2 I'll Make It Up To You 2:47
B3 A Little Bit Of Soap 2:21
B4 Please Send Me Someone To Love 2:26
B5 There Is Something On Your Mind 2:42
B6 One Woman Man 2:21
Label: United Artists Records – UAL 3396
Format: Vinyl, LP, Mono
Country: US
Released: 1964
Genre: R&B Soul, Pop
Style: Sixties Soul
Garnet Mimms' As Long As I Have You album showcases his powerful gospel-infused soul, featuring standout tracks like the titular song and "It's Just a Matter of Time," with critics praising its raw emotion and depth, despite some original recordings having inconsistent sound quality, making it a cherished piece for fans of 60s soul and early R&B, especially those who appreciate its influence on later artists.
Mimms delivers powerful, heartfelt vocals, drawing heavily from his gospel background, which resonated deeply with audiences and other musicians.
The title track, "As Long As I Have You," is a fan favorite, known for its passionate delivery, while "It's Just a Matter of Time" offers a bluesy, big-band feel.
The album (and especially the title track) became a significant record for UK soul enthusiasts and was a favorite of bands like Led Zeppelin, who performed long versions of the song live.
Some original pressings and digital releases had varied sound quality, with some tracks in mono and differing fidelity, but the musical quality shone through.
Reviewers consistently highlight Mimms' incredible voice and the pure, emotional quality of the music, calling it "penicillin" for good 60s soul. It's seen as a defining work, capturing the essence of soul music with a depth that comes from life experience.
In essence, As Long As I Have You is celebrated as a prime example of authentic 1960s soul, a testament to Mimms' vocal talent, and a cornerstone record for soul aficionados. Mimms was a pioneer of early soul, following his massive hit "Cry Baby," and this album captures that raw, emotive sound perfectly.
As One
A2 Say It Through Love 3:54
A3 Work It Out 4:30
A4 Body Fever 4:10
B1 As One 4:26
B2 Take The Time To Love Somebody 4:09
B3 Open Your Heart 4:12
B4 Deliver Us 4:53
Label: Mercury – SRM-1-3844
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Funk, Soul
Style: Eighties Soul, Funk
Released in November 1980 on Mercury Records, As One is widely regarded by critics and fans as one of the finest albums from the Bar-Kays' prolific funk era. The album successfully blends the band's Southern soul roots with the synth-powered "boogie funk" and "sophistifunk" styles popular in the early 1980s.
The album covers diverse musical ground, from high-energy synth-funk to smooth R&B ballads. Reviewers frequently note heavy stylistic nods to Parliament-Funkadelic, Cameo, and Earth, Wind & Fire. Despite its focus on danceable grooves, the album maintains the band's tradition of socially conscious lyrics in tracks like "Deliver Us".
Standout Tracks
"Boogie Body Land": Described as a sleek, stomping synth-powered track and a definitive example of early '80s funk.
"Body Fever": Highlighted by fans as some of the "hardest funk" in the band's discography.
"As One" (Title Track): A bright, uptempo song heavily inspired by the melodic style of Earth, Wind & Fire.
"Take The Time Out To Love Somebody": A highly regarded Southern soul ballad that showcases the band's vocal versatility.
"Open Your Heart": A medium-tempo smooth groove that remains a favorite for its polished production.
The album reached number six on the Billboard Soul Albums chart. Reviewers often rank it as a peak for the band, noting that while they were "imitative" of other acts to stay commercially viable, they utilized those influences with high-level musicianship and originality. Modern user reviews on platforms like Discogs consistently award the album high marks, with average ratings often exceeding 4.4/5 stars.
The BarKays
As The Band Turns
A2 Cool, Calm, Collected
Written-By – Pamela Phillips Oland 4:02
A3 One Love
Written-By – David Lewis, Wayne Lewis 3:55
A4 In The Heat Of Passion
Written-By, Arranged By – Wayne I. Lewis 4:38
A5 If Your Heart Isn't In It
Written-By – Hamish Stuart 4:03
B1 Silver Shadow 4:55
B2 Let's Start It Over
Written-By – Pamela Phillips Oland
5:32
B3 Secret Lovers 5:30
B4 Thank You
Written-By, Keyboards – Wayne Lewis 4:28
Label: A&M Records – SP-5019
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Disco
Atlantic Starr's As the Band Turns (1985) is a highly regarded R&B album, marking the smooth transition with new vocalist Barbara Weathers after Sharon Bryant's departure, delivering classic hits like the iconic duet "Secret Lovers" and"If Your Heart Isn't In It," blending polished soul with 80s production for a romantic, groove-filled experience that cemented their legacy in urban contemporary music.
The album successfully integrates Barbara Weathers's silky voice, which beautifully complements the band's signature sound. It spawned major R&B hits, most notably the timeless ballad "Secret Lovers" (with Rachel Oliver) and "If Your Heart Isn't In It," plus funky tracks like "Freak-A-Ristic.
Reviewers describe it as lush, smooth, effortlessly cool, and perfectly polished, fitting the sophisticated urban contemporary style of the mid-'80s.
Fans and critics praise its strong songwriting, emotive vocals, and perfect blend of ballads and uptempo grooves, solidifying its place as a fan favorite.
Despite lineup changes, the album maintains Atlantic Starr's beloved romantic soul and dance appeal. It's praised for its emotional resonance, particularly "Secret Lovers," which is considered a standout confession set to music. It represents a high point in their career, showcasing stellar production and songwriting.
In essence, As the Band Turns is a highly recommended listen for fans of classic R&B, offering polished production, memorable melodies, and enduring romantic appeal.
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.
Attitude
Written-By – Dallas Austin, Joyce "Fenderella" Irby, Allen McNeil, Steve Russell
4:21
2 That's My Attitude
Written-By – Gerald Levert, Marc Gordon
4:51
3 I'm Not Soupped
Written-By – Chris Troy, Steve Russell, William Z. Harmon
4:19
4 My Love
Written-By – Dallas Austin, Joyce Irby
3:43
5 Spread My Wings
Written-By, Instruments, Arranged By [Rhythm] – Chuckii Booker
4:39
6 All I Do Is Think Of You
Written-By – Brian Holland, Michael Lovesmith
4:51
7 I Will Always Love You
Written-By – Dallas Austin, Joyce Irby, Steve Russell
4:03
8 Another Lover
Written-By – Allen McNeil, Steve Russell
4:57
9 For You
Programmed By [Keyboards] – Jim Salamone
4:25
10 Soupped Mix
Written-By – Chris Troy, Steve Russell, William Z. Harmon
4:34
11 Reprise (Spread My Wings)
Written-By, Instruments, Arranged By [Rhythm] – Chuckii Booker
3:04
Label: Atlantic – 7 82035-2,
Format: CD, Album
Country: US
Released: 1989
Genre: R&B Soul
Style: Contemporary R&B, New Jack Swing
Released in 1989, Troop's Attitude is a quintessential late-80s/early-90s R&B and New Jack Swing album, widely praised for its vocal harmonies and hit singles like "Spread My Wings" and "All I Do Is Think of You". Featuring top-tier production from Chuckii Booker and Dallas Austin, the album is considered a standout, essential, and highly enjoyable record of that era.
The album features four major charting singles: "Spread My Wings" (No. 1 R&B), "All I Do Is Think of You" (No. 1 R&B), "I'm Not Soupped," and "That's My Attitude".
The album blends New Jack Swing with soulful R&B, with production credits including Chuckii Booker, Dallas Austin, and Levert. It is described as having a polished, catchy sound that defines the late 80s.
Critics and fans alike often highlight the group's strong, harmonious vocals and consider this album a high point in their career.
Often noted as a, if not the, best album from the group, it is considered a solid, "no-skip" album for fans of 90s R&B. Users frequently rate it as one of the best R&B albums of its era.
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 Street Boogie
Written-By – Norman Whitfield
7:16
A2 Girl I Wanna Marry You
Written-By, Producer – Mark Kenoly
3:34
A3 Wishing On A Star
Written-By – Billie Calvin
5:58
B1 Hole In The Wall
Written-By – Norman Whitfield, Rochelle Runnells
5:20
B2 Don't Let Me Go Astray
Written-By, Producer – Mark Kenoly
3:54
B3 Tiger In My Tank
Written-By – Arthur Woods, Ron Kenoly
Written-By, Producer – Mark Kenoly
5:02
B4 Sax Attack
Written-By – Autry DeWalt, James Hockaday
3:40
Label: Whitfield Records – WHK 3331
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Soul, Funk, Disco
Jr. Walker's Back Street Boogie (1979) is generally well-regarded as a late-career disco/funk album, showcasing his signature gritty saxophone and soulful vocals adapted for the era, with fans appreciating its infectious grooves, strong production, and the raw energy he brings even to modern sounds, making it a solid, danceable record, though perhaps less groundbreaking than his earlier work.
It successfully merges Walker's classic R&B/Soul roots with the prevalent disco and funk sounds of the late 70s. Fans love that his powerful, distinctive tenor sax and soulful voice are front and center, even amidst slicker production. Reviewers often point to its strong groove and suitability for dancing.
While modern for its time, it retains a raw, authentic feel, avoiding overly synthesized sounds. Many listeners consider it a highlight of his later work, wishing for more of his catalog to be readily available.
In essence, it's seen as a fun, funky late-era effort that proves Jr. Walker could still deliver the goods with his unique instrumental and vocal talents, making it a must-have for fans of classic funk and soul.
Junior Walker Jr Walker
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 Bobby Glover
Written-By – L. Troutman, R. Troutman
5:32
A2 Your Spell
Written-By – B. Beck, L. Troutman
5:08
A3 So Mean
Written-By – B. Beck, L. Troutman, R. Troutman
5:25
A4 It's My Turn
Written-By – L. Troutman, R. Troutman
4:48
B1 Happy
Written-By – L. Troutman, R. Troutman
5:10
B2 Bright Skies, Sunny Days
Written-By – L. Troutman, R. Troutman
4:16
B3 I Love You
Written-By – L. Troutman, R. Troutman
4:50
B4 I Can't Stand The Pain
Written-By – B. Beck, L. Troutman, R. Troutman, Z. Troutman
4:31
Label: Columbia – FC 39321
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk
Bobby Glover's only solo effort, Bad Bobby Glover (1984), is widely regarded as a hidden gem of 1980s funk and R&B, heavily influenced by the "Zapp" sound of Roger Troutman.
Reviews highlight the album's dual nature, balancing hard-hitting funk with smooth soul. Produced by Roger and Larry Troutman, the album features the signature Zapp "talkbox" aesthetic, fused with live horns and electronic rhythms.
While known as a background singer for Zapp, Glover proves himself as a powerhouse lead vocalist, with critics drawing comparisons to Teddy Pendergrass for his intensity on slower tracks.
Critics note that while some uptempo tracks like "What Kind of Lady" may feel dated, the mellower cuts have aged gracefully and remain favorites on the UK modern soul scene.
Key Tracks:- "It's My Turn": Often cited as the standout track, it is described as a "summery" and "timeless classic"; "I Can't Stand the Pain": A deep, emotional ballad showcasing Glover’s vocal range; "What Kind of Lady" & "Your Spell": The album’s primary singles in the US, defined by 80s "crunchy" electric instrumentation.
Amazon Users frequently describe it as a "brilliant" and "superb" example of rare soulful grooves. Discogs Average rating is 4.28 / 5 based on collector reviews.
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.
Barbara Jean English
English is praised for her powerful delivery and five-octave range, effectively shifting from desperate lamentation to anthems of self-awareness and pride.
The album features heavy orchestration—layering soulful grooves with shimmering strings, punchy horns, and tasteful arrangements that balance "smooth" and "funky".
Key Track Highlights:
"If It Feels This Good": Often cited as a standout for its polished, smooth soul delivery.
"All This": A heartbreaking, "achingly beautiful" ballad described as having a sober and haunting orchestration.
"Just Like a Lady": An upbeat anthem featuring prominent, soulful piano work.
"Don't Make Me Over": A classy, soul-infused cover of the Bacharach/David classic originally popularized by Dionne Warwick.
"Experience": A track frequently highlighted for its sophisticated, mature arrangement.
While her 1972 debut, So Many Ways..., leaned more into "Smooth Soul," this 1973 self-titled follow-up is regarded as one of the most significant "hard-soul" albums of the decade.
The album maintains a high reputation among collectors, with a 4.5/5 rating on community platforms like Discogs. Long considered a rare vinyl find, it was eventually remastered and released in digital and CD formats.
Barry White The Man
Written-By – F. Wilson*, R. Cooksey*, T. Payton*
7:40
A2 Your Sweetness Is My Weakness
Written-By – B. White*
8:04
A3 Sha La La Means I Love You
Written-By – B. White*
8:00
B1 September When I First Met You
Written-By – B. White*, E. Brown*, F. Wilson*, P. Politi*
6:57
B2 It's Only Love Doing Its Thing
Written-By – J. Cameron-V. Cameron*
4:04
B3 Just The Way You Are
Written-By – Billy Joel
7:09
B4 Early Years
Written-By – R. Coleman*
6:50
Label: 20th Century Fox Records – T-571
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
Barry White's 1978 album, The Man, is a disco-infused, smooth soul record that leans heavily into danceable grooves, featuring hits like "Your Sweetness Is My Weakness" and "Sha La La (Means I Love You)," but it's often seen as less essential than his earlier work, lacking standout hits despite solid tracks and featuring his signature spoken word intros with slightly excessive bedroom talk for some critics, ultimately praised for its cohesive, chill vibe and inventive arrangements, though some tracks are considered overly long.
A blend of disco rhythms, smooth soul, and hints of salsa, moving away from pure ballads towards more upbeat, groove-focused tracks.
Includes the popular "Your Sweetness Is My Weakness" (a potential template for Michael Jackson's style), "Sha La La (Means I Love You)," and "Look At Her".
Some reviewers found the spoken-word interludes excessive and some tracks, like "Don't Let Go," tediously long, noting a dip in White's usual impact compared to his peak.
Described as a cohesive, chill, and inventive release, with the cover of Billy Joel's "Just the Way You Are" offering a softer touch.
The album peaked at #1 on the R&B charts and #36 on the Billboard Pop chart. As of 2026, user platforms like Discogs reflect strong enduring appeal with average ratings around 4.4/5. Many fans and critics consider this the peak of White's 20th Century Records era before he transitioned into more synthesizer-heavy production in the 1980s.
In essence, The Man is a well-regarded album for fans of Barry White's smoother, disco-influenced side, offering enjoyable grooves but not reaching the iconic heights of his signature classics.
Be A Winner
Producer – Jonah Ellis
7:30
A2 I'm Ready To Jam
Producer – Jonah Ellis
5:50
A3 I'll Be There
Producer – Cavin Yarbrough
4:17
A4 I Only Love You
Producer – Jonah Ellis
3:43
B1 Be A Winner
Producer – Cavin Yarbrough
5:07
B2 The Power
Producer – Oliver Scott
4:12
B3 Who Said That?
Producer – Cavin Yarbrough
3:27
B4 Let Me Have It (From The Start)
Producer – Cavin Yarbrough
4:00
B5 I Gave My All (To You)
Producer – Cavin Yarbrough
3:58
Label: Total Experience Records – FL89384
Format: Vinyl, LP, Album
Country: Europe
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Yarbrough & Peoples' 1984 album, Be A Winner, is a classic R&B/funk record known for its synth-heavy, danceable grooves, sultry duets, and strong melodies, featuring the massive #1 R&B hit "Don't Waste Your Time" and showcasing the duo's versatile vocal talents and 80s production.
The album blends smooth soul with electro-funk, maintaining quality songwriting with tracks like "I'll Be There" and "The Power," and has seen successful deluxe re-releases with bonus tracks.
It features prominent synthesizers, slick 80s production, and a strong, funky underbelly, offering a mix of smooth and gritty sounds. Alisa Peoples delivers powerful leads and sultry coos, while Cavin Yarbrough provides charismatic harmonies, creating compelling duets.
Produced by Cavin Yarbrough, Jonah Ellis, and Oliver Scott, with support from Total Experience Records, the album solidified their place as major R&B artists beyond their debut, demonstrating quality songwriting and performance that has aged well.
The album yielded the duo's second #1 R&B hit, "Don’t Waste Your Time," which topped the charts in the spring of 1984 and reached #11 on the Dance charts. The song "Be a Winner" also achieved significant success, reaching #20 on the R&B charts later that summer.
Critics often describe the album as a versatile mix of "synthy duet soul" and "heavy electro-funk," though some noted a shift toward a more commercial pop style compared to their earlier soul-focused work.
Deluxe CD editions by BBR include bonus tracks, remastered audio, and liner notes, making it a must-have for soul and R&B fans.
Yarbrough & Peoples
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.
Beautifully Human - Words And Sounds Vol. 2
Mixed By – Serban Ghenea
Producer – James Poyser
Recorded By – Ryan Moys
1:20
A2 I'm Not Afraid
Mixed By – Serban Ghenea
Producer, Recorded By – Omari Shabazz
3:26
A3 Golden
Bass – Harold Robinson
Drums – Darrell Robinson
Mixed By – Serban Ghenea
Piano – Pete Kuzma
Producer – Anthony Bell
3:52
A4 The Fact Is (I Need You)
Guitar – Jimmy White
Mixed By – Serban Ghenea
Producer, Recorded By – Pete Kuzma
4:38
B1 Spring Summer Feeling
Arranged By [Strings] – Larry Gold
Bass, Keyboards, Producer, Programmed By [Drum Programming] – Kelvin Wooten
Engineer [Assistant] – James Tanksley
Guitar, Producer – Raphael Saadiq
Mixed By – Serban Ghenea
Recorded By – Gerry Brown, John Tanksley
Recorded By [Strings] – Jeff Chestek
4:49
B2 Cross My Mind
Mixed By – Serban Ghenea
Producer, Recorded By – Darren Henson, Keith Pelzer
4:44
B3 Bedda At Home
Guitar – Frankie "Vegas" Romano
Keyboards – Johnnie Smith
Mixed By – Serban Ghenea
Producer – Carvin Haggins, Ivan "Orthodox" Barias
Recorded By – Frank Sutton
4:22
B4 Talk To Me
Arranged By [Horns], Trumpet – Nicholas Payton
Bass [Acoustic] – Adam Blackstone
Drums, Congas – George McCurdy
Flute, Saxophone – Brice Winston, Rex Gregory
Guitar – Kevin Henson
Mixed By – Serban Ghenea
Piano, Producer – James Poyser
Recorded By – Ryan Moys, Tim Day
Saxophone – Darryl Reeves, Samir Zafir
Trombone – Rick Trolsen, Stephen Walker, Steve Suter
Trumpet – Clyde Kerr, James Weber, Leon Brown
4:44
C1 Family Reunion
Guitar – Frankie "Vegas" Romano
Keyboards – Johnnie Smith
Mixed By – Serban Ghenea
Producer – Carvin Haggins, Ivan "Orthodox" Barias
Recorded By – Frank Sutton
Vocals [Additional] – Allen L. Irvin, Andre Dandridge, Carvin Haggins, Heaviyn, Ruscola
5:13
C2 Can't Explain (42nd Street Happenstance)
Bass – Pino Palladino
Keyboards, Producer, Programmed By – James Poyser
Mixed By – Serban Ghenea
Producer – Jimmy White
Saxophone – Chris Farr
Trombone – Jeff Bradshaw
Trumpet – Matt Cappy
4:39
C3 Whatever
Guitar – Chris B (3)
Mixed By – Serban Ghenea
Producer – Rupert "PNutt" Frost
4:26
C4 Not Like Crazy
Arranged By [Strings] – Larry Gold
Mixed By – Serban Ghenea
Producer, Recorded By – Pete Kuzma
Recorded By [Strings] – Jeff Chestek
3:58
D1 Nothing (Interlude)
Mixed By, Producer – Andre Harris, Vidal Davis
Mixed By, Recorded By – Vincent Dilorenzo
1:29
D2 Rasool
Bass [Fender], Mixed By, Producer – Vidal Davis
Guitar, Mixed By, Producer – Andre Harris
Mixed By, Recorded By – Vincent Dilorenzo
3:05
D3 My Petition
Arranged By [Backing Vocals, Vocals] – Jason Boyd
Bass, Guitar, Mixed By, Producer – Andre Harris
Drums, Mixed By, Producer – Vidal Davis
Electric Piano [Rhodes] – Omar Edwards
Mixed By, Recorded By – Vincent Dilorenzo
Recorded By – Jon Smeltz
4:12
D4 I Keep
Bass – Pino Palladino
Engineer [Assistant] – John McGlinche
Mixed By, Producer – Andre Harris, Vidal Davis
Mixed By, Recorded By – Vincent Dilorenzo
4:14
D5 Still Here
Guitar – Dave Manley
Mixed By – Serban Ghenea
Producer – Andre Harris
Producer, Recorded By – Pete Kuzma
4:01
Label: Hidden Beach – E2 92773
Format: 2 x Vinyl, LP, Album
Country: US
Released: 2004
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
Jill Scott's Beautifully Human: Words & Sounds Vol. 2 is widely praised as a soulful, personal, and sophisticated follow-up to her debut, showcasing her poetic lyricism, vocal range, and smooth blend of R&B, soul, and jazz, with standout tracks like "Golden," "Cross My Mind," and "Family Reunion" offering relatable narratives, though some found it slightly less impactful than Vol. 1 or too ballad-heavy, it remains a beloved classic for its mature artistry and joyful depth.
The album delves into love, vulnerability, and everyday life with candid lyrics, making listeners feel like they're in her personal space.
It features lush, warm production, incorporating jazz, funk, and classic soul influences (reminiscent of Minnie Riperton) with enhanced instrumentation, though still rooted in her signature style.
Scott's poetic roots shine, with tracks like "Cross My Mind" effectively being poems set to music, earning a Grammy for Best Urban/Alternative Performance.
Standout Tracks: "Golden": An empowering, irresistible anthem; "Cross My Mind": A devastatingly honest look at a complicated relationship, winning a Grammy; "Family Reunion": Captures the joy and pathos of family gatherings; "My Petition": A powerful, politically-tinged love song; "Whatever" & "Spring Summer Feeling": Praised for their groove and vibe.
Many call it a masterpiece, a classic, and a gorgeous evolution, solidifying her as a top-tier soul artist. Reviewers emphasize her superior musicianship and lyrical depth compared to peers. Some felt it had fewer immediate hits than the first album or leaned too heavily on slow ballads, but most agree it's a grower.
Overall, Beautifully Human is celebrated for its heartfelt authenticity, musical richness, and mature exploration of life, proving Jill Scott's continued growth and inspiring artistry.
Believer
A2 You Are Beautiful 4:34
A3 Take A Closer Look 4:38
A4 Give Me The Lovin' 4:52
B1 Show Me Your Light 3:57
B2 You Got Some Love For Me 4:52
B3 In Love With Music 3:52
B4 Party Everybody 4:51
Written-By, Arranged By, Conductor – Bernard Edwards & Nile Rodgers
Label: Atlantic – 80107-1
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Funk, Soul
Style: Eighties Soul, Disco
Chic's 1983 album Believer is often seen as an underrated, forward-looking release that struggled commercially due to the post-disco backlash, despite featuring strong tracks like the electro-funk "You Are Beautiful," the moody title track "Believer," and the soulful "You Got Some Love For Me".
While some found it less impactful than earlier work, critics praise its innovative blend of disco roots with synthesizers, drum machines, and electro-funk, showcasing Nile Rodgers and Bernard Edwards experimenting with sounds that foreshadowed 80s dance music, even if it marked the end of Chic's original run. It moved Chic towards electro-funk and new wave, incorporating synthesizers and drum machines, which felt fresh but alienated some fans.
Highlights include the uplifting "You Are Beautiful," the atmospheric "You Got Some Love For Me," and the raw "Give Me The Lovin'". The title track, "Believer," subtly addressed the "Disco Sucks" era, with lyrics about perseverance, reclaiming the dance floor, and even using the word "dance".
Believer failed to chart highly, partly due to internal disagreements over singles and the shifting music landscape, leading to the band's temporary split. Many now view it as a pioneering album, ahead of its time, with its innovative sounds influencing later 80s dance hits, even if it was overlooked initially.
While not a massive hit, it's now considered a strong entry, especially for fans of Chic's evolution. Deeply overlooked" and important for its futuristic sound. In essence, Believer is a fascinating, if melancholic, snapshot of Chic looking forward, delivering complex grooves and innovative production that cemented its status as a cult classic.
Bell’s A Poppin’
Written-By – Gorgoni, Taylor 2:45
A2 You Don't Love Me No More
Written-By – Blackwell 2:52
A3 Baby I'll Come Right Away
Written-By – Ashford & Simpson 2:18
A4 Beat The Clock
Written-By – Stroll, Gottehrer 3:44
A5 Mr. Dream Merchant
Written-By – Ross, Weiss 2:34
A6 Can't Get Used To Losing You
Written-By – Pomus, Shuman 2:22
B1 Soul Time
Written-By – Elliston 2:27
B2 I'm Gonna Make You Love Me
Written-By – Ross, Gambol 2:43
B3 I'm Gonna Leave You
Written-By – Springfield, Duncan, Bell 2:59
B4 Last One To Be Loved
Written-By – Bacharach, David 2:28
B5 I Didn't Wanna Have To Do It
Written-By – Sebastian 2:28
B6 Mercy Mercy Mercy
Written-By – Levy, Zawinul, Levy 3:25
Label: Philips – SBL.7818
Format: Vinyl, LP, Album
Country: UK
Released: 1967
Genre: R&B Soul, Pop
Style: Sixties Soul
Madeline Bell's Bell's a Poppin' (1967) is a praised Pop/Soul debut, highlighting her powerful, versatile voice on strong covers like the ultimate "I'm Gonna Make You Love Me," soulful tracks such as "Picture Me Gone," and unique takes on "Soul Time," with standout production by Arthur Greenslade and rich arrangements, making it a forgotten soul classic. The CD reissues add bonus singles, solidifying its status as a key album showcasing her talent for reinvention and strong songwriting.
While Madeline Bell is frequently remembered for her work with the group Blue Mink or as a premier session singer for artists like Donna Summer, this album is considered proof of her strength as a solo artist.
Bell's expressive, distinctive voice shines, able to tackle gospel-infused soul and pop with "vocal courage," making songs her own.
The album features powerful tracks like the Northern Soul favorite "Picture Me Gone," the gospelly "I Really Got Carried Away," and unique covers. Includes self-penned material, like the B-side "I'm Gonna Leave You," co-written with Dusty Springfield.
Her rendition of "I'm Gonna Make You Love Me" (Gamble/Huff) is considered definitive, while her take on Shirley Ellis' "Soul Time" is also acclaimed.
Arranger Arthur Greenslade adds sophisticated orchestral touches, enhancing tracks like "Beat the Clock" and "Soul Time".
While not a mainstream hit in the UK at release, it's recognized as a fantastic debut and a forgotten soul classic. Praised as a more consistent album than her later Doin' Things, thanks to strong song choices and focused production.
Bell’s Cellar of Soul - Volume 1
Producer – Hood, Papa Don, Hawkins, Oldham
Written-By – Penn, Oldham
A2 Betty Harris– Can't Last Much Longer
Arranged By – Allen Toussaint
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
A3 The Ovations– I Believe I'll Go Back Home
Written-By – Harris, Jackson
A4 James Carr– Woman Is A Man's Best Friend
Producer – Claunch, Russell
Written-By – Claunch, Russell
A5 Diamond Joe– How To Pick A Winner
Arranged By – Allen Toussaint
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
A6 Gladys Knight And The Pips– Either Way I Lose
Arranged By – Fred Norman
Producer – Larry Maxwell
Written-By – McCoy
A7 Benny Spellman– Sinner Girl
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
A8 Jimmy Radcliffe– My Ship Is Comin' In
Producer, Arranged By, Conductor – Joey Brooks
Written-By – Joey Brooks
B1 James Carr– You Hurt Me So Good
Producer – Claunch, Russell
Written-By – Bell
B2 Betty Harris– I'm Gonna Git Ya
Arranged By – Allen Toussaint
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
B3 Mighty Sam– In The Same Old Way
Written-By – Penn, Oldham
B4 Curly Moore– Don't Pity Me
Arranged By – Allen Toussaint
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
B5 Gladys Knight And The Pips– Giving Up
Arranged By – Fred Norman
Producer – Larry Maxwell
Written-By – McCoy
B6 Clifford Curry– She Shot A Hole In My Soul
Producer – Buzz Cason
Written-By – Neese, Gayden
B7 Betty Harris– What'd I Do Wrong
Arranged By – Allen Toussaint
Producer – A. Toussaint, M. Sehorn
Written-By – Toussaint
B8 Barbara Perry– Say You Need It
Written-By – Greer, Cage, Jackson, Claunch, Russell
Label: Bell Records – MBLL 102
Format: Vinyl, LP, Compilation
Country: UK
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Bell's Cellar Of Soul Vol. 1 is a landmark soul and R&B compilation album released in the UK in 1968, known for introducing British audiences to lesser-known, high-quality American black music artists and sounds. Pioneered by Derek Everett and Trevor Churchill, the album was a crucial release for the UK soul scene.
The album was a pioneering effort to bring a wider range of black American music to Britain at a time when much of the music was considered too niche for 45rpm single releases. It features a mix of accessible and more "avant-garde" soul and rhythm & blues tracks, helping to establish the genre's audience in the UK.
It is now considered highly collectable and introduced UK fans to artists like Curly Moore, Mighty Sam, James Carr, Benny Spellman, Diamond Joe, and Betty Harris.
The original 1968 UK vinyl LP (Bell Records MBLL 102) contained 16 tracks. The tracklist includes songs by artists such as Mighty Sam, Betty Harris, James Carr, Diamond Joe, Gladys Knight And The Pips, Benny Spellman, and others.
Bell s Cellar of Soul Volume 1
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.
Bell s Cellar of Soul Volume 2
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.
Bermuda Nights
Bass – Sam Sims
Drum Programming, Synthesizer, Lead Vocals, Backing Vocals – Donnell Spencer, Jr.
Synthesizer, Backing Vocals – Chuckii Booker
Written-By – Donnell Spencer, Jr.
Written-By, Alto Saxophone, Tenor Saxophone, Backing Vocals – Gerald Albright 5:04
2 In The Mood
Alto Saxophone, Bass – Gerald Albright
Backing Vocals – Mark Philpart
Drums – Harvey Mason
Electric Piano [Rhodes], Piano – Rodney Franklin
Flugelhorn – Ray Brown (2)
Synthesizer – Chuckii Booker
Written-By – Babyface, Daryl Simmons 5:50
3 Bermuda Nights
Guitar – Paul Jackson
Synthesizer – Chuckii Booker
Written-By, Alto Saxophone, Bass, Keyboards, Drum Programming – Gerald Albright 5:50
4 The Hook
Written-By, Alto Saxophone, Flute, Bass, Synthesizer – Gerald Albright
Written-By, Synthesizer – Chuckii Booker 5:35
5 Feeling Inside
Drums – Tony Lewis
Piano, Synthesizer – Bobby Lyle
Tenor Saxophone, Bass, Tambourine – Gerald Albright
Written-By – Bobby Lyle 6:35
Label: Atlantic – 81919-2
Format: CD, Album
Country: US
Released: 1988
Genre: Jazz
Style: Smooth Jazz
Gerald Albright's Bermuda Nights, his 1988 debut album on Atlantic Records, is a smooth, contemporary jazz/new age record defined by his soulful saxophone, blending funky pop with island vibes, featuring iconic tracks like the title song and "The Hook," showcasing his signature sound with great session players and establishing him as a leading voice in instrumental pop fusion.
Described as "satiny, contemporary pop fusion," it features smooth, easy-listening melodies perfect for relaxing, with a unique funky flavor.
Dominated by Albright's saxophone, it incorporates keyboards (Chuckii Booker), drums (Harvey Mason Sr.), and guitar (Paul Jackson Jr.), creating a rich, layered sound.
Captures the essence of island life, offering a soulful and pleasurable musical journey. Notable Tracks include the popular title track "Bermuda Nights" and "The Hook," which became signature songs.
Bermuda Nights served as a significant debut, showcasing Albright's distinct style and talent as both artist and producer, making it a must-have for fans of smooth saxophone music.
Bernard Purdie’s Soul To Jazz
2 Superstition
Backing Vocals – Jane Comerford, Sharlie Pryce
Trombone, Soloist – Nils Landgren
Vocals, Soloist – Martin Moss
6:08
3 Iko Iko
Accordion, Soloist – Gil Goldstein
Guitar, Soloist – Dean Brown
5:45
4 Senor Blues
Tenor Saxophone, Soloist – Eddie Harris, Michael Brecker
Trombone, Soloist – Nils Landgren
6:51
5 When A Man Loves A Woman
Tenor Saxophone, Soloist – Eddie Harris
Vocals, Soloist – Martin Moss
4:35
6 Freedom Jazz Dance
Tenor Saxophone, Soloist – Eddie Harris
Trombone, Soloist – Nils Landgren
4:29
7 Sidewinder
Flugelhorn, Soloist – Randy Brecker
Piano, Soloist – Frank Chastenier
7:15
8 Brother Where Are You?
Guitar, Soloist – Dean Brown
Vocals, Soloist – Martin Moss
4:14
9 Wade In The Water
Tenor Saxophone, Soloist – Eddie Harris
Trombone, Soloist – Nils Landgren
4:42
10 Work Song
Tenor Saxophone, Soloist – Eddie Harris
3:51
11 Land Of 1.000 Dancers
Backing Vocals – Jane Comerford, Sharlie Pryce
Trombone, Soloist – Nils Landgren
Vocals, Soloist – Martin Moss
3:09
12 Gimme Some Lovin'
Backing Vocals – Jane Comerford, Sharlie Pryce
Guitar, Soloist – Dean Brown
Vocals, Soloist – Martin Moss
3:44
13 Moanin'
Tenor Saxophone, Soloist – Eddie Harris
Trombone, Soloist – Nils Landgren
Trumpet, Soloist – John Marshall
7:40
Label: ACT – ACT 9242-2
Format: CD, Album
Country: US
Released: 1996
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz
Bernard Purdie's Soul to Jazz, released in 1996, is praised as a well-produced, enjoyable collection showcasing Purdie's signature drumming, strong vocals, and top-tier musicianship, blending soulful grooves with jazz, making it accessible even for those unfamiliar with his famous "Purdie Shuffle" and a great audio experience.
Reviews highlight the album's sheer audio quality and the seamless integration of funk and soul elements into jazz, cementing its status as a solid entry in his extensive catalog.
Considered by some fans as the "best produced volume of his work to date," with excellent audio fidelity. A seamless fusion of soul, funk, and jazz, featuring excellent vocals alongside Purdie's impeccable drumming.
Enjoyable for both devoted fans and newcomers, offering "sheer audio enjoyment," with "top-shelf" players, complementing Purdie's consistently flawless performance.
Overall, Soul to Jazz is seen as a fantastic showcase for Bernard "Pretty" Purdie, offering a polished, groove-heavy experience that emphasizes his influential drumming style within a broad, accessible jazz framework
Better Must Come
A2 Better To Be Loved
A3 Can't Explain
A4 It's You I Love
A5 Dance With You
B1 Try Again
B2 It's Your Thing
B3 Keep An Eye
B4 Drink Wine
B5 Stick By Me
Label: Trojan Records – TRLS 44
Format: Vinyl, LP, Album
Country: UK
Released: 1972
Genre: Reggae
Style: Roots Reggae
Delroy Wilson's Better Must Come (1971) is a landmark reggae album, celebrated for its powerful title track (a political anthem inspiring Michael Manley's campaign) and showcasing Wilson's soulful voice over classic Bunny Lee productions at Dynamic Sounds, featuring strong organ work and diverse moods from determined proto-reggae to soulful ballads, though some listeners find it uneven, with standout tracks like "Better To Be Loved" and "Stick By Me" balancing mid-album dips, ultimately cementing its classic status for its poignant social commentary and vocal brilliance.
"Better Must Come" itself became a rallying cry for Jamaican political change, reflecting themes of perseverance and eventual triumph over oppression, a sentiment echoed in other tracks.
Wilson's emotive, sweet tenor shines, delivering heartfelt messages over sparse reggae rhythms and classic organ-driven instrumentals.
Produced by Bunny Lee at the legendary Dynamic Sounds studio, it captures the era's sound with lively guitar, distinctive drums, and organ skanks.
Tracks range from the soulful "Better To Be Loved" and reggae-funk of The Isleys' "It's Your Thing" to the deeply personal "Can't Explain" and the sweet closing "Stick By Me".
The album is praised for its strong opening and closing, with the title track, "Better To Be Loved," and "Stick By Me" often singled out.
Some reviews note that certain middle tracks ("Dance With You," "Try Again") can slow the album's momentum, making it feel inconsistent.
Despite minor flaws, it's considered a crucial record, demonstrating Wilson's potential as a major reggae vocalist with its compelling mix of social commentary and heartfelt love songs.
In essence, Better Must Come is a vital piece of reggae history, a powerful statement on resilience, and a showcase for Delroy Wilson's unique vocal talent, making it a must-listen for fans of classic roots reggae.
Betty Davis
A2 Walkin Up The Road 2:47
A3 Anti Love Song 4:24
A4 Your Man My Man 3:28
B1 Ooh Yea 3:05
B2 Steppin In Her I. Miller Shoes 3:10
B3 Game Is My Middle Name 5:09
B4 In The Meantime 2:39
Writer/Arranger: Betty Davis (Betty Mabry).
Label: Just Sunshine Records – JSS-5
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Funk
Style: Seventies Soul, Funk
Betty Davis's 1973 self-titled debut is a groundbreaking, raw funk masterpiece known for its unapologetically explicit sexuality, aggressive grooves, and powerful, boundary-pushing vocals that influenced artists like Prince and Madonna, featuring killer musicians (Sly Stone alumni), «»Neal Schon's guitar, and a confrontational, no-holds-barred female perspective that made it an instant, albeit controversial, funk classic.
Key Characteristics:
Hard, Street Funk: A thick, bass-heavy sound with influences from hard rock (ZZ Top) and soul, driven by tight rhythms from Larry Graham and Greg Errico.
Fierce Vocals: Davis's voice shifts from sultry whispers to screams, delivering raw, confrontational, and often explicit lyrics.
Unapologetic Sexuality: The album tackled taboo subjects with frankness, reversing gender roles and challenging societal norms, as seen on tracks like "Anti Love Song" and "If I'm in Luck I Might Get Picked Up".
Musical Powerhouse: Features top-tier musicians, including members of Sly & The Family Stone and guitarist Neal Schon, creating a potent, gritty sound.
Celebrated as foundational for future artists like Prince, Madonna, and Megan Thee Stallion, though ahead of its time. Described as "funk like no other," "ecstatically hard," and "dirty," offering a visceral, exhilarating experience. Some found its explicit nature "grating" or "inaccessible," while others lauded its fearlessness.
Standout Tracks:
"If I'm in Luck I Might Get Picked Up": A fiery, swaggering introduction to her style.
"Walkin' Up the Road": Hotwired with tension, sounding like a street brawl.
"Anti Love Song": Blends jazzy funk with suggestive lyrics.
"Steppin' in Her I. Miller Shoes": A highlight inspired by her friend, the model Dolly Dagger.
Despite initial commercial struggles, the album is now revered as a seminal work, a benchmark for female empowerment in funk, and a testament to Davis's revolutionary artistry, proving she was the blueprint for many who followed.
Modern reviews are overwhelmingly positive, though they often note that Davis's feral vocal style—alternating between sexy moans and full-throated screams—is an "acquired taste". Praised for its intense energy, "unbending" vision, and being decades ahead of its time.
Reissued by Light in the Attic Records, the album is now recognized as a vital monument to 1970s funk and soul.
Beyond Body And Soul
Written-By – J. Burgess, S. Vincent 3:40
A2 In Your Way
Written-By – C. Perkins, S. Vincent 2:52
A3 Wait So Long
Written-By – S. Vincent 4:03
A4 Ray Of Hope
Written-By – E. Brigati, F. Cavaliere 3:23
A5 Million Dollars
Written-By – J. Burgess, S. Vincent 3:12
B1 Sailing
Written-By – J. Mason, S. Vincent 3:32
B2 Young Bird
Written-By – S. Vincent 2:52
B3 Black Man
Written-By – E. Davenport, S. Vincent 3:12
B4 Sweet Thing
Written-By – S. Vincent 3:22
B5 Body And Soul (That's The Way It's Got To Be)
Written-By – P. Kyser 3:07
Label: Ebony Sounds Records – ES-2000
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
Soul Generation's Beyond Body & Soul (1972) is hailed as a masterpiece of early 70s East Coast vocal group soul, praised for its sweet yet tough harmonies, masterful arrangements by Stan Vincent, and classic tracks like "Super Fine" and "That's The Way It's Got To Be (Body & Soul)", blending soulful vocals with early funk for a timeless sound, making it a highly regarded deep soul/rare groove staple.
Sweet, tough, street-corner harmonies with early funk, featuring prominent male falsettos, produced and arranged by Stan Vincent, who brought perfection to the sound, notes Dusty Groove.
Key Tracks: "Super Fine," "That's The Way It's Got To Be (Body & Soul)," "Black Man," "Million Dollars," and "In Your Way" are standout classics.
Considered a quintessential independent harmony album and a treasure in sweet soul/rare groove. Described as "one of the best independent harmony albums of the early 70s" and a "classic treasure" by listeners. It has a unique "slight gangster/pimp touch" that sets it apart from other groups, according to Dusty Groove.
In essence, Beyond Body & Soul is celebrated for its strong vocal performances, sophisticated arrangements, and enduring appeal within soul music circles, offering both nostalgia and consistent listenability. CD versions often include bonus tracks like "Mandingo Woman" and "Praying For A Miracle," newly remastered for enhanced quality.
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 Diamond
Producer – Angie Stone
Written-By – A. Stone
0:42
2 No More Rain (In This Cloud)
Producer – Angie Stone
Written-By – B. Williams, A. Stone, G. Chambers, J. Weatherly
4:42
3 Green Grass Vapors
Producer – Aaron "Freedom" Lyles, Angie Stone
Written-By – A. Lyles, S. Bolton
4:14
4 Everyday
Producer – Russell Elevado
Written-By – A. Stone, D'Angelo
3:28
5 Coulda Been You
Producer – Angie Stone, Phil Temple, Rex Rideout
Written-By – A. Stone, P. Temple, R. Rideout, S. Aiken
4:25
6 Visions
Producer – U-Neek Entertainment
Written-By – J. Lind, M. White, T. Middleton, V. Davis Jr.
3:31
7 Life Story
Co-producer – Cutfather & Joe
Producer – Gerry DeVeaux
Written-By – C. Ross, G. DeVeaux
4:07
8 Just A Pimp
Producer – Aaron "Freedom" Lyles, Angie Stone
Written-By – A. Lyles, S. Bolton
4:12
9 Trouble Man
Producer – Aaron "Freedom" Lyles, Angie Stone
Written-By – M. Gaye
2:33
10 Bone 2 Pic (Wit U)
Producer – Ali Shaheed Muhammad
Written-By – A. S. Muhammad, A. Stone, C. Alford
5:19
11 Man Loves His Money
Producer – Aaron "Freedom" Lyles, Angie Stone
Written-By – A. Lyles, S. Bolton
4:11
12 Love Junkie
Arranged By [Additional] – A. Lyles
Producer – Aaron "Freedom" Lyles, Angie Stone
Written-By – A. Stone
4:18
13 Black Diamonds & Blue Pearls (Interlude)
Producer – Angie Stone
Written-By – A. Stone
1:35
14 Heaven Help
Producer – Gerry DeVeaux
Written-By – G. DeVeaux, T. Britten
3:19
15 Don't Wanna Ride Without You
Producer – Angie Stone
Written-By – A. Stone
4:10
Label: Arista – 07822-19092-2
Format: CD, Album
Country: US
Released: 1999
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
Angie Stone’s 1999 debut album, Black Diamond, is a critically acclaimed cornerstone of modern neo-soul, blending classic 70s soul with contemporary, slick production.
Renowned for hits like "No More Rain (In This Cloud)," the album is praised for its mature, heartfelt lyrics and Stone's rich, confident vocals.
A masterful mix of retro Motown, funk, and soulful ballads. It perfectly captured the late-90s neo-soul movement with a nostalgic, earthy feel.
Key Tracks:
"No More Rain (In This Cloud)": The breakout single noted for its smooth, emotional and melodic power.
"Love Junkie": A self-produced, funky track characterized by its infectious hook.
"Everyday": A standout track co-written with D'Angelo.
"Freedom": Sets the tone with a powerful, gospel-infused, intro.
The album is considered meticulously produced and very consistent. It received high praise from major outlets like AllMusic, Rolling Stone, and Entertainment Weekly.
Black Diamond solidified Stone as a premier vocalist and songwriter, marking a triumphant solo debut after years as a session singer and member of groups like The Sequence.
While some critics noted that later albums offered tighter songwriting, Black Diamond remains highly regarded as a soulful masterpiece (rated 4/5 by Soul In Stereo and often perfect scores from others.)
Black Rhapsody
Written-By – W. Hale
4:08
A2 Blues For Mama
Written-By – W. Hale
3:44
A3 Hit Me With Funky Music
Written-By – W. Hale
3:54
A4 Loosen Up
Written-By – W. Hale
3:25
A5 Summertime
Written-By – Heywood, Gershwin
3:11
B1 Just My Imagination
Written-By – B. Strong, N. Whitfield
6:25
B2 Never Can Say Goodbye
Written-By – Clifton Davis
5:40
B3 Let's Stay Together
Written-By – A. Green, A. Jackson, W. Mitchell
3:05
Label: Cat – 1602, Cat – LP-1602
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz, Soul, Instrumental
Style: Jazz-Blues, Soul
Black Rhapsody, released in 1974 by Little Beaver (Willie George Hale), is a highly-regarded instrumental album in the soul-funk and blues-jazz fusion genres. It is praised for its laid-back, mellow groove, excellent guitar work, and influential tracks that have been widely sampled by hip-hop artists.
Starting with an introduction dedicated to his idol, Wes Montgomery, the first half is a collection of laid-back original songs, and even with no singing, it is a record that shows Beaver's style in full swing, from covers of soul classics by the Temptations, the Jackson 5, Al Green, and others.
Reviewers consistently highlight Little Beaver's "top tier" talent and "unparalleled guitar talent". His style is described as rhythmic, smooth, and blues-inspired, often using wah-wah and a compressed sound that adds to the album's unique vibe.
Despite the album title and cover art (featuring Hale in black leather), the music is noted for being surprisingly mellow, sunny, and relaxed. It has a "good groove throughout the whole album," ideal for a casual listen or a "night on the town".
This album is unique in Hale's discography as an all-instrumental collection, a deliberate choice to showcase his prowess as a musician rather than a singer. It includes original deep funk tracks as well as soulful covers of hits by artists like Al Green, The Temptations, and the Jackson 5.
Many tracks from Black Rhapsody have been sampled by notable hip-hop artists, including Jay-Z, Erykah Badu, and Slum Village (the track "A Tribute To Wes" was sampled for "Conant Gardens"). This speaks to the album's lasting impact and the quality of its core grooves.
Some user reviews mention potential issues with sound quality on certain CD or vinyl pressings, describing the audio as "flat" or having a "weird" sound for some instruments. However, others praise specific reissues (e.g., the orange vinyl edition) for having great, dynamic sound.
Overall, the album is considered an under-rated classic in the funk and soul genres, a "total perfection" for connoisseurs of the style.
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 Magic
A1 Sideshow
Written-By – Bobby Eli, Vinny Barrett
4:06
A2 Look Me Up
Written-By – Al Felder, Norman Harris
5:54
A3 What's Come Over Me
Written-By – Ted Mills
4:09
A4 Just Don't Want To Be Lonely
Written-By – Bobby Eli, John Freeman, Vinny Barrett
7:00
B1 Stop To Start
Written-By – Al Felder, Jimmy Grant
3:18
B2 Welcome To The Club
Written-By – Al Felder, Norman Harris
5:05
B3 Spell
Written-By – Ted Mills
4:15
B4 Answer To My Prayer
Written-By – Al Felder, Norman Harris
3:15
B5 Tear It Down
Written-By – Al Felder, Ted Mills
5:27
Label: ATCO Records – SD 7038
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly
Blue Magic's 1974 debut album is celebrated as a classic Philly soul record, known for its lush harmonies, rich instrumentation (strings, horns), and romantic, often melancholic themes, with massive hits like "Sideshow" and "Stop to Start," making it an essential listen despite some critics finding the ballads a bit sleepy, though uptempo tracks like "Look Me Up" add necessary energy, solidifying its place as a definitive 70s soul experience.
The album perfectly embodies the smooth, harmony-driven Philly Soul sound, featuring impeccable vocal blending from soprano to bass. Lush strings, horns, and even xylophones create a full, dreamy, and emotionally resonant atmosphere.
It spawned major hits, including the iconic "Sideshow," a clever tale of heartbreak, and "Stop to Start," which crossed over to pop charts.
While famous for its slow jams like "Spell," the album also delivers energetic, funky numbers like "Look Me Up" and the proto-disco "Welcome to the Club".
Considered by many to be Blue Magic's finest work and a top-tier Philly soul album, praised for its consistent quality throughout.
Reviewers highlight the flawless harmonies, romantic depth, and the album's ability to transport listeners to a dreamy state, making it a timeless classic.
Some felt the soft harmonies could occasionally make tracks feel sleepy without the right melody, or that the style leaned towards familiar tropes of the era, but this is a small critique against its overall brilliance.
Overall, Blue Magic's 1974 debut is a must-have for soul fans, delivering heartfelt, technically superb vocal performances and sophisticated arrangements that defined the genre, proving the group was far more than just a one-hit wonder.
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.
Blues’N Soul
Written By – Crutcher, Jones
4:14
A2 Behind Closed Doors
Written By – Kenny O'Dell
4:05
A3 Sweet Woman Of Mine
Written By – Milton Campbell
3:29
A4 Worried Dreamer
Written By – B.B. King
5:23
B1 How Could You Do It To Me
Written By – Milton Campbell
4:58
B2 You're No Good
Written By – Clint Ballard Jr.
2:59
B3 'Taint Nobody's Biziness
Written By – Garinger, Robbins
6:26
B4 Hard Luck Blues
Written By – Roy Brown
4:15
Label: Stax – STS-5514
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul, Blues
Style: Blues-Soul
Little Milton's Blues 'n' Soul (1974) is a pivotal Stax album showcasing his signature fusion of gritty blues with Memphis soul, featuring lush strings/horns, funky grooves, and strong interpretations of hits like Linda Ronstadt's "You're No Good," alongside Milton's originals, solidifying his mastery of the soul-blues genre with tracks like the epic "'Tain't Nobody's Business If I Do".
The album perfectly embodies its title, blending traditional blues feeling with the polished arrangements and rhythms of soul music, a style Milton pioneered.
Produced with the classic Memphis Stax sound, the album features prominent, tasteful horn and string arrangements (by James Mitchell) that add color without diluting the blues core.
Milton delivers powerful interpretations of popular songs, including Charlie Rich's "Behind Closed Doors" and Linda Ronstadt's hit "You're No Good," making them his own.
His original "Sweet Woman of Mine" offers an uptempo, swinging moment, while the extended "Tain't Nobody's Business If I Do" showcases his vocals and guitar, and "Hard Luck Blues" closes with a funky groove.
Considered one of Milton's best Stax records, it's an essential listen for soul-blues fans, highlighting his guitar and vocal prowess.
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.
Bob and Earl
Written-By – Bob & Earl
2:50
A2 Big Brother
Written-By – Charlotte Cronander
2:58
A3 Land Of 1000 Dances
Written-By – Chris Kenner
2:15
A4 I Can't Get Away
Written-By – Bob & Earl
2:57
A5 My Little Girl
2:50
B1 I'll Keep Running Back
Written-By – Bob & Earl
2:50
B2 Dancin' Everywhere
Written-By – Charlotte Cronander
2:57
B3 Send For Me, I'll Be There
Written-By – Earl Nelson
2:25
B4 Ooh Honey Babe
Written-By – Earl Nelson
2:15
B5 Harlem Shuffle
Written-By – Bob & Earl
2:10
Label: Crestview Records – CRS 3055
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
The 1969 self-titled album Bob & Earl on Crestview Records (CRS-3055) is a soulful, late-60s R&B collection often associated with the Northern Soul scene, featuring the hit "Harlem Shuffle". While sometimes considered a, it captures a refined, classic soul sound with high-quality, melodic tracks that extend beyond their well-known singles, earning it positive recognition among collectors.
Released in 1969, this LP followed the UK success of their 1963 hit, "Harlem Shuffle," which saw a massive revival in popularity that year. The album is firmly rooted in 1960s Soul, with strong elements of Northern Soul, characterized by a smooth yet driving rhythm, often featuring orchestral, melodic arrangements typical of the era's production.
While sometimes flying under the radar compared to larger 1969 releases, it is highly regarded for its consistent quality, being described as a great album that is "not just for the singles".
The album includes their iconic "Harlem Shuffle" (written by Bob Relf and Earl Nelson) along with other tracks, fitting the uptempo, energetic style that made them popular.
The album serves as a key document of late-60s soul, capitalizing on the renewed interest in their earlier work, and is considered a solid, quintessential listen for fans of the genre.
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.
Bobby Taylor and The Vancouvers
Written-By – Chong, Baird
2:52
A2 So This Is Love
Written-By – Baird
2:55
A3 I Am Your Man
Written-By – Ashford, Simpson
2:58
A4 I Heard It Through The Grapevine
Written-By – Strong, Whitfield
2:43
A5 Malinda
Written-By – Cleveland, Robinson, Johnson
2:52
A6 Fading Away
Written-By – Rogers, Robinson, Moore
2:50
B1 You Gave Me Something (And Everything's Alright)
Written-By – Hamilton, Toney, Savoy, Garrett
3:05
B2 It's Growing
Written-By – Robinson, Moore
2:56
B3 One Girl
Written-By – Baird
2:25
B4 Try A Little Tenderness
Written-By – Woods, Campbell, Connelly
2:52
B5 Day By Day Or Never
Written-By – B. Gordy, Jr.
2:40
B6 If You Love Her
Written-By – Taylor, Baird
2:35
Label: Tamla Motown – GOS 930
Format: Vinyl, LP
Country: Canada
Released: 1968
Genre: R&B Soul
Style: Sixties Soul, Motown
The 1968 self-titled album by Bobby Taylor & the Vancouvers is the only studio record released by the Canadian-American soul group. Produced primarily by Berry Gordy Jr. for Motown's Gordy Records label, the album is a blend of original soul compositions and covers of established Motown and pop standards.
The album is characterized as a "soul and Motown gem," featuring a mix of smooth ballads and spirited R&B. It highlights Bobby Taylor’s soulful tenor vocals. The band included Tommy Chong (later of the comedy duo Cheech & Chong) on guitar and as a songwriter.
Standout Tracks:
"Does Your Mama Know About Me": The album’s biggest hit, peaking at #29 on the Billboard Hot 100. Co-written by Tommy Chong, the song's lyrics dealt with the then-controversial theme of interracial relationships.
"I Am Your Man": A soulful track written by the legendary songwriting duo Ashford & Simpson.
"Malinda": A catchy R&B hit written and produced by Smokey Robinson, which reached #16 on the U.S. R&B charts.
Covers: The tracklist includes several covers of contemporary hits, such as "I Heard It Through the Grapevine," "Try a Little Tenderness," and The Temptations' "Fading Away".
The album was a major success for the group, with "Does Your Mama Know About Me" hitting #29 on the Billboard Hot 100 and charting high on the R&B charts. The album's success helped establish Bobby Taylor, who later played a crucial role in getting The Jackson 5 signed to Motown after they opened for his band.
In essence, the album captured a sweet, accessible R&B sound that brought Bobby Taylor & the Vancouvers significant attention and marked a pivotal moment in their short-lived but impactful career.
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.
Body English
Written-By – King Floyd 3:12
A2 I Really Do Love You
Written-By – King Floyd 3:42
A3 Trouble
Written-By – Aaron Varnell, Frederick Knight 4:19
A4 Movin' On Strong
Written-By – King Floyd 3:06
A5 Body English
Written-By – Bobby Marchan 3:10
B1 Stop, Look And Listen
Written-By – J. Stroud, T. Couch, W. Stephenson 2:54
B2 Doing That No More
Written-By – Whitsett, Zimmerman, Stroud, K. Floyd, Duboff 3:02
B3 So True
Written-By – King Floyd 3:55
B4 We Gotta Hang On In There
Written-By – Carl Thomas, Joe Shamwell 4:18
B5 Can She Do It Like She Dances
Written-By – Gerald Robinson, Steve Duboff 3:06
Label: Chimneyville Records – CH-202
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul, Funk
King Floyd's Body English showcases his signature soulful vocals and funky New Orleans R&B, blending catchy grooves, psychedelic touches, and raw energy, with tracks like "Groove Me" defining his sound, though some listeners find early tracks inconsistent or a bit raw, while later reissues capture his deep-soul power, even with occasional vinyl noise. It's celebrated for its authentic, immersive sound, capturing the feel of being in the studio with Floyd's dynamic performance, grunts, and shouts.
The album delivers groovy, bass-driven soul and funk, heavily influenced by legends like James Brown and Otis Redding.
Floyd's distinctive deep, soulful voice, complete with grunts and shouts, is a major highlight, making his tracks feel immediate and powerful.
Expect catchy hooks, but also some experimental, woozy psychedelic sounds, with heavy reverb and unique instrumentals that shift moods.
Vintage pressings are praised for their "Tubey Magical Midrange" and studio presence, offering an immersive, analog experience.
he sound can shift drastically, from upbeat soul to darker, almost horror-film-like atmospheres. The music is designed to pull you in, feeling like a live performance.
Some tracks are considered filler or a bit rough, but the highlights are strong, and overall the album a solid dose of authentic, gritty New Orleans soul and funk, especially great for fans of deep soul, offering a solid entry point to his best work.
Body Talk
A2 So Good, So Right 6:56
A3 Burnin' Up 4:41
B1 Tell Me Do You Want My Love 5:23
B2 Flashback 4:28
B3 I'll Always Love You (But Don't Look Back) 3:51
B4 In And Out Of Love 5:22
Written by Imagination, Steve Jolley & Tony Swain
Label: R&B Records – RBLP 1001
Format: Vinyl, LP, Album, Stereo
Country: UK
Released: 1981
Genre: R&B Soul, Electronic, Funk
Style: Downtempo, Boogie
Imagination's Body Talk (1981) is celebrated as a smooth, influential post-disco/Britfunk gem, praised for its sophisticated blend of soulful vocals (Leee John), catchy melodies, and lush synths, featuring standout tracks like the iconic title track, the soulful "So Good, So Right," and "Burnin' Up," a proto-house track cited by Frankie Knuckles, making it a timeless, well-crafted album with enduring appeal and significant club impact.
Known for its mellow, rhythmic grooves, silky vocals, and sophisticated sound, often compared to early Bee Gees or Michael Jackson.
Masterfully incorporates early '80s synths and disco beats, making it a staple in dance music.
Track Highlights:-
"Body Talk": The title track and biggest hit (peaking at #4 in the UK) is praised for its "sexy," mellow groove and atmospheric production.
"Burnin' Up": Noted for its influential piano riffs and rhythmic precision.
"Flashback": A high-energy "disco-boogie" track with catchy, toe-tapping rhythms.
"I’ll Always Love You (But Don’t Look Back)": A tender piano ballad that provides a melodic contrast to the dance-heavy tracks.
Critics and fans praise it as a "no skips" album, with well-crafted songs that still sound fresh. It's considered a cornerstone of British soul/funk (Britfunk) and a highly overlooked disco-boogie classic.
Bonafide
Written-By – Handel Tucker 4:27
A2 Close To You Written-By – Gary Benson, G. Benson, Max Elliott, M. Elliott, Winston Sela, W. Sela 5:24
A3 Never Did Say Goodbye
Written-By – I. Green, J. P. Maunick, M. Elliott 4:04
A4 Best Of Me
Written-By – M. Elliott, P. Hunningale 3:36
A5 Space In My Heart
Written-By – D. Austin, M. Elliott 3:40
A6 Human Work Of Art
Written-By – M. Leeson, P. Vale 4:09
B1 Temptress
Written-By – H. Lindo, M. Bennett 4:33
B2 Peace Through The World
Written-By – J. P. Maunick, M. Elliott 4:00
B3 You
Written-By – G. Benson, M. Elliott, W. Sela 4:06
B4 Sure Fire Love
Written-By – M. Elliott, P. Yellowstone, P. Radford 3:53
B5 Life
Written-By – M. Elliott, P. Robinson 3:53
B6 Prayer For The World
Written-By – F. Musker, J. Scott 5:12
Label: 10 Records – DIX 92
Format: Vinyl, LP, Album
Country: UK
Released: 1990
Genre: Reggae, Hip Hop
Style: Reggae-Pop, Synth-pop
Maxi Priest's Bonafide (1990) is widely acclaimed as a landmark album, praised for its seamless blend of smooth reggae, R&B, and pop, capturing the cool vibes of the era, especially with its global smash hit "Close to You" and classics like "Best of Me" and "Peace Throughout the World" featuring Jazzie B, showcasing Priest's vocal talent and creating a timeless, feel-good soundtrack for summer listening.
It's considered a pivotal album for reggae-pop, moving beyond traditional reggae with modern production, influencing the emerging UK music scene.
Features the massive #1 pop single "Close to You," alongside popular tracks like "Best of Me" and "Sure Fire Love," solidifying Priest's crossover appeal.
The album is noted for its smooth, mellow, and addictive sound, benefiting from collaborations with top producers and artists like Sly & Robbie, creating a fresh yet rooted sound.
Reviewers consistently call it a classic, perfect for long drives and repeated listens, standing the test of time as a brilliant showcase of Maxi Priest's artistry and diversity.
Bonafide is often cited as Maxi Priest's definitive work and a must-have for reggae and R&B fans, praised for its emotional depth, infectious rhythms, and capturing a significant moment in music history.
Booker T. and Priscilla
Written-By – Booker T. Jones
9:26
A2 She
Written-By – Chris Ethridge, Graham Parsons
4:06
A3 The Indian Song
Written-By – Booker T. Jones, Priscilla Jones
5:39
A4 Sea Gull
Written-By – Booker T. Jones, Eddie Floyd
1:15
B1 For Priscilla
Written-By – Booker T. Jones
4:18
B2 The Delta Song
Written-By – Priscilla Jones
9:48
B3 Why
Written-By – Priscilla Jones
5:18
B4 Mississippi Voodoo
Written-By – Priscilla Jones
2:06
C1 Cool Black Dream
Written-By – Priscilla Jones
3:06
C2 Sweet Child You're Not Alone
Written-By – Donna Weiss
3:02
C3 He
Written-By – Booker T. Jones, Priscilla Jones
2:58
C4 Sister Babe
Written-By – Priscilla Jones
4:43
C5 Earth Children
Written-By – Booker T. Jones, Priscilla Jones
3:32
C6 Water Brothers
Written-By – Priscilla Jones
3:29
D1 Medley From The Jones Ranch
Arranged By – Booker T. Jones, Priscilla Jones
4:43
D2 Funny Honey
Written-By – Booker T. Jones, Priscilla Jones
4:12
D3 California Girl
Written-By – Booker T. Jones, Eddie Floyd
3:56
D4 The Sun Don't Shine
Written-By – Booker T. Jones
3:19
D5 Ole Man Trouble
Written-By – Booker T. Jones
4:12
Label: A&M Records – SP 3504
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul, Funk
Style: Soul
Booker T. & Priscilla (1971), a self-titled album by Booker T. Jones and his then-wife Priscilla Coolidge, is a fusion of R&B, soul, and pop that taps into the early 1970s' "Age of Aquarius" fascination with interracial musical pairings. The record features funk and blues elements, blending Booker T.'s signature style with Priscilla’s vocal contributions.
he album is classified under R&B and Soul. It is characterized as a mix of soulful, funk, and sometimes blues-heavy tracks recorded between January and February 1971 at Sunset Sound, A&M Records, and Wally Heider Studios.
While sometimes noted for its romantic, "fairy-tale" image, the relationship behind the music was famously tumultuous, contrasting with the album's romantic themes. It is often regarded as a fine, though sometimes overlooked, piece of 1970s soul music.
It is worth noting that Priscilla Coolidge later found success with her sisters as part of the group Walela, which focused on Native American, gospel, and pop music.
Reviews often note that while it isn't "bad," its length can be a barrier. Critics have described it as having "bitter and sweet" moments, suggesting it is best enjoyed in smaller doses rather than a single 83-minute sitting.
Booty People
A2 Booty People 3:09
A3 Somethin' Simple 3:19
A4 Shoot To Kill 5:05
A5 To The One I Love 4:20
A6 Windrift 5:41
B1 Slappin' Five 4:21
B2 The Watcher 8:20
B3 Anyway I'm Busted 4:45
B4 After The Rain
Written by – M. Dickerson, J. Phillips, M. McDowell, R. Palmer, W. Goodloe
Label: ABC Records – AB-998
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
Booty People's self-titled 1977 album is a sought-after US funk/soul record known for its tight grooves, energetic funk, and incorporation of Philadelphia soul sounds, featuring members like Joe Phillips, Mitch McDowell, and Rick Hendrix, produced by B.B. Dickerson (War) and Jerry Goldstein, and offering solid instrumental work with memorable tracks, despite the band's short-lived career before morphing into General Caine.
An album of tight, instrumental funk with dynamic arrangements, strong basslines, and powerful rhythms, drawing comparisons to other great ensemble funk acts of the era like Fatback or Cameo.
Produced by B.B. Dickerson (of War) and Jerry Goldstein, recorded at Far Out Studios, featuring Joe Phillips, Mitch McDowell, Rick Hendrix, Robert Palmer, and Lemon Smyth, with some members having connections to Jimi Hendrix (Rick Hendrix).
It is considered a gem in funk collecting, praised for its raw, heavy-hitting 70s funk and its status as a quality, non-commercial release. The album's visual design was handled by Lee Oskar, another founding member of the band War.
It's a key artifact from a brief but impactful band that blended Philly Soul's sophistication with raw funk energy. It showcases exceptional musicianship, especially strong guitar work and tight ensemble playing.
The album remains a favorite among funk enthusiasts for its authentic sound and groovy tracks, making it a standout find on the secondary market.
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!
Born To Do It
4:17
2 Can't Be Messing 'Round
3:54
3 Rendezvous
4:37
4 7 Days
3:55
5 Follow Me
4:01
6 Last Night
4:31
7 Walking Away
3:24
8 Time To Party
4:05
9 Booty Man
3:48
10 Once In A Lifetime
3:30
11 You Know What
3:34
12 Rewind
5:33
Written by C. David, D. Hill (tracks: 4), J. Seals (tracks: 8), M. Hill (tracks: 1, 3 to 12)
Label: Wildstar Records – CDWILD32
Format: CD, Album
Country: UK & Ireland
Released: 2000
Genre: R&B Funk, Soul, Hip Hop,
Style: Contemporary R&B, UK Garage
Released in 2000, Craig David’s Born To Do It is a landmark UK Garage and R&B debut, celebrated for its smooth vocals, intimate songwriting, and infectious two-step garage beats. Featuring iconic hits like "Fill Me In," "7 Days," and "Walking Away," the album was praised for its refreshing, polished sound that bridged underground UK scenes with mainstream pop.
The album was hailed as an excellent, mature debut, noted for its "soulfully smooth voice" and "brilliantly market-tuned fusion of R&B elegance and all-ages pop sugar".
Key Highlights:-
"Fill Me In": A groundbreaking blend of garage rhythms and R&B storytelling.
"7 Days": A masterclass in rhythmic phrasing that became a top-10 hit in the US.
"Walking Away": Frequently cited as a standout for its emotional depth and acoustic-leaning production.
"Rewind": The high-energy collaboration with Artful Dodger that solidified his roots in the garage scene.
It successfully brought UK Garage to a wider audience, with many considering it one of the best R&B albums of the 2000s.
Despite some criticism of the lyrics being slightly underdeveloped or "corny" at times, the album is widely recognized for its charisma and for establishing David as a superstar.
The album has maintained high regard, with tracks that still sound fresh 25 years later, as highlighted in Albumism's 25th-anniversary review.
Born To Do It remains a quintessential record of the early 2000s, often praised for its ability to balance emotional, intimate songwriting with danceable, modern beats. Critics highlighted David's "silver-tongued" vocal gymnastics and the album's polished production by Mark Hill (of Artful Dodger). Its ability to appeal to clubgoers and pop fans simultaneously made it a massive commercial success.
Born To Love
Producer – Michael Masser
Written-By – Gerry Goffin, Michael Masser
3:29
A2 Blame It On Me
Producer – Burt Bacharach, Carol Bayer Sager
Written-By – Burt Bacharach, Carol Bayer Sager
4:12
A3 Heaven Above Me
Producer – Bob Crewe, Bob Gaudio
Written-By – Bob Crewe, Bob Gaudio
4:34
A4 Born To Love
Producer – Peabo Bryson
Written-By – Peabo Bryson
4:25
B1 Maybe
Producer – Burt Bacharach, Carol Bayer Sager
Written-By – Burt Bacharach, Carol Bayer Sager, Marvin Hamlisch
3:19
B2 I Just Came Here To Dance
Producer – Bob Crewe, Bob Gaudio
Written-By – J. L. Wallace, Ken Bell, Terry Skinner
3:59
B3 Comin' Alive
Producer – Michael Masser
Written-By – Gerry Goffin, Michael Masser
3:34
B4 You're Lookin' Like Love To Me
Producer – Bob Crewe, Bob Gaudio
Written-By – Bob Crewe, Bob Gaudio, Jerry Corbetta
3:59
B5 Can We Find Love Again
Producer – Roberta Flack
Producer [Associate] – Al Johnson
Written-By – Al Johnson, Roberta Flack
4:29
Label: Capitol Records – ST-12284
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul
Released on July 22, 1983, Born To Love is a classic R&B duet album that solidified the partnership between Peabo Bryson and Roberta Flack. Following their successful 1980 live collaboration, the album achieved Gold status in the United States and remains their most internationally successful project.
Critics and fans generally view the album as a high-quality example of the "Quiet Storm" genre. While AllMusic describes it as "enjoyable" but "not essential," fans frequently praise the "melodious singing" and the undeniable chemistry between the two iconic vocalists.
The album features a mix of lush ballads and mid-tempo tracks, though faster numbers like "Heaven Above Me" are sometimes seen as more disposable compared to the soaring ballads.
Key Tracks:-
"Tonight, I Celebrate My Love": The album's standout global hit, reaching #2 in the UK and #16 on the US Billboard Hot 100. It remains a definitive wedding and easy-listening classic.
"Maybe": A notable track written for the film Romantic Comedy.
"You're Looking Like Love To Me": A moderate hit that performed well on the Adult Contemporary charts.
"Born To Love": Written and produced by Bryson, it is a fan-favorite soulful ballad with a funky, spacious arrangement.
Born to Love is celebrated as a successful, gold-certified album that delivered memorable duets and remains a strong listen for fans of classic R&B and soul, even if its consistent smoothness can make tracks blend for some listeners. Decades after its release, it is celebrated for its sound quality and timeless appeal, often cited as a staple for R&B collections.
Peabo Bryson & Roberta Flack Roberta Flack and Peabo Bryson Roberta Flack & Peabo Bryson
Bound to Happen
Written-By – W. Bell
2:19
A2 Hey Western Union Man
Written-By – Butler, Gamble, Huff
3:02
A3 My Whole World Is Falling Down
Written-By – Crutcher, Jones
3:08
A4 Everyday People
Written-By – Stewart
2:40
A5 Johnny I Love You
Written-By – Jones
2:34
A6 All God's Children Got Soul
Written-By – Jones, Bell
2:57
B1 Happy
Written-By – B.T. Jones, W. Bell
2:34
B2 By The Time I Get To Phoenix
Written-By – Jim Webb
2:50
B3 Bring The Curtain Down
Written-By – B.T. Jones, W. Bell
2:27
B4 A Smile Can't Hide (A Broken Heart)
Written-By – B.T. Jones, W. Bell
2:29
B5 Born Under A Bad Sign
Written-By – B.T. Jones
3:11
B6 I Got A Sure Thing
Written-By – B.T. Jones, W. Bell
2:19
Label: Stax – STS 2014
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Released in 1969, William Bell’s Bound to Happen is a polished,mid-tempo Southern Soul album produced by Booker T. Jones, featuring the MGs and Memphis Horns. It showcases Bell's smooth vocals on tracks like "My Whole World Is Falling Down" and a version of "Born Under a Bad Sign," blending sweet soul with classic Memphis grit.
Produced by Booker T. Jones, the album has a slightly smoother, more sophisticated feel compared to other 1969 Stax releases.
Key Tracks:-
"I Forgot to Be Your Lover": This "deep soul classic" is universally cited as the album’s emotional core. It has since gained legendary status, notably being sampled by hip-hop artists like Dilated Peoples.
"My Whole World Is Falling Down": A standout ballad that highlights Bell’s ability to "tear out your heart" with a single phrase.
"Born Under a Bad Sign": Originally written by Bell and Jones for Albert King, Bell’s own version here is noted for its "funky gospel feel" and "rock vibe".
"All God’s Children Got Soul": A high-energy, "stompin'" track that demonstrates Bell’s range beyond slow-burn ballads.
While not as commercially successful as his previous work, it is regarded as a solid, well-produced album, sometimes packaged with his 1971 album Wow... Rate Your Music.
Surprisingly, the hit single "I Forgot to Be Your Lover" is sometimes omitted from original pressings, despite being released in the same era.
The album is generally well-regarded by soul music fans, with Discogs users rating it highly. Many retrospective reviews argue Bell was unfairly overshadowed by labelmates like Otis Redding, positioning this album as proof of his standing as a premier soul vocalist.
Brass Construction
Written-By – R. Muller, W. Williamston 8:39
A2 Peekin'
Written-By – L. Alexander 3:55
A3 Changin'
Written-By – R. Muller 8:12
B1 Love
Written-By – R. Muller 6:35
B2 Talkin'
Written-By – R. Muller 4:02
B3 Dance
Written-By – R. Muller 9:36
Label: United Artists Records – UA-LA545-G
Format: Vinyl, LP, Album,
Country: US
Released: 1975
Genre: R&B Soul
Style: Funk, Disco
Brass Construction's 1975 self-titled debut is a genre-defining, horn-heavy funk/soul album known for its high-energy, uptempo grooves, blending Caribbean/African rhythms with classic American funk and jazz, featuring iconic tracks "Movin'" and "Changin'", and marked by simple, socially conscious, single-verb song titles, making it a landmark in dance music and an influence on Britfunk.
A fusion of funk, soul, disco, jazz, and Caribbean influences, with prominent brass and complex rhythm, offered a fresh, energetic alternative to mid-tempo funk prevalent at the time, becoming huge in clubs.
All tracks are named with single verbs (e.g., "Movin'", "Changin'"), encouraging listener interpretation and reflecting social themes.
Spearheaded by Randy Muller, a Guyanese-born flutist and keyboardist, the album features iconic horn arrangements that have been sampled in hip-hop.
The album was a surprise hit, reaching #1 on the US Soul chart and Top 10 on the US/UK albums charts, with platinum sales. It features "Movin'" (a pop/R&B crossover hit) and "Changin'" (a #1 dance single).
An essential album in funk and soul collections, still sounding fresh decades later. It influenced the later Britfunk movement in the UK.
Brass Construction's debut is a must-listen for funk and soul fans, celebrated as a pivotal record that delivered exhilarating, groove-focused music with depth, establishing Randy Muller's vision and leaving a lasting legacy on dance music.
Brass Construction 6
Written-By – Morris Price
6:17
A2 We Can Do It
Written-By – J. Wong, M. Grudge
5:07
A3 I'm Not Gonna Stop
Written-By – A. Fields, E. Weathersby, F. Fuchs
4:35
B1 How Do You Do (What You Do To Me)
Written-By – J. Wong, M. Grudge
6:38
B2 Working Harder Every Day
Written-By – L. Payton
4:41
B3 We Are Brass
Written-By – Phill Barr
4:07
B4 Don't Try To Change Me
Written-By – A. Fields, C. Houston, F. Fuchs
4:22
Label: United Artists Records – LT-1060
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk, Disco
Brass Construction 6 (1978) marks a shift for the legendary funk/disco band, retaining their signature horn-driven funk but moving towards the burgeoning electro-funk sound, with some listeners loving its dancefloor drive for tracks like "We Can Do It" and "We Are Brass," while others find the sound quality or production lacking compared to their earlier work, though it remains a classic for fans of their evolving style.
While known for their early disco-funk, this album showcases Brass Construction embracing newer electronic elements, foreshadowing the electro-funk movement.
The classic BC sound, characterized by powerful brass and funky rhythms, remains central, with tracks like "We Can Do It" and "We Are Brass" being standout funk workouts.
Some listeners on forums like Discogs noted potential issues with sound quality on certain vinyl pressings, suggesting a desire for remastered releases, though the core music is praised.
Dedicated fans appreciate it as their "last classic horn driven funk album" before a full pivot to electro-funk, finding it solid and worth seeking out, especially in bargain bins.
In essence: It's a pivotal album that captures Brass Construction's transition, offering powerful funk grooves while signaling their future direction, making it a must-listen for fans of their entire catalog, despite some production critiques.
Breakin’ Bread
Written-By, Arranged By – Fred Wesley, James Brown 4:20
A2 I Wanna Get Down
Arranged By, Written-By – St. Clair Pinckney
Written-By – James Brown
Written-By, Arranged By – Fred Wesley 3:14
A3 Little Boy Black
Arranged By – Dave Matthews, Dave Matthews
Written-By – Fred Wesley, James Brown 3:54
A4 Rice 'N' Ribs
Written-By, Arranged By – Fred Wesley, James Brown 4:05
B1 Rockin' Funky Watergate
Arranged By – James Brown
Written-By – Deidre Brown 5:16
B2 Makin' Love
Written-By, Arranged By – Fred Wesley, James Brown 3:36
B3 Funky Music Is My Style
Written-By – Bob Both
Written-By, Arranged By – Fred Wesley, James Brown 5:24
B4 Step Child
Written-By, Arranged By – Fred Wesley, James Brown 6:43
Label: People – PE 6604
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B
Style: Seventies Soul, Funk
Breakin' Bread is a 1974 funk and jazz-funk album by Fred Wesley and The New J.B.’s, renowned for its heavy grooves, innovative inclusion of early rap-styled and go-go influences, and significant contributions from producer James Brown. The album is described as an "air-tight, eight-course meal" of funky music, with most tracks featuring intricate and infectious basslines and rhythms.
Released in October 1974 on Brown's People label, the album features trombonist and bandleader Fred Wesley at the helm, though James Brown's influence is evident throughout, from his producer role to co-writing most tracks. Brown's picture even appears on the cover.
A distinctive characteristic of the album is the inclusion of a brief, spoken-word monologue by Wesley at the start of most tracks, where he shares reminiscences of home and pays tribute to James Brown, setting a warm, personal tone.
The music primarily features Brown-styled funk, but incorporates experimental elements that were ahead of their time, such as early rap influences on the title track and "Little Boy Black," and a dive into hard-core bebop jazz on the closing instrumental "Step Child".
In summary, Breakin' Bread delivers heavy, deep funk with tight instrumentation, sophisticated arrangements, and powerful, often chanted, vocals, solidifying Fred Wesley's role as a funk innovator alongside the tightest band in the business, the J.B.'s.
Breakwater
Written-By – K. Williams, Jr.
5:46
A2 You Know I Love You
Written-By – Greg Scott
4:41
A3 Unnecessary Business
Written-By – G. Robinson, Greg Scott, K. Williams, Jr.
5:46
A4 No Limit
Written-By – Len Ron Hanks, Zane Grey
4:17
B1 That's Not What We Came Here For
Written-By – D. Bugatti, F. Musker
3:41
B2 Feel Your Way
Written-By – K. Williams, Jr.
4:32
B3 Do It Till The Fluid Gets Hot
Written-By – G. Robinson, Jr., G. Scott, J. Braddock, K. Williams, Jr., L. Gilmore, S. Green, V. Garnell
4:18
B4 Free Yourself
Written-By – K. Williams, Jr.
3:56
Label: Arista – AB 4208
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk
Style: SEventies Soul, Funk
The 1978 self-titled debut album by the Philadelphia-based band Breakwater is widely regarded as a classic of the jazz-funk and soul era. Released on Arista Records, the album is praised for its "flawless production" and a sound that blends upbeat rhythms with sharp instrumentation, particularly the prominent use of Moog synthesizers.
Reviewers describe the album as a perfect fusion of jazz, funk, and smooth soul. It is frequently characterized by "lush, sensual, and rhythmic" descriptors.
Critics have noted the band's exceptional musicianship, with tight horn sections and grooves that hold up alongside heavyweights like the Bar-Kays and Earth, Wind & Fire.
The album maintains high community ratings, including a 4.5/5 on Discogs and a 3.42/5 on Rate Your Music.
Key Tracks:-
"Work It Out": Often cited as the album's standout "club classic," this track is praised for its uplifting and "calypsoesque" funk energy.
"You Know I Love You": A "sublime" and "ultra-soulful" ballad featuring a notable saxophone solo by Greg Scott.
"No Limit": A favorite among R&B fans, known for being a "tight and brassy" production by the duo Grey and Hanks.
"Release the Beast": While a highlight of this era, it gained a second life in modern culture after being sampled for Daft Punk’s hit "Robot Rock".
For a long time, this was a "lost classic" with high-priced vinyl original pressings. Modern listeners can find it through digital remasters and CD reissues, such as those from the label Get On Down, which often come in mini-LP cardboard sleeves.
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.
Bustin’ Loose
Written-By – Chuck Brown 7:42
A2 Never Gonna Give You Up
Lead Guitar – LeRon Young
Strings – Don Renaldo
Written-By – Kenneth Gamble - Leon Huff, Jerry Butler 5:43
A3 If It Ain't Funky
Written-By – Chuck Brown 6:00
B1 I Gotcha Now
Written-By – Chuck Brown, Curtis Johnson, Donald Tillery, Jerry Wilder, John Buchanan, Leroy Fleming 5:02
B2 Could It Be Love
Lead Guitar – LeRon Young
Strings – Don Renaldo
Written-By – James Purdie, Shirley Chevalier 5:22
B3 Game Seven
Written-By – Chuck Brown, Curtis Johnson, Donald Tillery, Jerry Wilder, John Buchanan, Leroy Fleming 6:12
B4 Berro E Sombaro
Written-By – Chuck Brown, Curtis Johnson, Donald Tillery, Jerry Wilder, John Buchanan, Leroy Fleming 3:11
Label: Source Records – SOR-3076
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Funk
Style: Seventies Soul, Go-Go
Chuck Brown & The Soul Searchers' 1979 album, Bustin' Loose, is a landmark funk/go-go record, defining the Washington, D.C. sound with its infectious title track, a blend of raw funk, smooth soul, and distinctive percussion that became a gold-certified hit and cemented Brown as the "Godfather of Go-Go," with critics praising its funky core and highlighting its importance in funk's evolution.
The album's centerpiece, "Bustin' Loose," is a classic funk/go-go anthem, celebrated for its thick beats and infectious groove, becoming a major hit and certifying the album gold.
It's considered a foundational work for the go-go genre, blending funk, R&B, and Latin rhythms, paving the way for future D.C. acts.
While known for hard-hitting funk, the album also features smoother, soulful tracks like the Jerry Butler cover "Never Gonna Give You Up," though some listeners find these less impactful than the funk cuts.
Reviewers call it "straight up FUNKY" and "fantastic," praising its thick production and undeniable funk energy, even if some love songs don't quite match the funkier highs.
The album was Brown's first to chart on the Billboard 200 and went gold, marking a significant commercial breakthrough.
Bustin' Loose is essential listening for funk and go-go fans, offering raw, danceable grooves and showcasing the birth of a uniquely D.C. sound that remains influential. It's a vital slice of late-70s funk history.
C.L. Blast
Written-By – F. Knight 4:43
A2 50/50 Love
Saxophone [Solo] – Harvey Thompson
Written-By – F. Knight 4:28
A3 I Need To Love You
Guitar [Solo] – John Willis
Vocals – Marilyn Denise Hubbard
Written-By – F. Knight 5:10
A4 Drown In My Own Tears
Written-By – Henry Glover 5:15
A5 Never Let Me Go
Written-By – Joseph W. Scott 3:32
B1 Lay Another Log On The Fire
Guitar [Solo] – Michael Ward
Written-By – F. Knight 4:45
B2 Somebody Shot My Eagle
Written-By – F. Knight 4:59
B3 I Just Don't Know
Written-By – J. Shamwell, T. Tate 4:12
B4 Let Me Entertain You
Written-By – F. Knight 4:31
Label: Park Place Records – PPR 416
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Blues
Style: Southern Soul
The self-titled 1984 album by C.L. Blast (born Clarence Lewis) is widely regarded as a standout example of soulful Southern R&B from the 1980s. Released on Amherst Records and Park Place Records, the album showcases Blast’s traditional, gospel-tinged vocal style.
Reviews frequently highlight Blast’s "amazing" and "beautiful" voice, noting its soulful depth and melodic rhythm. His style is often compared to classic soul icons like David Ruffin, bringing a sense of "nostalgia" to the recordings.
The album balances romantic soul ballads with more energetic, uptempo tracks. It is described as "classy and melancholy" with a "warm, vibrant sound" that appeals to fans of traditional soul music.
While some modern critiques suggest the instrumentation occasionally lacks the raw power of his earlier work, the recording quality is still praised for its clarity.
Several songs from the 1984 release have remained favorites among soul collectors:
"Love Don't Feel Like Love No More": Often cited as a "hit" that evokes strong nostalgia.
"I Need To Love You": A prominent ballad that has seen continued play on soul platforms.
"Boomerang Love" and "50/50 Love": Notable for their crossover appeal and consistent ratings among fans.
On collector platforms like Discogs, the album maintains a high average rating of approximately 4 out of 5 stars based on user reviews.
Much of this material was later compiled into the retrospective collection Lay Another Log on the Fire: The Complete Juana Sessions 1976–1984, which is recommended for those looking for the definitive version of his late-career work.
While C.L. Blast is often described as an underrated traditional gospel-tinged soul singer, this album is considered a highlight of his later career. You can buy this album on digital platforms like Amazon or Apple Music. Collectors can often find original vinyl pressings or the comprehensive 2008 CD compilation Lay Another Log on the Fire – The Complete Juana Sessions 1976-1984 through Discogs.
C’est Chic
A2 Le Freak 5:23
A3 Savoir Faire 5:01
A4 Happy Man 4:17
B1 I Want Your Love 6:45
B2 At Last I Am Free 7:08
B3 Sometimes You Win 4:26
B4 (Funny) Bone 3:41
Written by Bernard Edwards and Nile Rodgers
Label: Atlantic – SD 19209
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Chic's C'est Chic (1978) is a landmark disco album, praised for its sophisticated funk, killer grooves, and iconic hits "Le Freak" and "I Want Your Love," showcasing Nile Rodgers' guitar and Bernard Edwards' bass, setting a standard for intelligent dance music that influenced genres like house and hip-hop, though some find tracks repetitive, it's generally hailed as a joyful, essential classic with strong rhythms and memorable hooks.
Features two major #1 hits, "Le Freak" (a massive crossover success) and the equally iconic "I Want Your Love," noted for its shimmering production, defined by the "chucking" guitar of Rodgers, Edwards' melodic basslines, and Tony Thompson's powerful drumming, with tasteful strings and keyboards.
Its sophisticated yet catchy approach became a template for dance-pop and post-disco, deeply impacting house and garage music. Opens strong with "Chic Cheer," includes upbeat tracks like "Happy Man," and offers depth with "At Last I Am Free," though some call tracks like "Savoir Faire" filler.
Widely considered a masterpiece and an essential listen, capturing the essence of disco at its peak, even if some note its occasional repetitiveness.
In essence, C'est Chic is a vibrant, fun, and musically rich album, lauded for its tight arrangements and enduring dancefloor appeal, solidifying Chic's place as disco royalty.
c est chic
Ca$hflow
Rap, Vocals – Larry Blackmon
Written-By – T. Greene
4:17
A2 Mine All Mine
Written-By – K. Beck
4:34
A3 Can't Let Love Pass Us By
Written-By – L. Blackmon
5:27
B1 Spending Money
Written-By – D. Ogrin
4:58
B2 Reach Out
Soloist, Saxophone – Don Myrick
Written-By – J. Campbell
5:22
B3 I Need Your Love
Written-By – M. Wells
5:20
B4 It's Just A Dream
Written-By – E. Robinson, G. Hackett, K. Brown
4:36
Label: Atlanta Artists – 422-826 028-1 M-1
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Funk, Electro
The 1986 self-titled debut album by the Atlanta-based funk quartet Ca$hflow is widely regarded by critics and fans as a quintessential example of mid-80s electro-funk, heavily influenced by its producer, Larry Blackmon of Cameo.
The album maintains a high reputation among soul and funk enthusiasts, holding average ratings between 4.3 and 4.6 out of 5 across major music databases like Discogs.
Reviewers highlight the "solid grooves and beats" created by members Gaylord Parsons, James Duffie, Regis Ferguson, and Kary Hubbert. The sound is characterized by a "new-wave synthesis" of electronic keyboards and drum machines typical of the era.
Kary Hubbert’s "fiery gospel-tinged lead vocals" are frequently cited as a standout element that elevated the band's work above standard dance-pop.
Key Tracks:- "Mine All Mine": The album's most significant commercial success, becoming a Top 20 hit in the UK and a staple of 80s R&B. "Party Freak": Another hit single praised for its danceability and classic funk energy; "Big Money": Often noted for its aggressive, Blackmon-style production.
The album was released on the Atlanta Artists label, founded by Larry Blackmon. Critics often describe the record as having a "Cameo-lite" feel, featuring the signature staccato horn arrangements and heavy synth basslines associated with the legendary funk group.
While the band had the potential for long-term success, music business politics reportedly hindered their momentum after this release. Today, it is mostly enjoyed through expanded digital editions or remastered CDs that include extended club mixes and bonus tracks.
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.
Call Me
A2 Fool Of The Year
A3 You Will Be My Music
A4 Fire In My Heart
A5 If You Don't Know By Now
B1 I Don't Want To Waste Another Day
B2 I Would Do Anything For You
B3 What Does It Take
B4 The Way We Used To Do
Label: Sutra Records – SUS 1014
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul
Dee Dee Warwick's Call Me album (1984 on Sutra Records) showcases her powerful, gospel-rooted voice navigating disco-era production, featuring standout tracks like the soulful "A Cold Night in Georgia" and "Down So Low" that highlight her raw talent, though some critics note the era's typical, sometimes generic, arrangements overshadow her originality at times, making it a showcase for her undeniable vocal gifts despite industry machinations.
The album features Dee Dee's rich, strong, and versatile voice, capable of handling uptown soul, funk, and delicate ballads.
It touches on disco, funk, and classic soul, with songs like the horn-driven "I (Who Have Nothing)" and the heartfelt "You Don't Know (What You Do To Me)".
Highlight Tracks: "A Cold Night in Georgia" is praised for its vocal command and key changes, while "Down So Low" emphasizes her gospel roots.
As a mid-80s release on Sutra Records, it reflects the era's production styles, which sometimes tried to fit her talent into commercial molds, but still allowed her voice to shine.
Reviewers often lament that Dee Dee Warwick didn't receive the widespread recognition she deserved, a sentiment echoed by the quality found on Call Me.
In summary, Call Me is considered a strong entry in Dee Dee's catalog, particularly for fans looking to explore beyond mainstream soul, revealing a formidable singer who could deliver deeply felt performances even within the constraints of '80s production.
Cameron
Engineer – John Bradley
5:05
A2 Funkdown
Backing Vocals – Larry Payton
Engineer – John Bradley
5:46
A3 Together
Backing Vocals – Denise (Pretty Lady) Muller, Larry Payton
Engineer – John Bradley
6:46
B1 Get It Off
Backing Vocals – Delores Dunning Milligan
Engineer – Akilli Walker, Jerry Gabinelli
7:45
B2 Can't Live Without Ya'
Engineer – John Bradley
3:26
B3 Feelin'
Engineer – John Bradley
7:00
Written by Randy Muller
(track B2 written by R. Cameron)
Label: Salsoul Records – SA 8535
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Funk, Disco, Boogie
Released in 1980 on Salsoul Records, Rafael Cameron's self-titled debut album is a notable fusion of funk, disco, and soul. Produced by Randy Muller of Brass Construction and Skyy, the record is often cited as a quintessential example of the "boogie" or post-disco sound of the early 1980s.
The album blends exuberant funk with disco-inflected soul, punctuated by analog synthesizers that create a "space funk" or electronic Eurodisco atmosphere.
It features instrumentation by members of Skyy (performing as the uncredited studio group Funk Deluxe) and showcases Muller’s signature arrangement style, including sprightly melodies and heavy dance grooves.
Critics praise the album's vivacity and consistency, noting that it avoided the "sub-disco" clichés of the era by maintaining authentic "old-school pockets" of rhythm.
Key Tracks:
"Magic of You (Like the Way)": A Top 20 hit known for its lengthy, evolving dance groove.
"Let's Get It Off": A significant club hit characterized by "spangly beats" and a subtle raunchiness.
"Funkdown": A throwback to classic early '70s funk that allows the musicians to demonstrate technical skill.
"Feelin's": A tender, soul-heavy ballad that served as the album's third hit, proving Cameron’s versatility beyond uptempo tracks.
"Can't Live Without Ya": Written by Cameron himself, this track introduces a unique Caribbean-style reggae funk.
Reviewers highlight the "vivacity" Cameron brought to the genre, describing the album as an "exuberant, joyful fusion".
Modern listeners and collectors on platforms like Discogs frequently rate the album highly (averaging between 3.75 and 4.5 out of 5), often calling it Cameron's best work and a "killer album" for funk enthusiasts.
While the production is universally lauded, some reviewers note that Cameron's distinctive vocal style can occasionally be "hard to get into" for new listeners.
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.
Candi Staton
Written-By – B. Bloom, N. Goldberg
3:00
A2 Darling You're All That I Had
Written-By – J. Bettis, K. Chatter
3:23
A3 Blackmail
Written-By – G. Jones, P. Sawyer
2:58
A4 In The Ghetto
Written-By – M. Davis
2:52
A5 Wanted: Lover
Written-By – L. Caston, L. Webber
2:43
B1 The Best Thing You Ever Had
Written-By – G. Jackson
2:25
B2 Lovin' You, Lovin' Me
Written-By – B. Wyrick
3:00
B3 I'll Drop Everything And Come Running
Written-By – G. Jackson, L. Chambers, M. Leaks, R. Moore
2:48
B4 You Don't Love Me No More
Written-By – C. Staton, C. Carter
2:24
B5 The Thanks I Get For Loving You
Written-By – C. Staton
Label: Fame – FAS-1800
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul,
Style: Southern Soul
Candi Staton's 1972 self-titled album, her third for Fame Records, marked a pivotal moment with its move to United Artists distribution, featuring hit Southern Soul singles like "In the Ghetto," "Lovin' You, Lovin' Me," and "Do It in the Name of Love," showcasing her powerful voice over FAME studio musicians, and becoming a cornerstone Southern Soul release celebrated for its emotional depth and classic sound, including an appreciative nod from Elvis Presley.
It was the first album released under Fame Records new distribution deal with United Artists, following Rick Hall's move.
The album included successful singles "In the Ghetto" (which Elvis praised), "Lovin' You, Lovin' Me," and "Do It in the Name of Love," along with their B-sides. Also features gems like "Blackmail," "Wanted: Lover," and "The Thanks I Get For Loving You".
A quintessential Southern Soul album, showcasing Staton's raw, emotive vocals with stellar production from Rick Hall at FAME Studios.
Considered a significant album in her catalog, bridging her gospel roots with mainstream soul success, and a vital part of the FAME Records legacy.
In essence, it's a classic, emotionally charged soul record that solidified Candi Staton as a major force in soul music.
Cane and Able
Written-By – Frenchie Thompson
8:30
A2 Starchild
Written-By – Bob Welch
5:14
A3 Who's Gonna Take The Weight
Lead Vocals – Blinky Bostic
Written-By – G. Redd
5:25
B1 Don't Knock My Love
Written-By – W. Pickett
7:42
B2 Green Grass
Written-By – W. Pickett
3:32
B3 Toe Hold
Written-By – W. Pickett
3:30
B4 Found A Child
Written-By – J. Walters, L. Rabb
4:28
Label: Epic – EPC 64797
Format: Vinyl, LP, Album
Country: France
Released: 1972
Genre: R&B Soul
Style: Psychedelic, Funk, Soul
Cane & Able (1972) is a highly regarded, rare, 8-piece Canadian funk album, often described as a "lost classic" that blends Caribbean influences, soul, blues, and psychedelia. Featuring vocalist Frenchie Thompson and a strong horn section, it boasts a heavy, energetic sound similar to Sly & The Family Stone, with standout tracks like "Girl You Move Me" and "Who's Gonna Take The Weight".
The album is characterized as "freewheeling," "tripped-out" funk with a heavy, driving, psych-influenced rhythm section and prominent horn arrangements.
Notable tracks mentioned include the opener "Girl You Move Me," a cover of "Who's Gonna Take The Weight," and "Don't Knock My Love".
Recorded after the group signed to Epic and relocated from Canada to the US, the album made a significant impact in France.
It is considered a, "lost funk classic". Originally released in 1972, this album has seen reissues, including Japanese paper sleeve editions. The album has an average rating of 4.52/5 on Discogs.
Capricorn Princess
Bass – Jeff Berlin
Drums – Andy Newmark
Guitar – John Tropea
Percussion – Ralph MacDonald
Piano, Organ [Caliope] – Don Grolnick
Saxophone [Baritone] – Ronnie Cuber
Saxophone [Tenor] – Mike Brecker
Synthesizer – Barry Miles
Trombone – Sam Burtis
Trumpet – Jon Faddis, Randy Brecker
Written-By – Walker, Montana, Jr 2:59
A2 I Haven't Got Anything Better To Do
Bass – Anthony Jackson
Drums – Steve Gadd
Guitar – Steve Khan
Percussion – Sue Evans
Piano – Mike Abene
Violin [Electric] – John Blair
Written-By – Pockriss, Vance 3:37
A3 Boy, I Really Tied One On
Bass – Jeff Berlin
Clavinet – Bobby Lyle
Drums – Andy Newmark
Guitar – Eric Gale
Percussion – Ralph MacDonald
Saxophone [Baritone] – Ronnie Cuber
Saxophone [Tenor] – Mike Brecker
Steel Guitar [Pedal] – Allan Holdsworth
Trombone – Sam Burtis
Trumpet – Jon Faddis, Randy Brecker
Written-By – Ian 3:46
A4 Candy
Bass – Anthony Jackson
Drums – Steve Gadd
Guitar – Eric Gale
Piano – Don Grolnick
Saxophone [Tenor] – Pee Wee Ellis
Trombone – Barry Rogers
Trumpet – John Gatchell
Written-By – Kramer, Whitney, David 5:15
B1 A Beautiful Friendship
Bass – Anthony Jackson
Drums – Steve Gadd
Guitar – Steve Khan
Piano – Mike Abene
Written-By – Kahn, Styne 2:52
B2 (Your Love Has Lifted Me) Higher & Higher
Bass – Jeff Berlin
Clavinet – Don Grolnick
Drums – Andy Newmark
Guitar – Eric Gale
Percussion – Ralph MacDonald
Saxophone [Baritone] – Ronnie Cuber
Saxophone [Tenor] – Mike Brecker
Trombone – Sam Burtis
Trumpet – Jon Faddis, Randy Brecker
Written-By – Smith, Jackson, Miner 3:55
B3 All The Way Down
Bass – Jeff Berlin
Clavinet – Don Grolnick
Drums – Andy Newmark
Guitar – John Tropea
Harmonica – Hugh McCracken
Percussion – Ralph MacDonald
Saxophone [Baritone] – Ronnie Cuber
Saxophone [Tenor], Flute [Alto] – Joe Farrell
Written-By – Williamson, Mekler, Lawrence 6:22
B4 Dream
Bass – Anthony Jackson
Drums – Steve Gadd
Guitar – Steve Khan
Percussion – Sue Evans
Piano – Mike Abene
Saxophone [Tenor] – Pee Wee Ellis
Synthesizer – Barry Miles
Trombone – Barry Rogers
Trumpet – John Gatchell
Written-By – Mercer 3:51
Label: Kudu – KU 31
Format: Vinyl, LP, Album
Country: UK
Released: 1976
Genre: R&B Jazz, Soul
Style: Jazz-Funk, Disco
Esther Phillips' 1976 Capricorn Princess album, her final for Kudu, is praised for showcasing her unique voice, blending soulful ballads like "I Haven't Got Anything Better To Do" and "Candy" with disco-funk attempts, though some dance tracks feel forced; highlights include the humorous "Boy, I Really Tied One On" and funky "All The Way Down," with top session players adding depth, making it a strong, albeit mixed, record capturing her humor, drama, and distinctive "vinegar with a bit of honey" sound.
Reviewers consistently laud Phillips' ability to infuse lyrics with deep feeling, even on covers, using her distinctive, expressive voice. The ballads, especially "I Haven't Got Anything Better To Do," "Beautiful Friendship," and "Candy," are considered standout tracks, revealing her interpretive power. The album features elite session players like Steve Gadd, Ralph MacDonald, and Eric Gale, elevating the material.
Following her hit "What A Difference A Day Makes," the album tries disco with tracks like "Magic's In The Air" and "Dream," though some find these corny or unsuccessful compared to her ballads, notes Louder Than War. "Boy, I Really Tied One On," a Janis Ian cover, is a pivotal track, showcasing her streetwise wit and humor, but also carries a poignant undertone about addiction, say Louder Than War.
Capricorn Princess is seen as a significant, though sometimes uneven, final Kudu record, best appreciated for its classic ballads and Phillips' inimitable vocals, making it a must-have for fans despite its disco missteps.
Reissues from Soul Music Records offer bonus tracks like extended mixes of "Magic's In The Air" and "Boy, I Really Tied One On," enhancing its value.
Carl Anderson
A1 Friends And Lovers
Featuring [Duet With] – Gloria Loring
Producer – Carl Anderson, Yves Dessca
Written-By – J. Gruska, P. Gordon
3:45
A2 C'est La Vie
Co-producer, Remix – Laythan Armor
Producer – Richard Rudolph
Written-By – M. Sembello, R. Rudolph
4:34
A3 First Time On A Ferris Wheel
Featuring [Duet With] – Gloria Loring
Producer – Misha Segal
Written-By – H. Schock, M. Segal
4:20
A4 Buttercup
Producer – Richard Rudolph
Written-By – S. Wonder
5:56
A5 Can't Stop This Feeling
Producer – Albert Phillip McKay, Erich Bulling
Written-By – M. Himelstein, T. Keane
4:03
*Friends Side*
B1 Mr. V.J.
Producer – Laythan Armor
Written-By – S. Overall
4:29
B2 You Are My Shining Star
Producer – Dean Gant, Erik Nuri
Written-By – E. Nuri, P. Henderson
6:13
B3 Just A Little Love
Producer – Laythan Armor
Written-By – C. Lieberman, L. Armor
4:49
B4 A Woman In Love
Featuring [Duet With] – Angela Bofill
Producer – Laythan Armor
Written-By – R. Brookins, T. Haynes
4:47
Label: Epic – BFE 40410
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Funk
Carl Anderson's 1986 self-titled album is a significant smooth jazz/soul release on Epic Records, notable for his hit duet with Gloria Loring, "Friends and Lovers," which reached #2 on the charts and introduced him to a wider audience, blending R&B, soul, and pop with theatrical flair from his Jesus Christ Superstar background, featuring tracks like "C'est La Vie" and "You Are My Shining Star".
The album showcases Anderson's expressive, versatile vocals, bridging his theatrical roots with contemporary R&B and soul sounds.
The album is characterized as a blend of Smooth Jazz, Funk, and Soul, often described within the "Black Contemporary" genre of the era. It features lush arrangements and polished production typical of mid-80s adult contemporary music.
It solidified Anderson's place as a solo artist after earlier work, bringing him mainstream success through the popular soap opera connection of "Friends and Lovers".
Carl Graves
A2 Don't Throw It All Away
A3 My Whole World Ended (The Moment You Left Me)
A4 How Can I Be A Man
A5 Baby Don't Knock
B1 Welcome Home
B2 You're Gonna Be All Alone
B3 Be Tender With My Love
B4 Breaking Up Is Hard To Do
B5 That's The Way Love Is
Bonus track: Baby, Hang Up The Phone
(not included on original album)
Label: A&M Records – SP 3410
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Released in 1975 (often associated with 1976 due to international distribution and singles), Carl Graves is the self-titled solo debut of the former Skylark vocalist. The album is widely regarded as a high-quality example of mid-70s blue-eyed soul and R&B, distinguished by its polished A&M Records production and a roster of legendary session musicians.
Graves' vocal style is frequently described as smooth and soulful, drawing comparisons to contemporary R&B stars while maintaining a pop-accessible edge.
The album is notable for several successful singles and cover versions of soul classics:
"Heart Be Still": A standout track that became a major R&B hit; it also received popular "Special Disco Mixes" in 1976.
"Baby Don't Knock": Another key single that showcased the album's radio-ready soul sound.
The album features reinterpretations of Motown and soul staples, including "My Whole World Ended (The Moment You Left Me)," "Breaking Up Is Hard To Do," and "That's The Way Love Is".
The album's enduring reputation is partly due to its elite session lineup, including: Guitars: Ray Parker Jr. and Larry Carlton; Keyboards/Piano: Joe Sample and Robbie Buchanan; Bass: Wilton Felder; Horns: Tom Scott and Plas Johnson.
Reviewers and collectors highlight the album’s sophisticated arrangements, which blend disco-flecked rhythms with lush soul orchestration.
On Discogs, the album maintains a high average rating of 4.06/5 from users, with recent market interest showing a median price of $10.00 as of early 2026.
Carla
Organ, Arranged By [Uncredited] – Booker T. Jones
Written-By – Porter, Hayes
2:49
A2 Red Rooster
Written-By – Dixon
3:55
A3 Let Me Be Good To You
Written-By – Wells, Porter, Hayes
2:40
A4 I Got You, Boy
Written-By – Thomas
2:45
Medley (5:25)
A5a Baby What You Want Me To Do
Written-By – Reed
2:21
A5b For Your Love
Written-By – Townsend
3:04
B1 What Have You Got To Offer Me
Written-By – Thomas
2:46
B2 I'm So Lonesome I Could Cry
Written-By – Williams
3:22
B3 I Fall To Pieces
Written-By – Cockran, Howard
3:09
B4 You Don't Have To Say You Love Me
Written By – Robbins
Written-By – Donaggio, Napier & Bell, Wickham, Pallavicini
3:25
B5 Fate
Written-By – Thomas, Hayes, Cross
3:08
B6 Looking Back
Written-By – Hendricks, Benton, Otis
4:20
Label: Stax – STAX 709
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Southern Soul, Funk
Carla Thomas's 1966 self-titled album, Carla, is a quintessential Memphis Soul record on Stax Records, showcasing her powerful voice with hits like "B-A-B-Y" and "Let Me Be Good to You," blending original hits with soulful covers of standards like Hank Williams' "I'm So Lonesome I Could Cry" and Willie Dixon's "Little Red Rooster," backed by the legendary Stax house band (Booker T. & the M.G.'s) for a potent display of her versatility and role as the 'First Lady of Stax'.
A key release for Stax Records, marking a peak in their Southern Soul sound, featuring iconic tracks such as "B-A-B-Y," written by Isaac Hayes and David Porter, and the classic "Let Me Be Good to You". A blend of R&B, soul, and Memphis Soul, defined by heartfelt vocals and tight instrumentation.
Includes powerful interpretations of country ("I'm So Lonesome I Could Cry") and blues ("Little Red Rooster") standards, demonstrating her broad appeal.
Supported by the famed Stax rhythm section, including Booker T. Jones and Steve Cropper, providing that distinctive Stax groove.
In essence, Carla solidified Carla Thomas's status as a leading voice in soul music, bridging pop sensibilities with deep R&B roots for Stax Records.
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.
Chairmen Of The Board
Written-By – E. Wayne, R. Dunbar
2:38
A2 Come Together
Written-By – J. Lennon-P. McCartney
3:50
A3 Bless You
Written-By – N. Johnson, R. Dunbar
2:49
A4 Patches
Written-By – N. Johnson, R. Dunbar
3:31
A5 Since The Days Of Pigtails & Fairytales
Written-By – E. Wayne, R. Dunbar
2:41
A6 I'll Come Crawling
Written-By – E. Wayne, R. Dunbar
2:38
B1 You've Got Me Dangling On A String
Written-By – E. Wayne, R. Dunbar
3:00
B2 Bravo, Hooray
Written-By – Norman Johnson
3:12
B3 Didn't We
Written-By – Jimmy Webb
2:41
B4 Feelin' Alright?
Written-By – Dave Mason
3:40
B5 My Way
Written-By – Francois, Revaux, Anka
3:57
B6 Tricked & Trapped
Written-By – E. Wayne, R. Dunbar
3:20
Label: Invictus – ST-7300
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Funk
The 1970 self-titled debut album by Chairmen of the Board is widely regarded as a cornerstone of early '70s soul, marking the first major success for the Invictus label founded by legendary producers Holland-Dozier-Holland after they left Motown.
Critics and fans praise the "Motown-level polish" combined with a "fresh, funky edge". The album is often described as an "iconic debut" that helped define the Carolina Beach Music sound.
Reviews frequently highlight the "quirky, hiccup-laden" and "raspy" lead vocals of General Norman Johnson, which gave the group a distinct identity separate from their Motown contemporaries.
Notable Tracks:-
"Give Me Just a Little More Time": The album's massive standout hit, which peaked at No. 3 on the Billboard Hot 100 and sold over a million copies.
"(You've Got Me) Dangling on a String": Another top-40 hit known for its infectious beat and soul polish.
"Patches": The original version of this track, co-written by General Johnson, appears on this album; it later became a Grammy-winning hit for Clarence Carter.
The album includes soulful re-imaginings of popular hits like John Lennon and Paul McCartney's "Come Together" and the standard "My Way".
The album debuted on the Billboard Top LPs chart on May 2, 1970, and peaked at No. 133 during a 10-week chart run. It remains a definitive example of the transition from 1960s soul to 1970s funk. On modern platforms, it maintains strong retrospective ratings, such as a 4.13/5 on Discogs.
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.
Changes
Backing Vocals [Additional] – Phil Kaffel
Written-By – Marlon McClain
3:45
A2 Star Of My Life
Backing Vocals [Additional] – Augie Johnson, John Lettman, Miki Howard, Myrna Matthews
Written-By – Nead, Marlon McClain
4:10
A3 Together In The Afternoon
Written-By – Colin Payne
5:18
A4 Close To You
Written-By – McClain
3:56
A5 Pastel
Backing Vocals [Additional] – Augie Johnson, John Lettman, Miki Howard, Myrna Matthews
Piano [Acoustic] – Jeff Lorber
Written-By – McClain
4:17
B1 Can We Still Be Friends
Backing Vocals [Additional] – Claytoven, Phil Kaffel
Written-By – Todd Rundgren
4:08
B2 Don't Run Away From Love
Backing Vocals [Additional] – Tim Gorman
Written-By – Nead, McClain
4:57
B3 Changes
Written-By – Jeff Lorber
1:16
B4 Why
Soloist, Saxophone – Larry Williams
Written-By – Nead, McClain
4:58
B5 Do You Miss That Feelin'
Backing Vocals [Additional] – Augie Johnson, John Lettman, Miki Howard, Myrna Matthews
Soloist, Synthesizer – Jeff Lorber
Written-By – Hatchell, McClain, Smith, Sparks
4:16
Label: Fantasy – F-9606
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Funk, Soul, Jazz
Style: Boogie, Disco, Fusion, Jazz-Funk
Released in 1981 on Fantasy Records, Changes is the debut solo album from Marlon McClain, the guitarist and founding member of the funk band Pleasure. The album is characterized as a blend of soul, funk, and R&B, featuring high-profile collaborators such as Jeff Lorber, Randy Jackson, and drummer Steve Smith.
Modern listeners and some collectors on Discogs rate the album favorably, with an average rating of approximately 3.9/5, noting its value as a rare piece of early-80s funk.
Some retrospective reviews are harsh toward its smooth production style. One critic described it as "too smooth" and comparable to background music for an 80s "erotic thriller," though they admitted it was a mystery why it wasn't a hit given its "painted by numbers" adherence to 1981 pop-funk standards.
McClain handles multiple roles, including lead and background vocals, lead and bass guitar, vocoder, and percussion. The track "Pastel" is often cited as the definitive example of the album's smooth, atmospheric style.
Key Tracks:- Shake It Up" – A more up-tempo, danceable track that stands out from the smoother ballads; "Can We Still Be Friends" – A soulful cover of the Todd Rundgren classic; "Changes" – The title track, written by jazz-fusion keyboardist Jeff Lorber; "Pastel" – A signature instrumental that encapsulates the album's polished, "West Coast" R&B aesthetic.
Before this solo effort, McClain was the leader and guitarist for the prominent funk/rock band Pleasure throughout the 1970s. While Changes did not achieve major commercial chart success at the time, it is highly regarded by collectors of 80s soul and funk. McClain did not release a follow-up solo album until 2010.
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.
Chicken Lickin’
Written-By – Watley
5:41
A2 Running Away
Written-By – Stewart
6:30
A3 They Trying To Get Me
Written-By – Cadena, Weakley
4:30
B1 The Better Half
Written-By – Parker
6:35
B2 Let's Make Peace And Stop The War
Written-By – Watley
5:45
B3 Jung Bungo
Written-By – Watley
6:20
Label: Prestige – 10043
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Jazz, Funk
Style: Soul-Jazz, Jazz-Funk
Chicken Lickin' (1972) by Funk, Inc. is a highly regarded, gritty, and deeply soulful jazz-funk album on Prestige Records. Featuring the Hammond B3 organ, it delivers heavy, danceable grooves, often cited as a standout in their discography and a staple of 1970s soul-jazz. Key tracks include the title cut and "The Better Half".
A heavy, raw, and grooving mix of jazz, soul, and funk that is often associated with early 70s acid jazz, featuring a prominent Hammond B3 organ.
Reviewers often compare the band’s sound to The Meters or Jimmy Smith, noting a "distinctive and haunting" quality that focuses on "choppy energy" rather than just danceability.
The instrumental tracks are lauded for their tight, funky rhythm section, with highlights including "The Better Half," "Jung Bungo," and "Running Away". Features one notable political, vocal track, "Let's Make Peace & Stop The War".
Considered a high point in the group's discography and a, "must-hear" for fans of 70s funk, often reissued alongside their debut album for its lasting impact on the soul-jazz genre.
Generally praised for its, "excellent, heavy funk" and, "dancefloor fillers," with some noting it as their best work. Dusty Groove: Highlights it as a, "deep, soulful Indy-bred blend of jazz and funk" that was one of the best in the 70s. JazzMusicArchives.com: Mentions that this, and their first few albums, were, "highly regarded in soul-jazz circles" before the band moved to a more produced sound later in the 70s.
It is, overall, described as a consistent and high-energy album that is, "real big fun to listen to". The album holds high praise across collector platforms, maintaining an average rating of 4.3 to 4.8 out of 5 stars on Discogs and Rate Your Music.
Often described as "dancefloor fillers" for the acid jazz and soul-jazz scenes, critics at Ace Records note that while the music isn't "groundbreaking," it is exceptionally well-played and "hypnotic."
Children Of The Night
Written-By – Tony Henry
3:51
A2 Never Give Up On You
Synthesizer [Piano And Bass] – John Dennison
Written-By – Diane Charlemagne, John Dennison
4:26
A3 You're My Last Chance
Lyrics By [Rap] – Nick Martinelli
Written-By – Tony Henry
4:45
A4 Abandon Love
Written-By – John Dennison, Tony Henry
3:43
A5 Children Of The Night
Written-By – Diane Charlemagne, John Dennison, Tony Bowry
5:12
B1 Look I've Heard
Written-By – John Dennison, Tony Henry
4:15
B2 I Can't Let You Go
Written-By – Diane Charlemagne, John Dennison
4:23
B3 Smiling Eyes
Written-By – Diane Charlemagne, Tony Bowry
5:15
B4 I'm Available
Written-By – John Dennison, Tony Henry
5:24
B5 Let's Celebrate
Written-By – Tony Henry
3:24
Label: 10 Records – DIX 25
Format: Vinyl, LP, Album
Country: UK
Released: 1985
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco
52nd Street’s 1985 debut album, Children of the Night, is a highly regarded British R&B/soul-funk project, blending 80s synth-pop with grooves reminiscent of Loose Ends.
Produced partly with Nick Martinelli, the album is celebrated for its consistent, upbeat tracks and strong, sophisticated sound, featuring standout, dance-oriented, and soulful songs like "Tell Me (How It Feels)" and "You're My Last Chance".
The album is noted for avoiding the worst excesses of 1980s production, delivering a "warm and inviting" yet modern sound for its time.
Highlights: "Tell Me (How It Feels)," "Children of the Night," "Look I've Heard," "I Can't Let You Go," "Smiling Eyes," and "You're My Last Chance" are frequently cited as top tracks.
While sometimes confused with other 80s groups, the Manchester-based band received praise for this album, with some reviewers considering it a classic of its era and a solid, "no filler" record.
Children of the Night is generally considered a standout in 80s UK soul, often lauded for its quality production and strong, memorable songwriting. It reached #71 on the UK Albums chart and #23 on Billboard's R&B Albums chart.
Chocolate Milk
A2 How About Love 5:52
A3 Spread A Little Love 4:56
A4 You've Got Your Spell On Me 3:07
B1 Let The Music Take Your Mind 4:22
B2 Crazy About You 3:31
B3 Party Happy 3:16
B4 Running Away 3:43
B5 Pluck It 5:16
Written by Chocolate Milk
Label: RCA Victor – APL1-1399
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
Chocolate Milk's 1976 self-titled album isa New Orleans funk/R&B record known for its groovy rhythms, socially conscious lyrics, and blend of funk, soul, and R&B, featuring singles like "How About Love," showcasing the band's energetic sound rooted in the Crescent City's rich musical heritage but with unique flair, produced by legends like Allen Toussaint.
Sound: Groovy, energetic, blending traditional New Orleans funk with broader R&B influences, incorporating synthesizers and tight horn arrangements. Producers: Allen Toussaint and Marshall Sehorn, key figures in New Orleans music. Notable Tracks: "How About Love," "You've Got Your Spell On Me," "Let The Music Take Your Mind," and "Never Ever Do Without You". Significance: Established the band in the funk scene, drawing from New Orleans' rich musical history while offering a distinct sound.
In essence, the album is a vibrant example of 70s funk, capturing the unique spirit of New Orleans music through the lens of Chocolate Milk's soulful and funky vision, solidifying their place in funk history. Available in expanded editions with bonus tracks like 7" single versions of "Girl Callin'," "Say Won'tCha," and "Grand Theft".
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.
Chuck Jackson Arrives!
Written-By – Wm. Robinson
2:58
A2 Your Wonderful Love
Written-By – B. Gordy, Jr.
2:52
A3 Lonely Lonely Man Am I
Written-By – E. Kendricks, E. Holland, N. Whitfield
2:33
A4 Ain't No Sun Since You've Been Gone
Written-By – C. Grant, N. Whitfield, S. Moy
2:56
A5 I Can't Go On Sharing Your Love
Written-By – Holland, Dozier, Holland
2:52
A6 Forgive My Jealousy
Written-By – I. Hunter, J. Goga, P. Sawyer
2:12
B1 To See The Sun Again
Written-By – I. Hunter, J. Goga
2:38
B2 What Am I Gonna Do Without You
Written-By – I. Hunter, S. Wonder
2:29
B3 I Like Everything About You
Written-By – Holland, Dozier, Holland
2:58
B4 We'll Find A Way
Written-By – B. Verdi, I. Hunter
2:14
B5 Where You Gonna Run To Now
Written-By – J. Dean, M. McLeod, W. Weatherspoon
2:55
B6 Girls, Girls, Girls
Written-By – A. Cleveland, Wm. Robinson
2:41
Label: Motown – MS 667
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Chuck Jackson Arrives!(1968) is praised as a superb, mature soul album where Jackson blended his classic powerful voice with Motown's polish and burgeoning Southern soul/Memphis sounds, producing a deep, expressive record for collectors despite Motown's lack of promotion, showcasing strong arrangements and iconic tracks like "Any Day Now".
It marked a pivotal shift from his earlier Scepter/Wand "Iceman" ballads towards a deeper, more expressive soul, integrating Memphis/Muscle Shoals influences with classic Motown production.
Produced by Smokey Robinson, it featured top-tier Motown arrangements, though some felt Berry Gordy didn't fully support the project with top songwriters, resulting in a mix of quality tracks (Smokey, H-D-H, Ashford & Simpson, Stevie Wonder) and some less essential material.
Reviewers consistently highlight Jackson's rich, powerful, and emotionally resonant voice as the album's core strength, making it a must-have for purists.
While commercially overlooked by Motown at the time, it's highly valued by collectors for its solid soul, great sound (often in stereo), and rarity, bridging the Detroit and Southern soul scenes.
Fans and critics consider Chuck Jackson Arrives! a fantastic showcase for one of R&B's true giants, offering a unique blend of classic R&B power and Motown sophistication, even if it wasn't a huge commercial hit initially.
Circle of Love
Songwriter – Faye Hauser, Patrick Adams 3:30
A2 Cross My Heart
Songwriter – Gwen Guthrie, Patrick Grant 3:22
A3 Protect Our Love
Songwriter – Gwen Guthrie, Patrick Grant 4:10
A4 Give In To Love
Songwriter – Linda Creed, Thom Bell 4:55
B1 Love Don't You Go Through No Changes On Me
Songwriter – Gwen Guthrie, Patrick Grant 3:24
B2 Don't You Miss Him Now
Songwriter – Gwen Guthrie, Patrick Grant 3:15
B3 Pain Reliever
Songwriter – Gwen Guthrie, Patrick Grant 3:30
B4 You're Much Better Off Loving Me
Songwriter – Gwen Guthrie, Patrick Grant 3:17
B5 Fireman
Songwriter – Sampson, Guthrie, Grant 3:40
Label: ATCO Records – SD 36-105
Format: Vinyl, LP, Album, PR
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Disco
Circle Of Love, released in 1975, is the debut studio album by Sister Sledge. Recorded when the sisters were all teenagers—Kathy Sledge was only 15—the album serves as a precursor to their later disco dominance with Chic.
Modern retrospectives generally view the album as a "decent, if uneven" collection of Philly soul. Critics praise the "youthful exuberance" and strong vocal abilities of the sisters, particularly Kathy's lead vocals, which already sounded remarkably mature for her age.
Some reviewers find the production by Tony Silvester and Bert de Coteaux a bit "saccharine" or "old fashioned" compared to the group's later work. It is frequently noted as not being in the same class as their 1979 classic We Are Family.
Key Tracks:
"Love, Don't You Go Through No Changes On Me": Widely considered the album's highlight and "immediate gem," this single reached #31 on the R&B charts and is noted for its wistful vocals.
"Circle Of Love (Caught In The Middle)": The title track is praised for its "reassuring harmonies" and joyous delivery.
"Pain Reliever": Described as a "disco-inclined strut" and a driving dance cut.
"Fireman": Often cited as a fun, giddy, and slightly silly closing track that showcases the group's personable presence.
The 40th Anniversary Special Edition (released by Big Break Records in 2016) is highly recommended by fans for its remastered sound and extensive bonus material, including ten extra tracks like "Mama Never Told Me" and "Cream Of The Crop".
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.
City Slicker
A2 Taxi 4:57
A3 Street Girl 3:08
A4 One Of Those Parties 3:22
B1 Where Is Love 3:41
B2 I Stood On The Sidewalk 6:20
B3 City Slicker 3:39
B4 All Because Of What You Did To Me 3:30
B5 Can You Hang 3:28
Written-By – Betty Crutcher (tracks: B4), C. Brooks (tracks: A1 to B3, B5), H. Banks (tracks: A1 to B3, B5)
Label: Soundtown Records – ST-0002
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Disco
J. Blackfoot's 1983 debut solo album, City Slicker, is generally well-regarded by fans of R&B and soul music, particularly for its standout hit "Taxi," though some find other tracks a little dated. The album is a concept record exploring a country boy's experiences in the city.
Reviewers on Amazon and other platforms frequently mention "Taxi" as an exceptional "hidden gem" or a "great hit" that evokes strong nostalgia. According to a reviewer on Amazon UK, it was a popular "smooch and 'send 'em home'" track at clubs in the 70s and is still considered viable today.
The album is praised for J. Blackfoot's "forceful soul belter" voice and his adherence to the classic soul sound of the late 1960s and early 1970s. Many user reviews describe the entire CD as "good listening" and "great songs".
William Ruhlmann of AllMusic notes that Blackfoot is a forceful soul singer but "not exactly original," borrowing heavily from songs like Stevie Wonder's "Livin' for the City" on the opening track, "The Way of the City". However, in 1983, it was a pleasant change of pace to hear someone sticking so closely to vintage soul sounds.
The album has an average rating of over 4 stars on Discogs and Amazon, indicating high customer satisfaction among those who appreciate his particular style of soul music.
Classic Jazz-Funk - Mastercuts Volume 1
Written-By – L. Liston-Smith
6:04
A2 Ronnie Laws– Always There (Original 12" Mix)
Written-By – Allen III, Laws, Jeffrey
4:52
A3 Gil Scott-Heron– The Bottle (Original 12" Mix)
Written-By – G. Scott-Heron
5:10
B1 Donald Byrd– Change (Makes You Want To Hustle) (Original Full LP Version)
Written-By – L. Mizell
5:07
B2 Wilton Felder– Inherit The Wind (Original 12" Mix)
Written-By – D. Ray Nix, W. Felder, W. Felder Jnr.
7:23
B3 Spyro Gyra– Shaker Song (Original 12" Mix)
Written-By – J. Beckenstein
4:41
C1 Azymuth– Jazz Carnival (Original 12" Mix)
Written-By – Malheiros, Conte, Bertrami
9:35
C2 Johnny Hammond– Los Conquistadores Chocolates (Original Full LP Version)
Written-By – F. Mizell, L. Mizell
6:09
C3 Eddie Henderson– Say You Will (Original 12" Mix)
Written-By – King, Mtume, Lucas
4:18
D1 John Klemmer– Brasilia (Original Full LP Version)
Written-By – J. Klemmer
9:11
D2 Harvey Mason– Till You Take My Love (Original 12" Mix)
Written-By – D. Foster, H. Mason
3:38
D3 Dizzy Gillespie & Lalo Schifrin– Unicorn (Original 12" Mix)
Written-By – L. Schifrin
6:50
Label: Mastercuts – CUTSLP 2
Format: 2 x Vinyl, LP, Compilation
Country: UK
Released: 1991
Genre: R&B Jazz, Funk, Soul
Style: Fusion, Jazz-Funk, Latin Jazz
Various – Classic Jazz-Funk - Mastercuts Volume 1 (1992) is widely acclaimed as a definitive, high-quality compilation of 1970s/80s jazz-funk and fusion, featuring essential 12" versions. Renowned for its "all killer no filler" curation, it is considered a crucial, energetic introduction to the genre, suitable for both serious collectors and new listeners.
Considered a "strongest comp" by enthusiasts, it brings together rare and famous tracks, featuring artists like Lonnie Liston Smith, Johnny Hammond, and John Klemmer.
While almost universally praised, some listeners have noted that Spyro Gyra's "Shaker Song" feels more like "chill Latin jazz" than pure jazz-funk, suggesting other artists like Roy Ayers might have been a better fit for the slot.
The Mastercuts series is noted for excellent, hot, and dynamic mastering. It serves as an ideal entry point for those exploring the genre. Often described as a "must-have" for DJs and fans, with tracks that defined the dancefloor scene of the era. It is highly regarded as one of the best in the Mastercuts series.
Clean
4:32
A2 Jealous
4:05
A3 Contact
7:21
B1 Storm Clouds On The Way
4:23
B2 Don't Waste Your Time
4:01
B3 Music Brings Out The Beast In Me
4:28
B4 Working Song
7:38
Label: 20th Century Fox Records – T-559
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
Released in 1978 on 20th Century Records, Edwin Starr’s Clean is a critically acclaimed, high-energy transition into disco-soul that marked his biggest success post-Motown. Produced by Starr and Lamont Dozier, the album blends powerful, gritty vocals with danceable beats, featuring the hit "Contact" and the soulful "Jealous".
The album successfully merges funk, R&B, and disco, featuring a mix of upbeat dance numbers and emotional ballads.
The top-10 UK disco anthem "Contact" and the upbeat "I'm So Into You" are standout tracks, along with the ballad "Jealous" and "Working Song".
Starr’s "gruff deep baritone" remains highly expressive throughout, proving his versatility as both a soul shouter and a disco vocalist.
The album is noted for its polished, high-energy 70s sound, with contributions from legendary producer Lamont Dozier.
Clean is considered a "must-have" for soul and disco fans, often lauded for its well-rounded, polished, and dance-heavy approach, particularly in its remastered editions. It was Starr's most successful commercial release since his Motown era, peaking at #22 on the US R&B charts.
Climing Higher
A2 Living My Life Just For You 4:03
A3 All I Want 4:23
A4 Something Inside You Feel 4:28
B1 Climbin' Higher 4:57
B2 Daisy Lady 4:37
B3 Something Beautiful 5:26
B4 Young Girl 4:44
Label: Parachute Records – RRLP 9014 DJ
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Released in 1979 on Casablanca's Parachute subsidiary, Climbing Higher is the second studio album by the Tuskegee-based funk octet 7th Wonder. The record is widely regarded as a solid example of late-70s modern soul and funk, blending uptempo dance floor tracks with smoother R&B grooves.
Key Tracks and Highlights:-
Daisy Lady: The album's standout track, renowned for its "monster" breakbeat and infectious funky rhythm. It has been heavily sampled in hip-hop and remains a staple for DJs of classic soul and funk.
Do It With Your Body: Another uptempo highlight that showcases the band's club-oriented sound and tight instrumentation.
Climbin' Higher: The title track features the soaring vocal arrangements and melodic lines characteristic of the band's polished production style.
Ballads: The album includes slower moments like "Young Girl" and "Living My Life Just For You," which provide a soulful contrast to the high-energy funk tracks.
Critical consensus generally places the album as a high-quality, albeit somewhat "slept on," funk record. Reviewers describe the sound as a mix of soul, funk, and early disco, noting the "clubby groove" that defines the uptempo tracks.
On enthusiast platforms, the album maintains strong ratings, typically ranging from 4.0 to 4.4 out of 5 among listeners on sites like Discogs.
While some tracks beyond "Daisy Lady" are occasionally labeled as average by purists, the ensemble playing and production are frequently cited as "superb" and "impressive".
Closer
Soloist, Trumpet – Roger Walls
Vocals – Erma Shaw
8:11
A2 Street Talk 5:32
A3 (It's Been) Too Long 5:02
B1 Hold Tight
Vocals – Elisabeth Smith
5:16
B2 Love Is
Written-By – Bill Withers, Paul Smith
2:37
B3 Closer
Soloist, Guitar – John Farley
6:14
Label: Atlantic – SD 16042
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Funk, Soul
Style: Disco, Boogie
Released in 1981, Gino Soccio’s Closer is a highly regarded, synth-heavy Italo-disco and funk album produced by the Canadian artist himself. Featuring the standout hit "Try It Out," the 6-track record blends danceable grooves with polished production, including a soulful cover of "Love Is" and a moody, instrumental title track.
The album sits at the intersection of disco, funk, and early electronic/Italo-disco. It is characterized by shimmering synthesizers, driving basslines, and polished, professional production.
Standout Tracks:- "Try It Out": Considered the album's masterpiece, this track features a long, funk-driven arrangement with a notable trumpet solo; "Love Is": A well-received cover of the Bill Withers song; "Closer": The title track is a moody, instrumental synth piece; "Street Talk": A soulful, smooth track featuring saxophone.
Closer is often viewed as a classic, sophisticated dance record that bridges the gap between late disco and the evolving 80s synth-pop sound. While sometimes noted for incorporating lighter, pop-oriented elements compared to his earlier work, it remains a favorite among fans of the genre.
Soccio served as both artist and producer, creating a polished sound that has aged well, often described as having a "timeless" quality.
The album peaked at #96 on the US chart and #26 on the US R&B chart, cementing its place as a recognized, high-quality production in the disco era.
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 Away With Me
Written-By – L. Dozier 5:43
A2 J-E-A-L-O-U-S (Means I Love You)
Written-By – D. Hobbs, E. Croom, F. Gorman 6:18
A3 While The Cat's Away
Written-By – G. Page, L. Dozier 6:07
B1 Come Away With Me
Written-By – F. Gorman 5:56
B2 Stay (With Me)
Written-By – E. Croom, F. Gorman 4:29
B3 Blue Moon
Written-By – L. Hart, R. Rodgers 7:22
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Come Away With Me is a 1979 soul and disco album by the Motown-originating vocal group The Originals, released on the Fantasy Records label (Catalog: F-9577). This record represents a transition for the group from their Motown roots into late-70s R&B.
The album is categorized as Funk/Soul with a heavy emphasis on Disco and Urban R&B. Continuing their reputation for tight harmonies, the group utilizes their signature soul background while adapting to the more dance-oriented production of the era.
The album consists of six tracks, with several extending into long-form disco grooves and features elite session players including percussionist Paulinho Da Costa and guitarist Charles Fearing.
It features elaborate arrangements with prominent brass (flugelhorn, sax), keyboards, and percussion, typical of late 70s soul/R&B, moving into disco-influenced territory. McKinley Jackson played a significant role, arranging, conducting, and even playing acoustic piano on some tracks.
The production features lush arrangements with a full brass section (trumpets, flugelhorns) and strings, typical of high-end late-70s soul productions.
Reviewers generally view this as a competent, "pleasant" late-career entry for the group, though it did not achieve the commercial heights of their earlier Motown hits like "Baby, I'm For Real".
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.
Come Go With Us
Written-By – A. McKinney, R. Wright, V. White
4:22
A2 Pasado
Written-By – C. Burke, J. Burke, R. Marrero
5:42
A3 One Day At A Time
Written-By – R. Wright, V. White
5:44
A4 Doin' The Do
Written-By – G. Grainger
2:58
B1 In The Pocket
Written-By – A. McKinney, K. Barnes, R. Wright, V. White
3:51
B2 Nothing Is Stronger
Written-By – A. McKinney, G. Stekler, J. Sheffer, R. Wright, V. White
4:00
B3 Elusive Lady
Written-By – A. McKinney, K. Barnes
6:58
B4 Wizzard Wuzzit
Written-By – G. Grainger
2:35
Label: Columbia – PC 34879
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
Released in October 1977 on the Kalimba/Columbia label, "Come Go With Us" is the debut album from the Baltimore-based eight-piece soul-funk group Pockets.
The album was produced by Verdine White (of Earth, Wind & Fire) and co-produced by Robert Wright. Critics often note the heavy influence of the Maurice White/EW&F aesthetic, characterized by lush arrangements and staccato-driven rhythms.
The album reached #17 on the Billboard Top Soul Album Charts. Its breakout single, "Come Go With Me," peaked at #17 on the Billboard Hot R&B Singles and #32 on the Disco Action Charts.
On Discogs, the album maintains a high average rating of approximately 4.13 to 4.7 out of 5 across various pressings as of early 2026.
Reviewers highlight the album for its lack of "filler," describing it as a consistent, "beautiful album start to finish".
"Come Go With Me": The lead single, celebrated for its high energy and funkiness.
"Pasado": A Spanish-inflected track noted for its unique cultural flavor.
"One Day At A Time": A standout mid-tempo ballad frequently cited for its soulful delivery.
Instrumentals: The album features two instrumental tracks described as "divine" and "magnificently played".
Vocals: Songs like "In The Pocket," "Elusive Lady," and "Nothing Is Stronger" are praised for their superb vocal performances and impeccable songwriting.
While the group never repeated the Top 20 success of their debut, "Come Go With Us" remains a staple for R&B and funk enthusiasts, often rediscovered through radio programs like Felix Hernandez's Rhythm Revue. It is regarded as a "little gem" of the 1970s soul-funk era that showcased the band's immense, if relatively unsung, talent.
Come Into My Life
Producer, Mixed By – Mantronik
Written-By – Joyce Sims
7:47
A2 Love Makes A Woman
Featuring, Saxophone – Jimmy Castor
Producer, Mixed By – Joyce Sims
Written-By – Carl Davis, Eugene Record, Will Sanders
4:11
A3 It Wasn't Easy
Written-By, Producer, Mixed By – Joyce Sims
3:57
A4 All And All
Producer, Mixed By – Mantronik, Robbie Watson's Smokin' Amigo Productions
Written-By – Joyce Sims
6:06
B1 Lifetime Love
Producer, Mixed By – Mantronik
Written-By – Joyce Sims
6:23
B2 A Change In You
Producer, Mixed By – Mantronik
Written-By – Joyce Sims
5:24
B3 Walk Away
Mixed By – Nelson Diaz
Written-By, Producer – Joyce Sims
5:07
B4 The All And All U.K. Remix
Producer, Mixed By – Mantronik, Robbie Watson's Smokin' Amigo Productions
Written-By – Joyce Sims
7:05
Label: Sleeping Bag Records – TLX-10
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Contemporary R&B, House, Electro
Released in 1987, Joyce Sims' debut album, Come Into My Life, is a landmark of late-1980s R&B, dance, and freestyle music. Critics and listeners alike praise it for its distinctive blend of soulful vocals and early electronic production, largely helmed by hip-hop pioneer Kurtis Mantronik.
Retrospective reviews often highlight the album as a "club classic" that remains fresh due to its high-quality production and mixing. NME originally rated the title track an 8/10, describing its "trance dance" feel as having an "insidious" and "beautiful tune".
The album was a commercial hit, reaching the Top 10 of the Billboard R&B Chart in the US and earning a Gold certification in the UK.
Reviewers from AllMusic and Billboard have noted that Sims’ style captured "dance dynamics and club appeal better than most," specifically citing the "ear-fetching grooves".
The album is defined by several major singles that Sims wrote herself:-
"Come Into My Life": The title track is her signature hit, reaching #7 in the UK and #10 on the US Billboard R&B chart. It is lauded for its "universal" love message and "sweetly warbled" soul style.
"(You Are My) All and All": Her first major success, which topped international dance charts and became a foundational track for the freestyle genre.
"Lifetime Love": Highlighted for its "hard" club version, though some fans have noted the "soft" radio version's curious omission from some original album pressings.
On user-review platforms like Discogs and Rate Your Music, the album maintains high ratings, typically around 4/5 stars. While some listeners find the 1980s synthesizer production slightly dated by modern standards, most agree that Sims' vocal range and Mantronik’s groundbreaking electro-funk beats make it a "must-listen" for fans of 80s dance-pop.
Come To Me Softly
Written-By – R. Wylie, Tony Clarke
3:12
A2 This Heart Of Mine
Written-By – Barrett Strong
2:29
A3 Do It Right
Written-By – Rudy Clark
3:03
A4 I Gotta Dance From Keep From Crying
Written-By – Holland-Dozier-Holland
2:31
A5 I'm Just A Fool For You Girl
Written-By – Carl Davis, Gerald Sims
2:19
A6 Hi-Diddly Dee Dum Dum (It's A Good Feelin')
Written-By – Billy Davis, R. Staunton, R. Walker
2:43
B1 People Get Ready
Written-By – Curtis Mayfield
2:36
B2 The Entertainer
Written-By – Tony Clarke
2:19
B3 Come To Me Softly
Written-By – Jimmy James
3:20
B4 Little Boy Blue
Written-By – Curtis Mayfield
2:11
B5 It's Growing
Written-By – William Robinson, Warren Moore
2:43
B6 Ain't No Big Thing
Written-By – Gerald Sims
2:40
Label: Atco Records – SD 33-222
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Released in 1968 on the Atco label, Come To Me Softly by Jimmy James & The Vagabonds is a soul-focused album capturing the energy of their UK club scene popularity. The LP features the title track hit, along with soul covers, showcasing a blend of studio production and live-sounding, soulful performances.
The record is characterized by James’s powerful vocals and the band's tight, brass-heavy arrangements. Jimmy James is noted for a, at times, inconsistent vocal identity on earlier recordings, but this album marks a period of increasing confidence.
Key Tracks:
"Come To Me Softly": The standout title track, originally a solo hit for James in Jamaica, showcases his ability to deliver a tender, romantic performance.
"This Heart Of Mine": A Northern Soul classic praised for its "plaintive" vocal entry and "dreamily infectious" backing.
Soul Covers: The album includes robust versions of classics like "People Get Ready" and "The Entertainer," which some fans argue are equal to the original US versions.
While the band had success in the UK, this release helped them reach US audiences with their polished, soul-influenced sound.
Often associated with the 1960s UK club scene, the group is remembered for high-energy, danceable music.
The album serves as a key representation of a Jamaican-born artist making his mark on the British soul scene. It is highly regarded by soul enthusiasts and Northern Soul collectors, holding an average rating of 4.1 / 5 on Discogs. Critics and fans often highlight it as one of the best British-recorded soul albums of the 1960s.
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.
Coming Right At You
Written-By – McIntyre
A2 No More City, No More Country
Written-By – Daniels
A3 Boarding Pass
Written-By – Leake
A4 Holes In My Shoes
Written-By – Leake, Harrison
A5 My Little Someone
Written-By – Daniels
B1 Windy C.
Written-By – Leake
B2 (But You Say) You Want To Make It With Me
Written-By – Leake
B3 Don't Let Your Pride, Overpower Your Love
Written-By – Leake, Parrish
B4 (And When I Said) I Love You
Written-By – Hartung
B5 Puppet On A Chain
Written-By – Durham, Leake, Davis
Label: EMI International – INS 3001
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
The album Coming Right At You by 100% Pure Poison is a highly-regarded, sought-after jazz-funk and soul "rare groove" classic known for its exceptional musicianship, groovy tracks, and varied sound. Its rarity and unique backstory (recorded by American servicemen in Germany in 1974) add to its legendary status among collectors.
The album is praised for its high level of musical content, offering a good balance of soulful, comforting songs and upper-key, dance-inducing funky tunes. The nine-piece group demonstrates high-level instrumental sophistication, including funky guitar riffs, organ playing, horns, and percussion.
Highlights mentioned by reviewers include the "lost funk classic" and often-sampled track "Windy C," the "Blaxploitation funk affair" "No More City, No More Country," the soulful ballad "Puppet On A Chain," and the "J.B.'s style funk-soul fusion" "Hole In My Shoe".
Some user and expert reviews point out that the only significant detractor of the album is the production of the vocals, which are reportedly set too far back in the mix, making them seem weak compared to the instrumental tracks. This is considered a missed opportunity, as the singing itself is tuneful.
Reviewers of some reissued CD and vinyl versions have noted issues with the mastering, specifically that the high frequencies (cymbals, hi-hats) can be too sharp and overwhelming on certain tracks like "Windy C," which can be irritating to an "audiophile" ear. The original vinyl is often considered to have a better sound balance.
Despite being largely overlooked at the time of its initial 1974 UK release, the album has consistently been revived and celebrated during the "rare groove" movement of the 80s and onward. Its legacy is cemented by its quality and the interesting story behind its creation.
100 Percent Pure Poison
Conscience
A2 MPB (Missin' Persons Bureau) 4:00
A3 Friends (So Called) 5:50
A4 Slave (Just For Love) 5:00
B1 Teardrops 5:00
B2 Good Man Monologue 5:00
B3 Life's Just A Ballgame 4:22
B4 I Am Love 2:40
B5 Celebrate The World 4:00
Label: 4th & Broadway – 209 139
Format: Vinyl, LP, Album
Country: Europe
Released: 1988
Genre: R&B Soul
Style: Eighties Soul, Disco
Womack & Womack's 1988 album, Conscience, is a critically acclaimed soul/R&B gem celebrated for its smooth grooves, heartfelt lyrics, and the stellar chemistry between Cecil and Linda Womack, especially highlighted by the global hit "Teardrops," though some critics found its unique, sometimes languid pace or sparse production a bit uneven, making it a grower that rewards repeated listens with deep, soulful moments like "Baby I'm Scared of You" and "Life's Just a Ballgame".
The album's standout is "Teardrops," a massive international hit known for its catchy melody and emotional depth, solidifying the duo's global fame.
Critical Reception: Generally positive, with praise for its soulful sound, strong songwriting, and the duo's vocal talents, though some reviews noted dated or sparse production.
Blends soul, R&B, and pop, featuring unique, sometimes mesmerising grooves and a classy ambiance that works well as background music.
Besides "Teardrops," tracks like "Life's Just a Ballgame," "Good Man Monologue," and "Baby I'm Scared of You" showcase their emotional power.
Features the Mountain Man Band, with some critics feeling the British backup was sometimes tepid, contrasting with the Womacks' powerful core performances.
Conscience is seen as a fantastic, gem-filled album for soul fans, a record that might not grab you instantly but offers deep satisfaction with each play, becoming a cherished classic for many.
Cornelius Brothers and Sister Rose
Written-By – E. Cornelius
3:22
A2 I'm So Glad (To Be Loved By You)
Written-By – C. Cornelius, E. Cornelius
2:57
A3 Let Me Down Easy
Written-By – E. Cornelius
3:00
A4 Don't Ever Be Lonely (A Poor Little Fool Like Me)
Written-By – E. Cornelius
2:58
A5 Gonna Be Sweet For You
Written-By – E. Cornelius
3:25
B1 I'm Never Gonna Be Alone Anymore
Written-By – C. Cornelius, E. Cornelius
2:37
B2 Good Loving Don't Come Easy
Written-By – E. Cornelius
2:57
B3 Treat Her Like A Lady
Written-By – E. Cornelius
2:42
B4 Just Ain't No Love (Like A Lady's)
Written-By – E. Cornelius
2:44
B5 Lift Your Love Higher
Written-By – E. Cornelius
3:20
B6 Let's Stay Together
Written-By – Green, Jackson, Mitchell
3:05
Label: United Artists Records – UAS-5568
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
The 1972 self-titled debut album by Cornelius Brothers & Sister Rose is a standout early '70s soul record featuring the smash hits "Treat Her Like a Lady" and "Too Late to Turn Back Now". The album, peaking at #29 on the pop charts, blends smooth, uplifting soul with funkier, horn-heavy arrangements. It is widely praised for having no filler tracks, featuring memorable, melodic songwriting by Eddie Cornelius.
Key Tracks:-
"Too Late to Turn Back Now": The album’s standout hit, reaching #2 on the Billboard Hot 100. It is praised as a "phenomenal, catchy ballad" that remains an oldies radio staple today.
"Treat Her Like a Lady": A driving, funky track described by some as having a "bullseye blend of rock and soul elements".
"Don't Ever Be Lonely (A Poor Little Fool Like Me)": Often cited as a "grower" that showcases the group's melodic strength beyond their biggest hits.
"Let Me Down Easy": A fan-favorite smooth soul track frequently highlighted in modern reviews as an "underrated gem".
The production is characterized by rich, layered strings and horns, giving it a polished yet soulful sound. Features tight family harmonies, with Rose Cornelius providing distinct, powerful background and supporting vocals.
While popular with mainstream audiences for its crossover appeal, some contemporary soul listeners found it slightly less gritty than other funk/soul artists of the era.
The album is regarded as a "classic" or "masterpiece" of its time, capturing a brief but incredibly successful moment for the Florida-based family group.
Overall, the album holds a strong 4.1/5 average rating on Discogs and is recommended for fans of early '70s soul who appreciate sophisticated production and memorable melodies.
Cosmic Slop
Drums, Performer [Guest Funkadelic] – Tiki Fulwood
Written-By – C. Mosson, G. Shider, G. Clinton
4:31
A2 You Can't Miss What You Can't Measure
Written-By – G. Clinton, S. Barnes
2:54
A3 March To The Witch's Castle
Written-By – G. Clinton
5:54
A4 Let's Make It Last
Written-By – E. Hazel, G. Clinton
4:10
B1 Cosmic Slop
Written-By – B. Worrell, G. Clinton
5:16
B2 No Compute
Written-By – G. Shider, G. Clinton
3:01
B3 This Broken Heart
Strings – Bernie Worrell
Written-By – W. Franklin
3:39
B4 Trash-A-Go-Go
Written-By – G. Clinton
2:23
B5 Can't Stand The Strain
Written-By – E. Hazel, G. Clinton
3:28
Label: Westbound Records – WB 2022
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Funk
Style: P.Funk, Psychedelic
Released in July 1973, Funkadelic’s Cosmic Slop is a critically acclaimed, eclectic mix of funk, rock, and soul that marked a shift toward tighter, more structured song compositions. Despite initial low commercial performance, it is regarded as a high-point in their discography, featuring darker, socially conscious lyrics, standout tracks like the title song, "Nappy Dugout," and the debut of iconic illustrator Pedro Bell's art.
Moving away from the chaotic, long-form jams of previous albums, Cosmic Slop offers a more polished, concise "psych-funk" sound.
The album features darker, socially conscious, and sometimes disturbing themes, with the title track exploring the desperate life of a mother forced into prostitution to feed her children.
The album features a different lineup, operating without guitarist Eddie Hazel, yet retains a high level of musicianship.
Key Tracks:- "Nappy Dugout": Opens the album with a hard, gritty, and incredibly funky groove; "Cosmic Slop": The titular track is lauded for its intense emotion, blending gospel, rock, and soul; "March to the Witch's Castle": A standout track exploring the harsh return of soldiers from war; "Trash A-Go-Go": A rock-heavy, humorous track.
It was a commercial failure upon its 1973 release, peaking at only #112 on the Billboard pop chart. It has since been heavily praised as a "masterpiece" that strikes a perfect balance between funk, soul, and rock, often cited as one of the band's strongest, most focused efforts.
The album is noted for cementing the band's, and particularly George Clinton's, position in the pantheon of 1970s funk, often seen as a crucial bridge between their early psychedelic sound and the later, highly produced P-Funk era.
Cosmic Slop is considered a crucial, if initially overlooked, album in the Funkadelic catalog, offering a more nuanced, "darker" side to their sound that has aged exceptionally well.
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.
Crown Prince Of Dance
Written-By – Rufus Thomas
2:45
A2 I Know You Don't Want Me No More
Written-By – Barbara George
3:01
A3 Funkiest Man Alive
Backing Band [Rhythm] – The Kingpins
Rhythm Guitar – Cornell Dupree
Written-By – Don Dortch, Rufus Thomas
7:43
A4 Tutti Frutti
Written-By – Dorothy LaBostrie, Rich Penniman, Robert Blackwell
2:52
A5 Funky Robot
Written-By – Don Dortch, Rufus Thomas
4:21
B1 I Wanna Sang
Written-By – Rufus Thomas
5:10
B2 Baby It's Real
Written-By – J. W. Alexander
4:40
B3 Steal A Little
Backing Band [Rhythm] – Hi Rhythm
Written-By – Calvin Arnold
3:33
B4 I'm Still In Love With You
Backing Band [Rhythm] – The Kingpins
Rhythm Guitar – Cornell Dupree
Written-By – Mack Rice, Rufus Thomas
2:58
B5 The Funky Bird
Written-By – Jo Bridges, Tom Nison
3:24
Label: Stax – STS-3008
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Funk
Rufus Thomas's 1973 album, Crown Prince of Dance, is a funky, dance-oriented soul record for Stax Records, showcasing his charismatic vocals and signature stage persona with tracks like the guitar-driven "Git On Up And Do It" and his funky take on "Tutti Frutti". The album, his last for Stax, features high-energy funk, Southern soul, and Memphis soul, with memorable dance tunes such as "Funky Robot," solidifying his "Crown Prince" title with its infectious grooves and dance instructions, making it a staple for sampling artists later.
It is full of lively, funky energy, with Thomas urging listeners to "Git On Up And Do It". Key Tracks: "Funky Robot," "Git On Up And Do It," "Funkiest Man Alive," and his spirited cover of "Tutti Frutti".
Highly influential, with its tracks sampled by hip-hop artists like Public Enemy and Big Daddy Kane, it features Thomas in dynamic dance poses, reflecting his nickname and energetic music.
Released by Stax Records, it was Thomas's final album for the label, cementing his status as a dance and soul legend.
In essence, Crown Prince of Dance is a joyful, funky celebration of rhythm and movement, perfectly capturing Rufus Thomas's vibrant personality and enduring appeal.
Crusaders 1
Written-By – Wilton Felder
8:20
A2 So Far Away
Written-By – Carole King
11:50
B1 Put It Where You Want It
Written-By – Joe Sample
5:30
B2 Mystique Blues
Written-By – Wayne Henderson
4:44
B3 Full Moon
Written-By – Wayne Henderson
7:20
C1 Sweet Revival
Written-By – Joe Sample
4:50
C2 Mud Hole
Written-By – Wayne Henderson
6:30
C3 It's Just Gotta Be That Way
Written-By – Wayne Henderson
3:40
C4 Georgia Cottonfield
Written-By – Joe Sample
7:02
D1 A Shade Of Blues
Written-By – Joe Sample
5:20
D2 Three Children
Written-By – Wilton Felder
5:15
D3 Mosadi (Woman)
Written-By – Wayne Henderson
7:15
Label: Blue Thumb Records – BTS 6001
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Rhythm & Blues, Funk
The Crusaders' Crusaders 1 (1972) is a landmark jazz-funk fusion album, praised for its energetic blend of soulful grooves, tight musicianship (Joe Sample, Stix Hooper, Wilton Felder, Larry Carlton), and electric instrumentation, marking their pivot from the Jazz Crusaders with heavy funk and rock influences, featuring standout tracks like the funky "That's How I Feel" and a notable Carole King cover, "So Far Away".
Reviewers highlight its consistent grooves, warm '70s sound, and influential role in launching jazz-funk, despite some finding it a bit "watered down" or loungey compared to harder jazz.
A pivotal moment where the band dropped "Jazz" from their name and fully embraced electric instruments, creating a natural evolution from soul-jazz and hard bop into the burgeoning jazz-funk genre.
Known for its infectious, hook-laden, and funky rhythms, drawing comparisons to James Brown and The Meters, with solid basslines from Chuck Rainey and drums from Stix Hooper.
The addition of electric piano and Larry Carlton's prominent electric guitar (often with wah-pedal) gave it a distinct, blaxploitation-era sound. Considered a strong, consistent album with no dull moments, offering a rich, immersive groove.
Notable Tracks:- "That's How I Feel": An 8-minute funk workout considered on par with classic Booker T. & the M.G.'s; "So Far Away" (Carole King Cover): A standout track where Wilton Felder's saxophone work transforms the tune, though some felt it hinted at later, more pop-oriented directions.
Overall: Crusaders 1 is celebrated as a foundational jazz-funk record, capturing The Crusaders at a creative peak, delivering consistent grooves and setting a high watermark for the genre.
Crying For Love
Written-By – Michael Robinson, Paul Tillman Smith
4:15
2 Stella
Written-By – Norman Connors
3:33
3 From The Darkness To The Light
Written-By – Lonnie Hewitt, Paul Tillman Smith
4:16
4 Fire Burning
Written-By – Paul Tillman Smith
3:31
5 Waiting Patiently
Written-By – Paul Tillman Smith
3:46
6 He Say, She Say Game
Written-By – Paul Tillman Smith, Ray Obiedo
3:12
7 Sweet & Wonderful
Written-By – Debravon Lewis, Derrick Hughes, Michael Robinson
3:56
8 Out There In Space
Written-By – Paul Tillman Smith
4:02
9 No Where Love Affair
Written-By – Paul Tillman Smith
4:34
10 Rivers Of Love
Written-By – Paul Tillman Smith
3:08
11 Turn To Love
Written-By – Paul Tillman Smith
3:47
12 Next To Me
Written-By – Paul Tillman Smith
4:04
13 Reach Out
Written-By – Jon Bendich, Paul Tillman Smith
4:28
14 Listen
Written-By – Paul Tillman Smith
4:02
15 Summer Sky
Written-By – Paul Tillman Smith
3:44
16 Loves In Your Corner
Written-By – Michael Robinson, Paul Tillman Smith
3:32
Label: First Experience Records – FER-LP1
Format: 2 x Vinyl, LP, Album
Country: UK
Released: 2000
Genre: R&B Soul
Style: Modern Soul
Bridge's Crying For Love is a highly acclaimed, "lost" 1981 Modern Soul masterpiece recorded in Boulder, Colorado for the Bang label, finally released as a double LP in 1999/2000. Featuring 16 tracks of polished soul, jazz, funk, and boogie, it is considered a premier, "no-filler" album driven by stellar, emotive vocals from Debravon Lewis and Derick Hughes.
Produced by Paul Tillman Smith and Jon Bendich, the album blends sophisticated soul with jazz-funk and, at times, Latin influences, drawing comparisons to Earth, Wind & Fire.
Debravon Lewis provides vulnerable, emotional performances, while Derick Hughes is noted for a vocal style reminiscent of Donny Hathaway.
Though recorded for a major label (Bang/CBS), it was never officially released at the time due to corporate interference and band dissolution, making it a legendary, rare discovery.
The album has gained a massive cult following, leading to reissues by First Experience Records and High Jazz Records, which have been praised for their high-quality mastering of the original demos.
While often associated with the early 80s scene, the recordings date to 1981 rather than 1980, and it is a collection of demos that constitutes the album,
Reviews on Discogs and Norman Records consistently describe the 16-track collection as having "no weak moments," praising its balance of breezy uptempo tracks and impassioned ballads.
Crying Time
Written-By – Buck Owens 2:53
A2 No Use Crying
Written-By – Freddie Lee Kober, J. B. Daniels, Roy Gaines 3:15
A3 Let's Go Get Stoned
Written-By – J. Armstead, N. Ashford, V. Simpson 2:57
A4 Going Down Slow
Written-By – James B. Oden 3:59
A5 Peace Of Mind
Written-By – Jimmy Holiday, Ray Charles 2:08
A6 Tears
Written-By – Norman Newell, Robert Maxwell 4:31
B1 Drifting Blues
Written By – Eddie E Williams
Written-By – Charles Brown, Johnny Moore 6:20
B2 We Don't See Eye To Eye
Written-By – Percy Mayfield 2:17
B3 You're In For A Big Surprise
Written-By – Percy Mayfield 3:28
B4 You're Just About To Lose Your Clown
Written-By – Johnny MacRae 1:54
B5 Don't You Think I Ought To Know
Written-By – Melvin Wettergreen, William Johnsohn 3:01
B6 You've Got A Problem
Written-By – Freddy James, William D. Weeks 3:24
Label: ABC-Paramount – ABC-544
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Rhythm & Blues
Ray Charles' 1966 Crying Time album, praised for its thematic focus on heartbreak and featuring hits like the title track and "Let's Go Get Stoned," is seen as a strong, if sometimes uneven, continuation of his blend of blues, soul, and country, showcasing his genius with poignant ballads and energetic numbers, though some critics found the strings overly sentimental; it marked a peak before a commercial dip, yet remains a solid listen, especially the masterful "No Use Crying" and "Drifting Blues".
The album's unifying theme is sadness and crying, but Charles infuses these songs with hope, turning misery into something comforting.
It continues his signature mix of big band soul, blues, and country-tinged ballads, with prominent use of lush strings.
Reviewers highlight how even familiar styles sound fresh and definitive in Charles' hands, solidifying his "genius" status.
Standout Tracks:
"Crying Time": A major hit, this country-flavored track (originally by Buck Owens) seamlessly fits Charles' style.
"No Use Crying": Often cited as the album's centerpiece, a deeply moving and beautiful blues ballad.
"Let's Go Get Stoned": A notable hit that's both fun and fitting for the era.
"Peace of Mind" & "You've Got a Problem": Offer energetic, swinging blues moments, though some find the strings overbearing.
While many appreciate the rich production, some listeners find the heavy string arrangements on ballads like "Tears" overly sentimental or clichéd.
It's considered a great album that might be overlooked but deserves attention for its emotional depth and musical quality.
Curtis
A2 The Other Side Of Town 4:00
A3 The Makings Of You 3:40
A4 We The People Who Are Darker Than Blue 6:10
B1 Move On Up 8:50
B2 Miss Black America 2:55
B3 Wild And Free 3:12
B4 Give It Up 3:45
Produced and written by Curtis Mayfield
Label: Curtom – CRS 8005
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Funk
Curtis Mayfield's 1970 solo debut, Curtis, is a landmark album praised for its fusion of funky grooves, psychedelic soul, and powerful social commentary on Black pride, unity, and systemic issues, featuring iconic tracks like "Move on Up," "We the People Who Are Darker Than Blue," and "(Don't Worry) If There's Hell Below, We're All Going to Go," establishing him as a vital voice in 70s soul with rich arrangements and hopeful, yet realistic, messages. While early reviews were mixed, it's now seen as essential listening, a cornerstone of progressive soul, and a testament to Mayfield's distinctive guitar and vocals, paving the way for Super Fly.
The album tackles serious themes like racism, religion, and civic responsibility with a hopeful outlook, urging togetherness and dignity. It blends soul, funk, gospel, and psychedelic elements, with intricate guitar work, soaring falsetto, and rich instrumentation.
Key Tracks: "Move on Up," "We the People Who Are Darker Than Blue," "The Other Side of Town," "Miss Black America," and the hit "(Don't Worry) If There's Hell Below" are highlights.
Mayfield produced the record himself on his own label, Curtom Records, allowing for creative freedom that resulted in tracks often described as the "Sgt. Pepper of '70s soul". The production is polished yet gritty, showcasing a tight band and Mayfield's layered arrangements, creating an immersive experience.
Critical Acclaim: Initially debated, it's now considered a masterpiece and one of the greatest soul albums, with some critics calling it stronger than Super Fly. It hit #1 on the Billboard Black Albums chart and was a significant commercial success for an independent label.
Though it received some contemporary backlash from Rolling Stone for being "uninspired," it is now a fixture on "Greatest Albums of All Time" lists, ranked #275 by Rolling Stone in 2020.
An influential work that perfectly married progressive soul sounds with potent, relevant messages. Its themes and musicality remain powerful and relevant decades later, influencing countless artists.
In Summary, Curtis is celebrated as an exhilarating and deeply meaningful debut, showcasing Mayfield's complete artistry as a songwriter, vocalist, and guitarist, making it a must-hear for soul music fans.
Curtis Hairston
5:56
A2 Let's Make Love Tonight
5:33
A3 (You're My) Shining Star
5:49
A4 Hold On (For Me)
6:37
B1 All We Have Is Love
4:47
B2 Take Charge
4:36
B3 The Morning After
5:10
B4 Let Me Change Your Mind
4:55
Label: Atlantic – 81693-1
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul, Funk
Style: Contemporary R&B, Dance-pop
Curtis Hairston's 1986 self-titled debut (and only solo album) is widely regarded as a hidden gem of mid-80s soul and R&B, celebrated for its "satin-smooth" vocal delivery that earned Hairston frequent comparisons to Luther Vandross.
Musical Highlights:-
"The Morning After": The album's standout track and primary single, featuring a "catchy melodic guitar and keyboard riff".
"Chillin' Out": Highly praised for Hairston's distinctive voice, this track is often cited as the most "striking" song on the album by contemporary reviews from 1986.
The record balances upbeat club grooves like "Take Charge" (reminiscent of the era's electronic R&B) with soulful ballads like "(You're My) Shining Star".
Hairston is lauded as a "versatile performer" with a "deeply melodic and soulful delivery". Produced by Kae Williams Jr. and Greg Radford, the sound is described as "crisp and balanced," though some critics find certain dance tracks formulaic by modern standards.
For decades, the album was a rare find, often commanding high prices until recent remastered reissues on CD. It holds a high user rating of approximately 4.5/5 on Discogs.
Cutie Pie
2 Lady You Are 5:24
3 You Can Do It 7:06
4 Wild Night 5:36
5 Don't Fight The Feeling 4:23
6 Don't Think About It 5:40
7 Dynomite 4:51
8 If I Knew 4:59
9 Mr. Groove 4:44
10 You Better Quit 4:11
Label: MCA Special Products – MCAD-20562
Format: CD, Compilation
Country: US
Released: 1992
Genre: R&B Funk, Soul
Style: Disco Funk
The 1992 release of Cutie Pie by One Way is a budget-priced compilation album rather than a studio project. Published by MCA Special Products, it serves as a "best-of" collection focused on the band's peak era in the early 1980s.
The collection is praised for capturing the band's "lean, synth-driven funk sound" that heavily influenced club culture and future R&B production. Reviewers highlight the musicianship and the "infectious" nature of the grooves.
As a budget compilation from 1992, it is often criticized for being "out-of-print" and having a limited track count compared to more comprehensive 1996 or later "Best Of" releases. It is currently available as CD or digital download on Amazon though.
The title track remains a "timeless funk classic," having peaked at #4 on the R&B charts in 1982. Its presence on this 1992 CD helped keep the track relevant during the early 90s G-funk era, where One Way's basslines were frequently sampled by hip-hop artists like SFC.
Modern listener ratings on platforms like Discogs are generally high, with users giving it an average of 4.71 out of 5 stars.
Cymande
Written-By – Mike Rose, Pablo Gonsales
3:29
A2 One More
Written-By – Patrick Patterson, Steve Scipio
3:06
A3 Getting It Back
Written-By – Patrick Patterson, Steve Scipio
4:16
A4 Listen
Written-By – Patrick Patterson, Steve Scipio
4:37
A5 Rickshaw
Written-By – Patrick Patterson, Steve Scipio
5:50
B1 Dove
Written-By – Cymande
10:50
B2 Bra
Written-By – Patrick Patterson, Steve Scipio
5:00
B3 The Message
Written-By – Patrick Patterson, Steve Scipio
4:19
B4 Ras Tafarian Folk Song
Written-By – Mike Rose, Pablo Gonsales
3:08
Label: Janus Records – JLS 3044
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul, Jazz, Funk
Style: Funk, Soul
Cymande's self-titled 1972 debut album is a groundbreaking fusion of funk, reggae, soul, jazz, and Afro-Caribbean rhythms, characterized by hypnotic grooves, spiritual depth, and socially conscious lyrics, creating a unique "Nyah-rock" sound that became a cult classic through heavy sampling in hip-hop and enduring influence on dance music. It features iconic tracks like "Dove," "Bra," and "The Message" and established them as innovators in British black music, beloved in the U.S. but overlooked at home.
Offering a rich blend of funk, soul, jazz, reggae basslines, calypso, and Afro-tinged percussion that is meditative, and spiritually infused, reflecting the members' Caribbean roots. "Nyah-Rock" a term the band coined for their distinctive sound, incorporating Rastafarian themes and Nyabinghi rhythms. Produced by John Schroeder, featuring crisp instrumentation and tight arrangements.
The album became a cornerstone for early hip-hop DJs and a major source for sampling by artists like De La Soul, Wu-Tang Clan, Gang Starr, and The Fugees. It has gained immense cult status over decades, influencing funk, house, and rare groove scenes.
Cymande's debut is a landmark album, showcasing a globally aware sound that was ahead of its time, creating timeless tracks that continue to resonate and be rediscovered.
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.
Dancealot
A2 Wooden Head 4:16
A3 When You're Dancing 5:28
A4 God Bless You 4:24
B1 The Bitch 6:07
B2 Energy Beam 5:16
B3 Get It While You Can 5:19
B4 Onya 2:37
Written-By – Biddu (tracks: B1), D. Harper (tracks: A1 to A4, B2 to B4), Don Black (tracks: B1), G. Chandler (tracks: A1 to A4, B2 to B4), J. Jammer (tracks: A1 to A4, B2 to B4), M. Vernon (tracks: A1 to A4, B2 to B4), P. Wingfield (tracks: A1 to A4, B2 to B4)
Label: Polydor – PD-1-6196
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The Olympic Runners' 1979 album Dancealot is generally considered a quality, though perhaps "bandwagon," disco record that features solid musicianship and danceable tracks. It marks a stylistic departure from the band's earlier, funkier work and has received mixed user reviews.
The album leans heavily into the disco genre, a shift from the raw funk sound of their earlier work like "Put The Music Where Your Mouth Is". This has polarized some listeners; some appreciate the shift, while others find it less distinctive than their previous efforts.
The album is noted for the excellent musicianship of the session players involved. The production is considered high quality, even if the overall style is characteristic of the late 70s disco era.
The tracks, particularly the single "Sir Dancealot", are praised for being groovy, funky, and guaranteed to get people on the dance floor.
Some listeners found the album to be a bit "same-y" or repetitive, with the title track being the only significant standout. Conversely, others enjoy the entire album and find the music timeless.
Key Tracks
"Sir Dancealot": This track was a UK Top 40 hit single and is widely praised as a classic disco track with a powerful, soulful breakdown.
"Get It While You Can": Another successful single from around that period that also made the charts.
Sought-after as original vinyl (especially white label promos or sealed copies) for its authentic sound and status as an "underground gem". In essence, Dancealot is a quintessential album from the British funk/disco scene, perfect for fans of vintage dance music looking for quality, feel-good tracks.
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.
Danger High Voltage
Producer, Written-By – Clarence Reid, Willie Clarke
3:48
A2 Love Don't Grow On A Love Tree
Producer – Steve Alaimo, Willie Clarke
Written-By – B. Wright, H.W. Casey, W. Clarke
3:01
A3 Show Your Girl
Producer – H.W. Casey, Richard Finch, Willie Clarke
Written-By – H.W. Casey - R. Finch
2:38
A4 Come On Up
Producer – Willie Clarke
Written-By – Felix Cavaliere
2:59
A5 Shoorah! Shoorah!
Producer – Willie Clarke
Written-By – A. Toussaint
2:55
B1 Where Is The Love
Producer – H.W. Casey, Richard Finch, Willie Clarke
Written-By – H.W. Casey - R. Finch
4:55
B2 That's When I'll Stop Loving You
Producer – H.W. Casey, Willie Clarke
Written-By – Billy Kennedy
3:23
B3 Don't Thank Me Baby, Thank Yourself
Producer – H.W. Casey, Willie Clarke
Written-By – Gloria Jones, Pam Sawyer
2:54
B4 Tonight Is The Night
Producer – Willie Clarke
Written-By – Betty Wright, Willie Clarke
4:00
Label: Alston Records – 4400
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
Betty Wright's Danger High Voltage (1974) is widely hailed as a landmark soul/funk album, showcasing her powerful voice and featuring massive hits like "Shoorah! Shoorah!," Grammy-winning "Where Is the Love," and the iconic "Tonight Is the Night," blending sassy vocals with fiery disco, funk, and smooth R&B, solidifying her status and remaining a cornerstone of her catalog. Reviews praise its cohesive groove, strong production by Clarence Reid & Willie Clarke, and timeless appeal, making it essential for soul fans.
Key Highlights:
"Where Is the Love": A Grammy-winning track that blended soul with emerging disco influences, featuring infectious "chicken-scratch" funk and horn arrangements.
"Tonight Is the Night": A sensuous, tender studio recording about first sexual experiences, later famously sampled in hip-hop (notably by Candyman).
"Shoorah! Shoorah!": An Allen Toussaint-penned "pop-soul confection" that became a Top 30 hit in the UK.
"Everybody Was Rockin'": A high-energy opening track that sets a funky, horn-heavy tone for the record.
The album masterfully mixes Southern funk, proto-disco, and smooth soul with a distinctive fiery edge. Features strong collaboration with producers Clarence Reid and Willie Clarke, creating a perfectly gelled sound.
It showcases Wright's powerful, sassy, and passionate voice across diverse tracks. Considered one of her finest works, it's an underrated cornerstone of classic soul, popular for its groove and longevity, even sampled in later media.
The album received high praise for its mix of exuberant dance tracks and soulful ballads:-
Rolling Stone: Awarded it four out of four stars, describing it as a vibrant cross-section of soul recorded during the peak of the Miami sound.
Robert Christgau (Village Voice): Rated the album an A-, noting that Wright had never sounded "brighter or sassier".
BBC Music: Highlights the album as "bright, bubbly and frequently life-affirming," serving as a key factor in Wright's long-term career longevity.
In summary, Danger High Voltage is a defining album for Betty Wright, solidifying her status as a top female soul artist with its blend of heartfelt themes, empowering anthems, and irresistibly danceable tracks, making it a must-have for soul and rare groove fans .
Darrell Banks Is Here!
Written-By – G.Sims 2:55
A2 I've Got That Feelin'
Written-By – Gene Redd, Jimmy Crosby, Rosemarie McCoy 2:12
A3 I'm Gonna Hang My Head And Cry
Written-By – Cleveland Horn, Donald Bell, Gene Redd, Rosemarie McCoy 2:45
A4 Look Into The Eyes Of A Fool
Written By – Gene Redd, Cleveland Horn, Donald Bell 2:23
A5 Our Love (Is In The Pocket)
Written-By – G.Clinton, Rosemarie McCoy 2:37
B1 Open The Door To Your Heart
Written-By – Darrell Banks 2:35
B2 Angel Baby (Don't You Ever Leave Me)
Written By – Sylvia Moy, Henry Cosby 2:54
B3 Somebody (Somewhere Needs You)
Written-By – Frank Wilson, Marc Gordon 2:30
B4 Baby What'cha Got (For Me)
Written-By – C. Hatcher, J. Barnes 2:41
B5 You Better Go
Written By – Teddy Randazzo, Lou Stallman, Bob Weinstein 2:52
Label: Atco Records – 33-216
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
The album Darrell Banks Is Here! is a highly regarded classic soul album, praised by both critics and users for its strong vocal performances, deep soul ballads, and energetic dance tracks. It is often considered essential for soul enthusiasts.
Music experts consider the album an "essential listen for soul aficionados" and equal in quality to the work of contemporaries like Wilson Pickett and Johnnie Taylor.
The album is noted for successfully blending two types of soul music: "deep soul tearjerkers and cracking dance tunes".
Reviewers consistently praise Banks's dramatic, gospel-tinged vocals and strong vocal performances throughout the record.
The album is characterized by a distinctive 1967 Atlantic Records "soul-groove-thing" vibe, featuring a dynamite bass line and incisive horn arrangements.
User Reviews:
"Fantastic" and "Great": User reviews frequently describe the album as "fantastic" and a "great soul album from start to finish".
Northern Soul Favorite: The album, especially the hit single "Open the Door to Your Heart", is highly regarded within the Northern Soul community and often considered one of the best records in the genre.
Emotional Depth: Reviewers mention the album's emotional range, offering both upbeat "floorfillers" and "lovelorn deep soul" tracks that can be very moving.
A Lost Talent: Many reviewers express sorrow that Banks was shot and killed before he could reach his peak, feeling he deserved to be a superstar.
Overall, the album is a celebrated piece of late 1960s R&B/Soul music that showcases a truly great, yet tragically short-lived, singer.
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.
Dave Godin’s Deep Soul Treasures (Taken From The Vaults) Vol. 2
Written-By – Gary Bonds, Jerry Williams Jr.
2:38
2 Eddie Holman– I'm Not Gonna Give Up
Written-By – Eddie Holman
2:54
3 The Soul Children– The Sweeter He Is (Parts 1 & 2)
Written-By – Isaac Hayes, David Porter
6:17
4 Tony Owens– I Don't Want Nobody But My Baby
Written-By, Producer – Isaac Bolden
3:45
5 Bobby Moore & The Formosts– It Was A Lie
Written-By – Moore, Johnson, Cohen
2:23
6 Jimmy & Louise Tig And Company– A Love That Never Grows Old
Written-By – Papa Don Schroeder, Oscar Toney Jr.
2:56
7 Ben E King– It's All Over
Written-By – Bert Russell, Mike Leander
3:12
8 Nat Phillips– I'm Sorry I Hurt You
Written-By – Nat Phillips
2:50
9 Wendy René– What Will Tomorrow Bring ?
Written-By – Al Jackson Jr., Marion Brittenum, Mary Frierson, Steve Cropper
2:57
10 Arthur Conley– Let Nothing Separate Us
Written-By – Otis Redding
3:03
11 Irma Thomas– These Four Walls
Written-By – Lynne Farr
3:07
12 Johnny Adams– If I Could See You One More Time
Written-By – Albert Savoy, Wardell Quezergue
3:36
13 Ruby Johnson– I'll Run Your Hurt Away
Written-By – Isaac Hayes, David Porter
3:08
14 The Premiers – Make It Me
Written-By – Isaac Hayes, David Porter
2:43
15 Eddy Giles– Losin' Boy
Written-By – Elbert Wiggins Giles
3:15
16 Doris Allen– A Shell Of A Woman
Written-By – Becki Bluefield, Lynne Brewer, Finley Duncan
2:57
17 Otis Redding– Just One More Day
Written-By – McEvoy Robinson, Otis Redding, Steve Cropper
3:25
18 Bessie Banks– Go Now
Written-By – Larry Banks, Milton Bennett
2:40
19 George Perkins & The Silver Stars – Cryin' In The Streets (Part 1)
Written-By – Kerry Porter, Sam Matter, Ted Harris
3:18
20 Big John Hamilton– How Much Can A Man Take ?
Written-By – Becki Bluefield, Robert James Benninghoff, Finley Duncan
2:45
21 Barbara West– Anyone But You
Written-By – Jeff Barry
3:23
22 Carla Thomas– Stop ! Look What You're Doing
Written-By – Alvertis Isbell, Eddie Floyd
2:30
23 Toussaint McCall– Nothing Takes The Place Of You
Written-By – Patrick Robinson, Toussaint McCall
3:21
24 Eddie & Ernie– Hiding In Shadows
Written-By – Charles Richard Cason
3:22
25 Lisa Richards – Let's Take A Chance
Written-By – Joseph Brown, Raymond Barnes
2:38
Label: Kent Soul – CDKEND 158
Series: Dave Godin's Deep Soul Treasures
Format: CD, Compilation
Country: UK
Released: 1999
Genre: R&B Soul
Style: Deep Soul, Southern Soul
Kent Records, the second volume of Dave Godin's Deep Soul Treasures is widely regarded by critics and collectors as a definitive masterpiece of the genre. Godin, who coined the term "Deep Soul," curated this 25-track collection to showcase "adult, tortured music" that focuses on raw emotional intensity rather than just tempo.
The "Deep" Definition: While often associated with slow ballads, this volume includes mid-tempo tracks like Eddie Giles' "Losin' Boy," which Godin argued was "deep" due to its visceral, "death-throe" vocal delivery.
Essential Tracks:
Bessie Banks – "Go Now": The original version of the Moody Blues hit, highlighted for its spontaneous, heartbroken performance.
Otis Redding – "Just One More Day": A stunning example of the legendary singer's emotive power.
Toussaint McCall – "Nothing Takes The Place Of You": A standout track noted for its "magnificent" and haunting quality.
Irma Thomas – "These Four Walls": Described as a highlight from the "peerless" Queen of New Orleans Soul.
Godin purposefully mixed famous names with obscure "left-field gems" to present soul as a high art form rather than a mere commercial product.
Critics frequently describe the album as "essential" and "without peer". The collection is praised not just for the music, but for Godin's lavish booklet notes, which provide "erudite and supremely informative" context for every artist and recording. On Discogs, it maintains a high average rating of approximately 4.6/5, reflecting its lasting status among soul enthusiasts.
Dealin’
A2 Dealin' 6:07
A3 Julie's Rag Doll
Vocals – Richard Davis 5:40
B1 Sweet'n 3:57
B2 Sorta 3:15
B3 Blues For Now 11:06
Bass, Electric Bass [Fender Bass] – Richard Davis
Drums – Freddie Waits
Guitar – David Spinozza
Lacquer Cut By – sf
Liner Notes – Dan Morgenstern
Piano, Organ, Electric Piano, Clavinet – Paul Griffin
Producer – Don Schlitten
Recorded By – Paul Goodman
Tenor Saxophone, Soprano Saxophone, Cowbell – Clifford Jordan
Trumpet, Tambourine, Cowbell – Marvin Peterson
Label: Muse Records – MR 5027
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz
Style: Soul-Jazz, Contemporary Jazz
Richard Davis's 1972 album Dealin' is regarded as an exhilarating example of frenetic soul-jazz, praised for its "understated virtuosity" and the skill of its diverse ensemble.
The album is characterized as "frenetic soul jazz" and "radical mid-century jazz". It features high-energy post-bop compositions and is noted for its exceptional recording quality, with clear separation between instruments and an immersive "room" sound.
Richard Davis provides a masterful performance on both bass and vocals, specifically on the track "A-1". Critics have highlighted his "beautiful bowed bass" as a standout element of his style during this era. The tracklist includes soulful and intense pieces such as "Blue for Now," "Dealin'," and "Julie's Rag".
The album maintains a high reputation among jazz enthusiasts, with average ratings typically around 4 out of 5 stars on platforms like Discogs and Rate Your Music.
While Richard Davis is often better known as a sideman, Dealin' is frequently cited as a hidden gem in his solo discography, recommended for those seeking "exhilarating" and "fresh" jazz from the early 1970s.
dealin
Dee Dee Bridgewater
Written-By – J.B. Jefferson, Richard Roebuck, Thom Bell
4:55
A2 When Love Comes Knockin'
Written-By – Dennis Caldirola, Joe Ericksen, Thom Bell
4:20
A3 One In A Million (Guy)
Written-By – Joe Ericksen, Thom Bell
4:43
A4 Gunshots In The Night
Written-By – Casey James, Leroy Bell
6:27
B1 When You're In Love
Written-By – Casey James
6:24
B2 That's The Way Love Should Feel
Written-By – Alan Glass, Preston Glass
4:28
B3 Give In To Love
Written-By – Linda Creed, Thom Bell
5:11
B4 Jody (Whoever You Are)
Written-By – J.B. Jefferson
4:14
Label: Elektra – 6E-306
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul, Jazz, Funk
Style: Eighties Soul, Disco
Dee Dee Bridgewater's 1980 self-titled album, produced by Thom Bell, aimed for jazz/soul/funk but received mixed reactions, with some critics finding her higher-pitched, softer vocals floating over music that felt too slow or weak, despite moments of funk ("Gunshots in the Night") and strong ballads ("When You're in Love").
While it showcased her versatility and included great musicians, some listeners preferred her jazzier sound over the R&B-focused material, noting a departure from her earlier soulful style.
The album featured lush production from Thom Bell (known for his Philly Soul sound), but some felt Bridgewater's voice didn't fully command the music, instead floating softly.
Listeners noted a change from her previous jazzier, soulful approach to a more contemporary R&B/funk style, which didn't appeal to everyone.
Strong Tracks: "Gunshots in the Night" was praised for its uptempo, funky groove; "When You're in Love" was highlighted as a melodically strong ballad with electronic touches.
Overall, it's considered a transitional album, showcasing her versatility but diverging from the sound many fans loved from her earlier work, though it remains a significant part of her discography for collectors.
Definitions
Written-By – E. Gold, P. Boone 3:47
A2 The World Can't Stop Me Now (From Loving You)
Written-By – J. Hinton, P. Sawyer 2:46
A3 The Rovin' Kind
Written-By – B. Miller 3:04
A4 Make It With You
Written-By – D. Gates 3:48
A5 I've Got A Need For You
Written-By – C. Peters, J. Bristol 3:16
A6 Love Is Life
Written-By – D. Whitehead, M. White, W. Flemons 3:28
B1 I'm Someone Who Cares
Written-By – J. Bristol, J. Chambers, S. Bowden 2:47
B2 Lie No. 2
Written-By – B. Miller
4:04
B3 Come Rain Or Shine
Written-By – C. Spencer, F. Gorman, M. Ragin 2:51
B4 Keep Me
Written-By – B. Gordy, Jr. 2:45
B5 Bridge Over Troubled Water
Written-By – P. Simon 5:44
Label: Soul – S734L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Motown
Definitions (1972) is the fourth studio album by the Motown soul group The Originals, released on the Soul Records subsidiary. It is often regarded by collectors as a solid, though occasionally inconsistent, example of late-period Motown soul.
Critics and fans generally praise the group's vocal harmonies, particularly on side two, which is noted for being more "soulful" than the first half.
Reviewers have described it as a "decent soul vocal record," though some note it feels less focused than their earlier work, lacking a "firm hand" in overall production.
The album currently holds an average user rating of 4/5 to 5/5 across major collector platforms like Discogs.
Standout Tracks:
"I'm Someone Who Cares": Widely considered the standout track and a "fan favorite," this song was the album's minor hit single.
"Lie No. 2": Noted for its "light-funk" arrangement and high-quality vocal delivery.
"Keep Me": A cover of the Liz Lands original that is frequently cited for its powerful, gospel-influenced "take us to church" energy.
"Bridge Over Troubled Water": A lengthy, closing rendition of the Simon & Garfunkel classic that critics describe as "fantastic" and "outstanding".
Some reviewers feel the inclusion of "The Exodus Song" (Theme from Exodus) acts as a "wet blanket" that slows the album's momentum early on.
Side one is characterized as being very mellow, featuring contemporary covers like Bread's "Make It With You," which may not appeal to those seeking the group's more uptempo soul sound.
It features arrangements by Motown stalwarts H.B. Barnum, Paul Riser, Tom Baird, and Willie Shorter.
The album remains a sought-after piece for soul collectors, particularly for its vocal harmonies and the track "I'm Someone Who Cares," which was a minor hit for the group.
Delicious Together
Written-By – C. Becaud, M. Curtis, P. Delanoe
A2 Love Is Strange
Written-By – E. Smith, M. Baker
A3 Just Be True
Written-By – C. Mayfield
A4 Since I Don't Have You
Written-By – J. Rock
A5 It's All Right
Written-By – C. Mayfield
A6 Our Day Will Come
Written-By – A. Brooks, G. Regney
B1 Ain't That Loving You Baby
Written-By – Jimmy Reed
B2 I Can't Stand It
Written-By – S. McAllister
B3 The Way You Do The Things You Do
Written-By – Rogers, Robinson
B4 Let The Good Times Roll
Written-By – L. Lee
B5 Fever
Written By – Pearl
Label: Vee Jay Records – VJLP-1099
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul, Rhythm & Blues
The 1964 album Delicious Together by Betty Everett & Jerry Butler is a well-regarded classic soul/R&B duet album, praised for its "naive, innocent pop/R&B" sound and the effective pairing of the artists' voices.
According to Dusty Groove, the album successfully matches Jerry Butler's smooth "Iceman" vocals with Betty Everett's warmer, younger approach, creating an engaging blend.
The album is considered an "overlooked gem" by some reviewers on RateYourMusic, who compare the appeal of their duets to those of Marvin Gaye and Tammi Terrell. It is described as enjoyable, "sunny day music" that, while not particularly deep or innovative, excels at what it sets out to do.
The album features their major hit, the cover of the Everly Brothers' song "Let It Be Me", which reached number 5 on the Billboard Hot 100 chart. Johnny Pate arranged the album, contributing to its cohesive and strong energy.
In essence, Delicious Together is a must-have for R&B fans, highlighting a perfect pairing of vocalists on an album rich in heartfelt performances and unforgettable tunes from the golden era of soul music.
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.
Dial My Number
Producer – David Frank & Mic Murphy
Written-By – D. Frank - M. Murphy
4:39
A2 Flashback
Producer – D. Frank - M. Murphy
Written By – A. East, P. Carman
6:00
A3 You Impress Me
Producer – Barry Fasman, Dana Walden
Producer [Associate] – Pauli Carman
Written By – P. Hammond, D. Walden, P. Carman
4:24
A4 Big On Pleasure
Producer – David Frank & Mic Murphy
Written-By – D. Walden, P. Carman
4:32
B1 Lose Control
Producer – David Frank & Mic Murphy
Written-By – D. Frank - M. Murphy
3:18
B2 High & Low
Producer – Barry Fasman, Dana Walden
Producer [Associate] – Pauli Carman
Written-By – D. Walden, J. Lind, P. Carman
4:20
B3 Close To The Bone
Producer – Barry Fasman, Dana Walden
Producer [Associate] – Pauli Carman
Written By – P. Hammond, D. Walden, P. Carman
4:26
B4 Dangerous
Producer – Barry Fasman, Dana Walden
Producer [Associate] – Pauli Carman
Written-By – R. Caldwell, D. Walden, P. Carman
4:02
Label: Columbia – BFC 40336
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Boogie, Dance-pop
Pauli Carman's 1986 solo debut, Dial My Number, is a glossy, mainstream R&B/soul-dance album featuring the popular title track, produced with The System (David Frank & Mick Murphy), delivering smooth 80s grooves for fans of soulful dance-pop, often praised for its well-produced sound and inclusion of classic remixes on its CD reissues.
Producers: David Frank and Mick Murphy (The System) handled significant production, including the hit single.
Hit Single: The title track, "Dial My Number," was a notable R&B hit, reaching #26 on Billboard's Hot R&B Singles chart.
Sound: Characterized by its polished, state-of-the-art 80s production, fitting the era's popular soulful sounds.
Reissues: Later CD releases (like the 2015 PTG version) were often expanded with 12" mixes, offering deeper cuts and remixes.
Listeners appreciate the quality of the remastered CD, the inclusion of the extended mixes, and the solid R&B/dance tracks.
The album is considered a good example of 80s soul-dance music, popular with fans of the style, even if general critical reviews aren't widely detailed in snippets.
In essence, Dial My Number serves as a solid solo effort from the Champaign frontman, offering slick production and catchy tunes, particularly well-received by those nostalgic for 80s R&B.
Diana and Marvin
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – Linda Creed, Thom Bell
3:10
A2 Love Twins
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – Marilyn McLeod, Mel Bolton
3:28
A3 Don't Knock My Love
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – Brad Shapiro, Wilson Pickett
2:20
A4 You're A Special Part Of Me
Arranged By – James Carmichael
Producer – Berry Gordy
Written-By – Andrew Porter, Gregory Wright, Harold Johnson
3:35
A5 Pledging My Love
Arranged By – Bob Gaudio, David Blumberg
Producer – Bob Gaudio
Written-By – Don D. Robey, Fats Washington
3:34
B1 Just Say, Just Say
Arranged By – Paul Riser
Producer – Nickolas Ashford & Valerie Simpson
Written-By – Nickolas Ashford, Valerie Simpson
4:10
B2 Stop, Look, Listen (To Your Heart)
Arranged By – Gene Page
Producer – Hal Davis
Written-By – Linda Creed, Thom Bell
2:53
B3 I'm Falling In Love With You
Arranged By – Mark Davis (2)
Producer – Margaret Gordy, Mark Davis (2)
Written-By – Margaret Gordy
2:42
B4 My Mistake (Was To Love You)
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – Gloria Jones, Pam Sawyer
2:55
B5 Include Me In Your Life
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – Marilyn McLeod, Mel Bolton
3:04
Label: Motown – M-803V1
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R^B Soul
Style: Seventies Soul
Diana & Marvin (1973) is a critically acclaimed, top-selling Motown duet album, lauded for pairing Diana Ross’s polished pop vocals with Marvin Gaye’s raw soul, producing hits like "You Are Everything" and "My Mistake (Was to Love You)". While plagued by notoriously difficult, separate recording sessions, the album is a 5-star,, classic, and essential soul record.
The album is highly regarded, receiving 5-star ratings from AllMusic, Q, and The New Rolling Stone Album Guide. The album features a mix of lush, orchestral pop-soul produced by Hal Davis and others, with standout covers of The Stylistics.
Key songs include the top 20 hits "You Are Everything," "My Mistake (Was to Love You)," and "Don't Knock My Love".
The album is infamous for the studio difficulties, as Ross and Gaye recorded their parts separately due to scheduling conflicts and creative differences, which some critics feel created a less cohesive, but still brilliant, final product.
The album is generally hailed as a masterpiece, capturing two of Motown's biggest, yet contrasting, stars at their peak. While some reviewers noted that the chemistry between the two was not as natural as Gaye's work with Tammi Terrell, the sheer vocal talent of both artists makes it a landmark album in soul music history.
While it peaked at #26 on the U.S. Billboard 200, it was a major success in the UK, reaching #6 and selling over a million copies. Overall, the Discogs average rating of 4.06/5 reflects its status as a high-quality, if uneven, historical artifact from Motown's golden era.
Diana Ross
A2 Now That There's You 3:27
A3 You're All I Need To Get By 3:27
A4 These Things Will Keep Me Loving You3:06
A5 Ain't No Mountain High Enough 6:08
B1 Something On My Mind 2:21
B2 I Wouldn't Change The Man He Is 3:17
B3 Keep An Eye 3:14
B4 Where There Was Darkness 3:14
B5 Can't It Wait Until Tomorrow 3:14
B6 Dark Side Of The World 3:06
Produced by Nickolas Ashford & Valerie Simpson
Written-By – N. Ashford / V. Simpson* (tracks: A1 to A3, A5 to B6)
Written-By – H. Fuqua, J. Bristol (track A5)
Label: Tamla Motown – STML 11159
Format: Vinyl, LP, Album
Country: UK
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Pop
The 1970 self-titled Diana Ross album was critically acclaimed as a strong solo debut, proving her viability beyond The Supremes with standout hits like the iconic, anthemic "Ain't No Mountain High Enough" and the hopeful "Reach Out and Touch (Somebody's Hand)," showcasing a more mature, narrative-driven artistry that moved from immediacy to nuance, though some contemporary critics found certain tracks less impactful, it's now seen as a pivotal moment defining her independent artistry.
It marked a significant step in establishing Diana Ross as a solo star, moving away from the group sound and embracing more complex musical storytelling. It blended pop, soul, and gospel, with a focus on powerful vocals, orchestral arrangements, and gospel choirs, especially on the iconic singles.
The album featured two massive hits: the joyous "Reach Out and Touch (Somebody's Hand)" and the electrifying, show-stopping "Ain't No Mountain High Enough," which became her first solo #1.
The sepia-toned cover, featuring Ross in a simple tye-dye shirt and shorts while eating an apple, was a radical departure from the glamorous gowns of The Supremes. It signaled a "new," more natural and independent Diana.
Except for "These Things Will Keep Me Loving You," every track was penned or co-penned by Ashford & Simpson, who crafted a cohesive narrative of self-definition for her solo debut.
Critics noted a shift towards more introspective themes, with songs exploring romance, confidence, and independence, culminating in a powerful statement of self-definition.
While overwhelmingly positive, with retrospectively high praise for its significance and vocal performance, some early reviews found parts bland, though most agree it was a strong, complete artistic statement for Motown.
It's considered a landmark debut, redefining Black female artistry and proving Diana Ross's strength as a singular force, not just a group member.
In summar, it's seen as an album that demands close listening, showcasing her evolving power and nuanced artistry beyond simple iconography, solidifying her status as a major solo artist.
Different Drummer
Lead Vocals – Ernie Isley
5:46
2 8th Wonder Of The World
Congas – Kevin Jones
Lead Vocals – Ernie Isley
5:33
3 Blue Rose
Lead Vocals – Ernie Isley
5:57
4 Do It Right
Congas – Kevin Jones
Lead Vocals – Chris Jasper
4:05
5 Givin' You Back The Love
Congas – Kevin Jones
Lead Vocals – Chris Jasper
5:25
6 A Once In A Lifetime Lady
Lead Vocals – Chris Jasper
4:21
7 For The Sake Of Love
Lead Vocals – Ernie Isley
5:15
8 Brother To Brother
Lead Vocals – Chris Jasper
Written-By – Deborah McDuffie
3:49
9 I Wanna Be Yours
Lead Vocals – Chris Jasper
4:30
Written by – Chris Jasper, Ernest Isley, Marvin Isley
Label: CBS Associated Records – ZK 40409
Format: CD, Album
Country: US
Released: 1987
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B
Isley Jasper Isley's Different Drummer (1987) is the third and final album from the splinter group, known for smooth, mellow R&B, featuring hits like "8th Wonder of the World" and "Givin' You Back the Love," showcasing Chris Jasper's keyboards/writing, Ernie Isley's guitar, and Marvin Isley's drums, but critics found the production sometimes routine compared to their prior work, though fans praised its classic soulful grooves and standout tracks like "A Ballad For The Fallen Soldier".
Released in 1987, it concluded the Isley-Jasper-Isley era before the original Isley Brothers reunited, with Jasper taking a more prominent role.
It's a contemporary R&B/Quiet Storm album, blending smooth vocals with strong keyboard and guitar work, characteristic of the trio's sound.
Reviews were mixed; while some found the production a bit standard for the era, fans appreciated its continuation of the soulful Isley sound.
Many fans love it as a solid, enjoyable album, highlighting its catchy songs, mellow vibes, and Chris Jasper's strong melodies and lyrics.
Key Tracks & Highlights:
"8th Wonder of the World" & "Givin' You Back the Love": These singles were popular, reaching the R&B Top 20, notes a Wikiwand article.
"A Ballad For The Fallen Soldier": A powerful, poignant track about war that deeply affected listeners, providing a raw, real moment on the album, according to a Facebook user.
"Rock You Good": An instrumental jam that stands out, says a Facebook user.
In summary, Different Drummer is a strong, if sometimes overlooked, entry in the Isley-Jasper-Isley catalog, offering classic smooth soul and R&B with impactful songs, even if critical reception wasn't always stellar.
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 It (’Til You’re Satisfied)
Arranged By [Strings] – Randy Muller
Producer – Dock Productions, Jeff Lane
Written-By – B.T. Express 5:03
A2 If It Don't Turn You On (You Oughta' Leave It Alone)
Arranged By [Strings] – Randy Muller
Producer – Dock Productions, Jeff Lane
Written-By – A. Williams, B. Nichols 5:27
A3 Once You Get It
Producer – Trade Martin
Written-By – Trade Martin 3:18
A4 Everything Good To You (Ain't Always Good For You)
Arranged By [Strings] – Randy Muller
Producer – Dock Productions, Jeff Lane
Written-By – Sam Taylor 3:00
A5 Mental Telepathy
Producer – Trade Martin
Written-By – Doc Boston, Trade Martin 4:03
B1 Do It ('Til You're Satisfied)
Arranged By [Strings] – Randy Muller
Organ – Sam Taylor
Producer – Dock Productions, Jeff Lane
Written-By – B. Nichols 5:52
B2 Do You Like It
Producer – Trade Martin
Written-By – Carlos Ward 5:52
B3 That's What I Want For You Baby
Arranged By [Strings] – Randy Muller
Producer – Dock Productions, Jeff Lane
Written-By – A. Williams, B. Nichols 6:48
B4 This House Is Smokin'
Producer – Trade Martin
Written-By – George Burton, Joe Constantino 2:12
Label: Roadshow – SPS-5117
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Funk, Disco
B.T. Express's 1974 debut Do It ('Til You're Satisfied), is a landmark funk/soul album, hailed as an essential groove-heavy record with massive crossover appeal, thanks to hits like the suggestive title track and "Express," blending Afro-Latin rhythms, wah-wah guitar, and strong horn/string arrangements for a quintessential '70s dancefloor sound that laid groundwork for early hip-hop.
Critics praise its danceability, killer grooves, and quality musicianship, with standout tracks including "Once You Get It" and "Mental Telepathy," making it a foundational album in funk history.
The album fuses classic R&B with deep funk, featuring prominent brass, guitar, and percussion, creating infectious, danceable tracks.
Its singles, especially the iconic "Do It ('Til You're Satisfied)" and "Express," became huge hits, reaching #1 on R&B charts and crossing over to the Pop Top 10, cementing its legacy.
Considered a must-have for '70s funk and soul fans, offering "all killer no filler" with strong grooves and melodic hooks.
It's recognized as a crucial early record in hip-hop's foundation, influencing the genre's development.
Beyond the hits, tracks like "Once You Get It," "If It Don't Turn You On," and the psychedelic-soul-tinged "Mental Telepathy" are frequently highlighted.
Guided by Jeff Lane and Trade Martin, the album expertly mixed dancefloor energy with soulful melodicism, notes The Second Disc.
In essence, Do It ('Til You're Satisfied) is celebrated as a vibrant, essential funk-disco debut, perfectly capturing the era's spirit and leaving a lasting mark on music.
Do Me Baby
Producer – Lesette Wilson, Meli'sa Morgan
Written-By – L. Wilson, M. Morgan 4:56
A2 Heart Breaking Decision
Producer – Paul Laurence
Written-By – F. Jackson, M. Morgan, R. Aries 4:36
A3 Do You Still Love Me?
Producer – Lesette Wilson, Meli'sa Morgan
Written-By – L. Wilson, M. Morgan 5:41
A4 I'll Give It When I Want It
Producer – Lesette Wilson, Meli'sa Morgan
Written-By – L. Wilson, M. Morgan 4:33
B1 Do Me Baby
Producer – Paul Laurence
Written-By – Prince 5:17
B2 Getting To Know You Better
Producer – Bryan Loren
Written-By – D. Grigsby, M. Morgan, T. Jefferies 5:38
B3 Now Or Never
Producer – Lesette Wilson, Meli'sa Morgan
Written-By – L. Wilson, M. Morgan 4:33
B4 Lies
Producer – Paul Laurence
Written-By – M. Morgan, P. Laurence, R. Bayyan 4:52
Label: Capitol Records – ST-12434
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
Do Me Baby by Meli’sa Morgan, is a classic Urban Contemporary/Quiet Storm R&B record, famous for its hit Prince cover and smooth 80s grooves, featuring Morgan's soulful vocals on tracks like "Do You Still Love Me?" and "Fool's Paradise," solidifying her as a key R&B voice with its rich production and timeless ballads.
The album is named after her massively successful cover of Prince's "Do Me, Baby," a #1 R&B hit and Top 50 pop hit. It showcases Morgan's rich, soulful voice, often compared to a female quiet storm style, balancing sweet grooves with emotional depth.
It features production from Paul Laurence, Bryan Loren, and Meli'sa Morgan herself, with co-production by Lesette Wilson, and includes the popular slow jam "Do You Still Love Me?" and "Fool's Paradise".
A commercially successful debut, it reached #4 on US R&B charts and achieved RIAA gold certification years later, celebrated for its smooth 80s feel.
In essence, Do Me Baby is a foundational album in 80s R&B, blending heartfelt ballads with mid-tempo grooves, establishing Meli'sa Morgan as a significant artist with undeniable vocal talent and strong production.
Melisa Meli sa
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 What You Want To Do...
Written-By – Reginald Andrew 3:21
A2 Shut Up And Pay Attention
Written-By – Ronald Starr 3:30
A3 Dindi
Written-By – Oliviera, Jobin, Gilbert 6:04
A4 Come Together
Written-By – Lennon/McCartney 5:19
A5 Soul Foo Yong
Written-By – Steve Huffsteter 4:46
B1 Broasted Or Fried
Written-By – Reginald Andrew 4:58
B2 The Thrill Is Gone
Written-By – Benson, Pettite 5:50
B3 How Can I Say Goodbye?
Written-By – David O'Rourk 3:14
B4 Never You Mind
Written-By – Reginald Andrew 5:59
Label: Sussex – SXBS 7003
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Jazz, Fun, Soul
Style: Jazz-Funk, Soul, Funk
Released in 1971 on Sussex Records, Do What You Want To Do... is widely considered the most sought-after album by Latin percussionist Willie Bobo. Moving away from his traditional pop-inflected Latin rhythms, this record is celebrated as a "killer" fusion of hard-edged '70s funk and deep Latin grooves.
The album is noted for its "slamming" instrumental tracks that blend Jazz, Latin, Funk, and Soul. Critics describe it as one of the few "perfect fusions" of these styles, maintaining high energy throughout the set.
It has achieved legendary "rare-groove" status among DJs and collectors, often fetching high prices in original pressings.
Willie Bobo provides steady congas and timbales, while the Bo-Gents deliver a heavy, rhythmic backbone.
Key Tracks:
"Broasted or Fried": A standout "break cut" frequently cited as a superbly funky highlight.
"Soul Foo Yong": Noted for its slight psychedelic inflection and infectious groove.
"Dindi": A standard that Bobo recorded frequently, featured here as a ballad sung in English.
"Do What You Want To Do": The title track is a primary draw for its hard-funk instrumentation.
The album maintains a high average rating of 4.3 to 4.4 out of 5 across user-review platforms like Discogs.
Originally released on the Sussex label, it has been reissued by Vampi Soul (2006) and Octave Lab (2022/2023), making it accessible on CD and vinyl for modern listeners.
Do Ya Wanna Get Funky With Me
Guitar – Tom Dziallo
Synthesizer, Piano [Acoustic Piano], Drums, Percussion – Peter Brown
Written-By – P. Brown
3:53
A2 Doh Ya Wanna Get Funky With Me / Burning Love Breakdown
Alto Saxophone – Michael Smith
Backing Vocals – Wildflower
Guitar – Steve Gordon (10)
Piano [Acoustic Piano] – Robert Rans
Synthesizer, Electric Piano, Piano [Acoustic Piano], Guitar, Drums, Timbales, Percussion – Peter Brown
Written-By – P. Brown
9:13
A3 You Should Do It
Backing Vocals – Betty Wright, Pat Hurley, Wildflower
Synthesizer, Electric Piano, Drums, Percussion – Peter Brown
Written-By – P. Brown, R. Rans
3:55
B1 The Singer's Become A Dancer
Guitar, Bass – Tom Dziallo
Synthesizer, Electric Piano, Piano [Acoustic Piano], Drums – Peter Brown
Written-By – P. Brown
3:54
B2 For Your Love
Backing Vocals – Pat Hurley, Paul Ricupero
Bass – Tom Dziallo
Synthesizer, Electric Piano, Piano [Acoustic Piano], Drums – Peter Brown
Written-By – P. Brown, R. Rans
4:17
B3 Dance With Me
Backing Vocals – Betty Wright, Pat Hurley, Wildflower
Guitar, Bass – Tom Dziallo
Piano, Soloist [Solo Piano] – Robert Rans
Synthesizer, Electric Piano, Piano [Acoustic Piano], Drums – Peter Brown
Written-By – P. Brown, R. Rans
5:18
B4 It's True What They Say About Love
Bass – Tom Dziallo
Guitar – Paul Ricupero
Synthesizer, Piano [Acoustic Piano], Drums – Peter Brown
Written-By – P. Brown, R. Rans
3:41
B5 Without Love
Synthesizer, Electric Piano, Percussion – Peter Brown
Vocals – Pat Hurley
Written-By – P. Brown
3:12
Label: Drive – 104
Format:Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Disco, Funk
Do Ya Wanna Get Funky With Me? is a 1977 debut album by American funk/disco artist Peter Brown, released on Drive Records (a subsidiary of TK Records). It is widely recognized for featuring the million-selling title track and "Dance With Me," blending electronic synth-heavy production with disco-funk grooves and soul vocals.
The album is a staple of 1970s Disco-Funk, characterized by its "four-on-the-floor" beat, thick synth bass lines, and Latin-influenced percussion.
Peter Brown produced the album, showcasing a unique sound that combined synthesizers, percussion, and vocals, with contributions from artists like Betty Wright and the group Wildflower.'
While often associated with the title Do Ya Wanna Get Funky With Me?, the album is also known as *A Fantasy Love Affair*, which was the title used for its initial release. The cover art for this release featured a controversial,, stylized silhouette of a nude person in a window.
The title track was a massive success, selling over one million copies and reaching high positions on both R&B and Pop charts in 1977. The album reached #9 on the Billboard R&B charts and #11 on the Pop chart.
Reviews of the release on Discogs indicate it is highly regarded by fans of the genre, with an average rating of 4.23/5, while another pressing holds a 3.86/5. The album is described as essential for understanding the transition between pure funk and early disco.
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.
Doing Their Best Things
A2 Follow Your Heart
A3 Searchin' For My Baby
A4 Baby I'm Sorry
A5 I Wanna Be (Your Everything)
B1 Baby I Need You
B2 Call Somebody Please
B3 Sweet Little Girl
B4 I Betcha (Couldn't Love Me)
B5 Teach Me (The Philly Dog)
Label: UpFront Records – UPF-120
Format: Vinyl, LP, Album, Compilation
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Doo Wop
The Manhattans' Doing Their Best Things (1969) is celebrated by fans as a delightful early work showcasing their smooth, romantic harmonies and solid soul/R&B sound before their major Columbia label fame, featuring standout tracks like the sweet "Sweet Little Girl" and catchy "I Betcha," offering a nostalgic, soulful journey with strong vocals and infectious grooves that highlight their talent for crafting heartfelt, engaging music, even on this transitional album before their biggest hits.
The album compiles singles from The Manhattans' time on Carnival Records. Notable tracks frequently mentioned in reviews include "Can I," "Follow Your Heart" (highlighted as a showcase for the band), "Searchin' for My Baby" (described as a "mean groover"), "I Wanna Be (Your Everything)" (their first hit on the label), "Baby I Need You" (a ballad compared to The Temptations), and "I Betcha (Couldn't Love Me)".
It captures The Manhattans in their formative years, delivering classic soul with lush arrangements and intricate vocal interplay, notes Funk My Soul. Listeners praise the "sweet harmonies" and "romantic" feel, perfect for chilling or romantic moments.
The title track, "Doing Their Best Things," and "I Betcha" are often highlighted for their catchiness and enduring appeal, according to Funk My Soul and Amazon UK. Tracks like "Sweet Little Girl" showcase their ability to deliver soulful ballads with grace, similar to The Impressions, as noted by Funk My Soul.
Fans love it as a "trip into the past," appreciating the genuine soul sound that some feel is missing from modern music, per Amazon UK. Many users praise the album for bringing back fond memories of when "music had a message of love". A common sentiment is that "every track is brilliant" and there isn't a single song they dislike.
Doing Their Best Things serves as a wonderful introduction or deeper dive into The Manhattans' legacy, proving they were a top-tier soul group even before their massive crossover success, delivering quality, heartfelt music that remains beloved by fans.
Doing Their Own Thing
A2 Got To Getcha 2:46
A3 Southwick 3:25
A4 Funky Women 5:31
B1 Shake It Baby (Keep On Shakin It) 2:10
B2 Better Half 5:00
B3 Don't Waste This World Away 6:17
B4 Mag-Poo 3:16
B5 (I Remember) Mr. Banks 5:27
Label: House Of The Fox – HOF-LP-1
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Funk
Maceo And All The King's Men – Doing Their Own Thing (1970) is a highly acclaimed funk/soul gem, praised for its raw energy, tight grooves, killer horn arrangements by Maceo Parker, and a sound bridging James Brown's funk with jazzier, Tower of Power-esque vibes, considered a must-have for funk fans despite James Brown allegedly blackballing it initially.
Reviewers highlight its impressive musicianship, powerful rhythm section (especially the kick drum), and standout tracks like "Funky Women" and "Got to Getcha," offering a vibrant, instrumental brew that's both danceable and sophisticated.
The album is a perfect blend of hard funk, soul, blues, and jazz, capturing a unique moment as the band explored their own sound away from James Brown's direct influence.
It features Maceo Parker's signature, fiery saxophone work, backed by a tight combo featuring many of James Brown's former band members.
The album is known for its deep grooves, rumbling bass, and punchy horns, with exceptional drumming and overall musicianship.
Often called a "brilliant" album from start to finish, a "dynamite" record, and one of the best funk albums ever, it gained cult classic status partly because it was reportedly suppressed by James Brown upon release, making its discovery a treat for funk enthusiasts.
In essence, Doing Their Own Thing is celebrated as a vital early-70s funk record showcasing incredible talent and capturing a powerful, independent spirit.
Don Blackman
Written-By – Don Blackman
5:16
A2 Heart's Desire
Written-By, Arranged By – Don Blackman
4:30
A3 Holding You, Loving You
Written-By, Arranged By – Don Blackman
4:10
A4 Deaf Hook-Up Connection
Written-By – Don Blackman
4:03
B1 You Ain't Hip
Written-By – Desire White, Don Blackman
3:01
B2 Let Your Conscience Be Your Guide
Written-By – Steven Moss, Weldon Irvine
3:38
B3 Since You Been Away So Long
Written-By, Arranged By – Don Blackman
5:11
B4 Never Miss A Thing
Written-By, Arranged By [Music, Horns] – Don Blackman
Label: Arista GRP – GRP 5509
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Soul, Funk, Disco
Don Blackman’s 1982 self-titled debut is a revered, cult-classic blend of funk, jazz-fusion, and soul, celebrated for sophisticated, "grown folks" grooves. Despite low initial sales, this 8-track masterpiece is now considered a cornerstone of 1980s rare groove, featuring legendary drummer Dennis Chambers and bassist Barry Johnson.
The album is noted for its high-caliber playing, featuring renowned drummer Dennis Chambers and bassist Barry "Sonjohn" Johnson. Critics highlight the "grown folks chords" and intricate polyrhythms as evidence of Blackman’s technical genius.
Essential Tracks: "Holding You, Loving You" (a 2-step gem often cited as a favorite by artists like Pharrell Williams), "Heart's Desire," "Yabba Dabba Doo," and "Let Your Conscience Be Your Guide".
The album features complex harmonies, deep basslines, and a blend of jazz technicality with funk sensibility. It is highly regarded for its "grown folks chords," providing a smooth, melodic, yet danceable vibe.
Although it was his only solo release during that era, the album is recognized as a masterpiece, with original vinyl copies becoming rare and highly coveted collector's items. The album is a staple for sampling in hip-hop, having been used by artists such as Jay-Z, DJ Jazzy Jeff, and Madlib.
This album is frequently cited as one of the best, most essential, and funkiest albums of the 1980s, combining high-class musicianship with soulful, memorable songs.
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 Any Further
Written-By – D. Lambert, P. Beckett
Written-By, Arranged By, Producer – P. Jackson, Jr.
4:20
A2 Don't Look Any Further
Arranged By, Producer – Paul Jackson Jr.
Featuring – Siedah Garrett
Written-By – D. Hitchings, F. Golde
Written-By, Arranged By – Dennis Lambert
3:59
A3 (You're My) Aphrodisiac
Arranged By, Producer – Robbie Buchanan
Written-By – D. Lambert, J. Crowley, S. Dees
4:30
A4 Can't Fight It
Arranged By, Producer – Robbie Buchanan
Written-By – J. Pati
4:41
B1 Another Place In Time
Arranged By, Producer – Robbie Buchanan
Written-By – G. Sklerov, S. Kunin
4:12
B2 Shake Hands (Come Out Dancin')
Arranged By, Producer – Paul M. Jackson, Jr.
Written-By – P. Beckett
Written-By, Arranged By – D. Lambert
4:23
B3 I Thought I Could Handle It
Arranged By – Larry Williams
Written-By – F. Golde, R. Preston
Written-By, Arranged By – D. Lambert
3:59
B4 Just Like You
Arranged By, Producer – Robbie Buchanan
Written-By – J. Pescetto
4:00
B5 Let's Go Up
Arranged By, Producer – Robbie Buchanan
Written-By – F. Golde, P. Ivers
3:57
Label: Gordy – 6057 GL
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B
Dennis Edwards' Don't Look Any Further album, from 1984, is a standout R&B record, primarily celebrated for its iconic, sample-heavy title track duet with Siedah Garrett, featuring an unforgettable bassline that became foundational for hip-hop, though the album itself mixes quiet storm, dance, and soulful slow jams, with critics noting Edwards' powerful vocals elevate filler tracks into timeless grooves, making it a must-have classic despite uneven production.
The Title Track: "Don't Look Any Further" is a landmark, featuring Edwards' smooth vocals, Siedah Garrett's distinctive voice, and Paul Jackson Jr.'s iconic bassline, making it a dance classic and frequently sampled in hip-hop and R&B.
Edwards' voice, honed with The Temptations, shines throughout the album, rescuing less-stellar tracks with his top-form delivery, as noted in Reviews & Dunn.
Produced by Dennis Lambert, the album blends reggae-infused R&B, quiet storm, and soulful slow jams, with "(You're My) Aphrodisiac" and "Just Like You" also noted singles.
The bassline from the title track is one of the most sampled in music history, appearing in countless hip-hop and R&B hits by artists like The Notorious B.I.G., Mary Mary, and Lil Wayne, and even getting a popular UK dance remix by M People.
While some critics found much of the album filler beyond the singles, Edwards' powerful vocals and the strength of the title track solidified its place as a beloved classic, with many fans praising its timeless grooves and nostalgic feel. It's considered a standout release in Dennis Edwards post-Temptations solo career.
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.
Down on the Street
Written-By – W.Sharpe, R.Odell 3:22
A2 Holding On
Written-By – G.Anderson Jr., J.Saward 4:34
A3 Summer Sky
Written-By – J.Saward, R.Odell 4:22
A4 Hypnotised
Written-By – W.Sharpe 4:28
B1 Don't Blame It On Love
Written-By – W.Sharpe, R.Odell 3:25
B2 Photograph
Written-By – W.Sharpe, R.Odell 4:25
B3 Watching You
Written-By – W.Sharpe, R.Odell 5:22
B4 Fire Dance
Written-By – W.Sharpe, R.Odell 5:00
B5 Lady (To Billie Holiday)
Written-By – W.Sharpe, R.Odell 3:11
Label: Polydor – POLD 5148
Format: Vinyl, LP, Album
Country: UK
Released: 1984
Genre: Jazz, Funk ,Soul
Style: Jazz-Funk, Smooth Jazz
Shakatak's Down On The Street (1984) is a defining jazz-funk/smooth jazz album, capturing the vibrant 80s dance scene with its blend of catchy melodies, synth-pop, soulful vocals (Jill Saward), and strong instrumental grooves, producing their biggest UK hit title track and hits like "Don't Blame It on Love" and "Watching You," solidifying their "blue-eyed soul" sound.
The vibe is polished, melodic, dance-oriented, featuring prominent keyboards, sax, and funk basslines, reflecting mid-80s production. Lead vocals are by Jill Saward, known for their clear delivery.
It features the Top 10 UK hit title track "Down on the Street," plus "Watching You" and "Don't Blame It on Love".
The album was a significant release, reaching No. 17 on the UK Albums Chart and a great entry point for new fans.
It Captures the quintessential sound and vibe of the 1980s and is praised for its high production quality, solid musicianship, and fusion of soulful elements. Essential for fans of 80s dance and soulful music.
Dream World
Written-By – Allan Felder, Norman Harris
2:58
A2 Nite Moods
Written-By – Robert L. Martin
4:58
A3 I Don't Have You
Written-By – Saundra McGregor
2:47
A4 Escape From Planet Earth
Written-By – Robert L. Martin
4:13
A5 Take A Little Time (To Know Me)
Written-By – Robert L. Martin
3:18
B1 Day By Day (Every Minute Of The Hour)
Written-By – Robert L. Martin, Eugene Lemon
2:58
B2 Heaven Must Have Sent You
Written-By – Eddie Holland, Lamont Dozier, Brian Holland
2:55
B3 How Can I Pretend
Written-By – Thomas Keith
2:57
B4 The Love You Gave To Me
Written-By – Robert L. Martin
2:43
Label: Jay-Walking – JWL 1020
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Philly
The Continental IV Dream World album is a highly-regarded, yet often overlooked, Philly Soul classic known for its lush harmonies, ethereal falsetto lead vocals (by Freddie Kelly), and exquisite orchestration, featuring standout tracks like the sublime "(You're Living In) A Dream World," "Day By Day," and a great cover of The Elgins' "Heaven Must Have Sent You". Reviewers praise its timeless quality, calling it essential listening for fans of 70s sweet soul, despite its initial rarity.
The group's signature is Freddie Kelly's distinctive, angelic falsetto, often compared favorably to other great soul leads.
Produced by Philly maestros like Bobby Martin and Norman Harris, it embodies the sweet, orchestrated sound of the era.
Standout Tracks: "(You're Living In) A Dream World," "Day By Day (Every Minute of the Hour)," "Escape From Planet Earth," and "How Can I Pretend" are frequently mentioned as highlights.
While not as commercially huge as contemporaries, it's considered a masterpiece of the genre, gaining new appreciation through reissues.
Critics and collectors consistently rate the album highly, typically between 4.5 and 5 stars on enthusiast sites. While the group never achieved the mainstream success of their contemporaries, the album is celebrated for its consistent quality from start to finish.
Overall, fans and critics adore Dream World for its pure soulfulness, beautiful arrangements, and emotional depth, recognizing it as a hidden gem that perfectly captures the magic of 70s soul music. It's considered a must-have for collectors of Philly Soul and sweet harmony groups.
Dreamer
Written-By – Dan Walsh, Michael Price
3:51
A2 I Wouldn't Treat A Dog (The Way You Treated Me)
Written-By – Dan Walsh, Michael Omartian, Michael Price, Steve Barri
3:15
A3 Lovin' On Borrowed Time
Written-By – C. O'Hara, N. Garfield
3:19
A4 The End Of The Road
Written-By – Oscar Perry
3:06
A5 I Ain't Gonna Be The First To Cry
Written-By – Dan Walsh, Michael Price, Mitch Bottler
3:36
B1 Dreamer
Written-By – J. Zaremba
4:09
B2 Yolanda
Written-By – Daniel Moore
3:43
B3 Twenty-Four Hour Blues
Written-By – Dan Walsh, Michael Price, Steve Barri
3:59
B4 Cold Day In Hell
Written-By – Oscar Perry
2:43
B5 Who's Foolin' Who
Written-By – Dan Walsh, Michael Omartian, Michael Price, Steve Barri
4:18
Label: ABC Records – ABCL 5053
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul, Blues
Style: Rhythm & Blues, Soul
Released in 1974 on ABC/Dunhill, Bobby Bland’s Dreamer is a critically acclaimed landmark album that successfully transitioned his gritty Southern blues sound into polished, sophisticated West Coast soul. Featuring the iconic hit "Ain't No Love In The Heart Of The City," the album is praised for its stellar, consistent production, elite session musicians, and powerful vocals.
Produced by Steve Barri and Michael Omartian, the album features a full, lush, and somewhat "pendulous" sound, incorporating brass sections and strings. It marked a shift towards a more polished, soul-blues fusion compared to his earlier work.
The album is backed by top-tier L.A. session musicians, including guitarists Dean Parks and Larry Carlton, bassist Wilton Felder, and drummer Ed Green.
Key Tracks: "Ain't No Love In The Heart Of The City" is the standout hit, with others like "I Wouldn't Treat A Dog (The Way You Treated Me)," "Yolanda," and "I Ain't Gonna Be The First To Cry" also receiving high praise for their quality.
Dreamer is considered a masterpiece of its genre and a crucial, essential album for fans of 1970s soul and blues. It solidified Bland's reputation as one of the best soul voices, even with the shift toward a more modern, produced sound.
While some initial, contemporary reviews were mixed regarding the polished production, retrospective reviews are overwhelmingly positive, often rating it as a "must-have" or "5-star" album.
It is frequently regarded as a high point in Bland's career, blending emotional depth with a more commercial, polished sound. Modern listeners highly recommend the Bear Family Records 180g vinyl reissue for its superior mastering and restored gatefold design.
Dreams Of Tomorrow
Drums – Yogi Horton
Electric Piano, Piano [Acoustic Piano] – Lonnie Liston Smith
Lead Vocals – Donald Smith
Percussion – Steve Thornton
Soprano Saxophone – David Hubbard
Written-By, Bass, Synthesizer [Prophet 5], Guitar, Backing Vocals – Marcus Miller 4:42
A2 Mystic Woman
Bass, Synthesizer [Prophet 5], Guitar – Marcus Miller
Drums – Yogi Horton
Flute – David Hubbard, Donald Smith
Percussion – Steve Thornton
Written-By, Electric Piano – Lonnie Liston Smith 4:35
A3 The Love I See In Your Eyes
Drums – Buddy Williams
Flute – Donald Smith
Percussion – Steve Thornton
Piano [Acoustic Piano] – Lonnie Liston Smith
Soprano Saxophone – David Hubbard
Written-By, Bass, Synthesizer [Prophet 5], Keyboards – Marcus Miller 3:47
A4 Dreams Of Tomorrow
Bass, Synthesizer [Prophet 5] – Marcus Miller
Drums – Buddy Williams
Lead Vocals – Donald Smith
Percussion – Steve Thornton
Written-By, Electric Piano – Lonnie Liston Smith 4:15
B1 Never Too Late
Drums – Yogi Horton
Electric Piano, Piano – Lonnie Liston Smith
Lead Vocals, Backing Vocals – Donald Smith
Percussion – Steve Thornton
Soprano Saxophone – David Hubbard
Written-By, Bass, Synthesizer [Prophet 5], Backing Vocals, Keyboards – Marcus Miller 4:50
B2 Rainbows Of Love
Drums – Buddy Williams
Flute – Donald Smith
Percussion – Steve Thornton
Soprano Saxophone – David Hubbard
Synthesizer [Synthesizer Bass] – Marcus Miller
Written-By, Electric Piano, Piano – Lonnie Liston Smith 4:20
B3 Divine Light
Bass, Synthesizer [Prophet 5], Guitar – Marcus Miller
Drums – Buddy Williams
Percussion – Steve Thornton
Soprano Saxophone – David Hubbard
Voice, Flute – Donald Smith
Written-By – Sri Chinmoy
Written-By, Piano – Lonnie Liston Smith 3:35
B4 A Garden Of Peace
Written-By, Piano [Acoustic Piano], Electric Piano – Lonnie Liston Smith
3:09
Label: Doctor Jazz – FW 38447
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Jazz
Style: Jazz-Funk, Fusion
Lonnie Liston Smith's Dreams of Tomorrow (1983) is a beloved, smooth jazz-funk fusion album, praised for its soulful grooves, spiritual feel, and standout tracks like "A Garden of Peace" and "Divine Light," featuring soulful vocals (Donald Miller) and early Marcus Miller bass, delivering a pleasant, radio-friendly sound that bridges jazz, funk, and soul, perfect for fans of mellow, uplifting grooves.
Key Highlights:
The album features Smith's brother Donald on vocals/flute, David Hubbard on sax, and a young, incredible Marcus Miller on bass. A standout element is the "dynamic" and "prodigious" bass play of 18-year-old Marcus Miller, which revitalized Smith’s keyboard energy.
Track Highlights:
"A Garden of Peace": Often cited as the album's crown jewel, it is described as a "heart-wrenching" and "beautiful melody" that remains a timeless classic.
"Mystic Woman": Features a "hard-driving funk beat" and highlights the powerful collaboration between Smith and Miller.
"Dreams of Tomorrow": The title track is praised for its "world-harmonizing lyrics" and sparse but perfect support for Donald Smith's vocal performance.
"A Lonely Way to Be": An upbeat opener that previews the popular R&B-inflected jazz style of the era.
If you enjoy classic jazz-funk with melodic hooks, spiritual undertones, and smooth, sophisticated production, Dreams of Tomorrow is a must-listen for its iconic tracks and warm sound that stands the test of time.
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.
Dynamic Hopeton Lewis
Written-By – Mentor Williams
A2 Pied Piper
Written-By – Kornfield, Duboff
A3 Keep On Singing
Written-By – Hopeton Lewis
A4 Working It Down To The Bone
A5 Pick Yourself Up
Written-By – R. D. Livingstone
A6 God's Little Children
B1 Show Me Some Loving
B2 Goodbye Yesterday
Written-By – G. Bright-Plummer, J. Cliff
B3 Leaving Babylon
Written-By – Hopeton Lewis
B4 Take My Heart
Written-By – B. Kaempfert
B5 Baby Don't Get Hooked On Me
Written-By – Mac Davies
B6 City Of New Orleans
Written-By – S. Goodman
Label: Dragon – DRLS 5008
Format: Vinyl, LP, Album
Country: UK
Released: 1975
Genre: R&B Reggae
Style: Reggae, Rocksteady
The album Dynamic Hopeton Lewis, released by Dynamic Sounds Records in 1974, showcases Hopeton Lewis's smooth Jamaican soul and rocksteady style, produced by Byron Lee with crossover appeal, featuring tracks like "Drift Away," "Working It Down To The Bone," and "Pied Piper," blending soul influences with classic Jamaican sounds for a broad audience.
The album represents Lewis’s transition from his early rocksteady roots into the 1970s reggae era. It is often praised for the track "Leaving Babylon," which is considered a highlight of the release. Lewis’s style on this record combines the traditional Jamaican sound with global pop appeal, a hallmark of Byron Lee's Dynamic Sounds productions.
The album is a great example of Hopeton Lewis's ability to blend his foundational rocksteady roots with more soul-influenced sounds, making his music accessible beyond Jamaica while retaining its authentic flavor, making it a sought-after release for fans of classic Jamaican soul and reggae.
Dynamic Soul
Written-By – B. Curington, R. Brown, T. Lester, W. Lester
A2 Darkness of Evil– Laid Back Funk
Written-By – Darkness of Evil
A3 The James Cotton Band– One More Mile
Written-By – James Cotton
A4 Sugar Billy– Freak And You Shall Find
Written-By – J. Abston, S. Petty
A5 Special Delivery– I Destroyed Your Love (Part I)
Written-By – Terry Huff
A6 The Impressions– Something's Mighty, Mighty Wrong
Written-By – Simon, Tufo, Green
B1 Sound Experience (2)– Boogie Woogie
Written-By – J. Lindsay, M. Miles, S. Watson
B2 The James Cotton Band– I Got A Fellin'
Written-By – J. Cotton
B3 Prophecy (24)– What Ever's Your Sign (Part I)
Written-By – B. Franklin
B4 Black Satin– In The Still Of The Night
Written-By – Fred Parris
Label: Black Horse – XBH.1032
Format: Vinyl, LP, Compilation
Country: Brazil
Released: 1976
Genre: R&B Soul, Funk
Style: Seventies Soul
Dynamic Soul is a limited-edition soul and funk compilation album released in 1976 by the Brazilian label Black Horse.
The album features a selection of tracks curated by Brazilian DJs known as Dynamic Soul, including Luiz Antonio Antunes, Robson Costa Borba, Walter Costa Borba, and Antonio Alves Nascimento Filho.
As of early 2026, the album is highly regarded by collectors of rare soul and funk, maintaining a rare 5/5 average rating among users on the Discogs community marketplace.
It is considered a high-value collector's item, with rare physical copies previously selling for prices ranging from approximately $50 to over $130.
The album is deeply rooted in the 1970s Brazilian soul scene, often associated with rare funk and "Northern Soul" styles found in club environments.
The album highlights international soul and rhythm-and-blues acts that were popular in 1970s Brazilian club culture.
Ebonee Webb
Written-By – A. Taylor, M. Winston
4:35
A2 Something About You
Written-By – Allen Jones
5:30
A3 Woman
Written-By – A. Taylor, M. Winston
4:47
A4 Throw Down
Written-By – Taylor, Coleman, Winston
3:50
B1 Anybody Wanna Dance
Written-By – Taylor, Davis, Winston, Brown
5:31
B2 Do Me Right (Everybody Needs A Little Love)
Written-By – Weatherspoon, Thigpen, Banks
4:10
B3 Stop Teasing Me
Written-By – A. Taylor, M. Winston
3:54
B4 Gonna Get Cha'
Written-By – Thomas Brown
3:49
Label: Capitol Records – ST-12148
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Disco, Funk, Boogie
Ebonee Webb's 1981 self-titled album is a solid, but somewhat overlooked, early 80s funk/soul effort from a Memphis octet, featuring strong production by Allen Jones (Bar-Kays) and showcasing decent grooves with vocalist Michael Winston and guitarist Thomas Brown, though it arrived as the genre was shifting, making it a niche but quality listen for funk fans.
The album was produced by Allen Jones, renowned for his work with The Bar-Kays, bringing a professional, heavy-groove Memphis sound to the project.
Led by vocalist Michael Winston and guitarist Thomas Brown, the group delivers a mix of high-energy funk and polished soul. Features lead vocalist Michael Winston and guitarist Thomas Brown.
Critics describe the music as "acclaimed US boogie funk," though some retrospectively note it was released just as these traditional soul styles were beginning to lose mainstream momentum.
Considered a good album, but perhaps missed the mainstream peak of funk as styles evolved. It Became a sought-after item for collectors, especially in Japan and Canada, and is praised by dedicated funk fans.
In essence, it's a well-crafted funk record from a time of transition, offering enjoyable grooves and solid musicianship that rewards those digging into early 80s sounds.
Ebony Woman
Written-By – Morris Bailey 3:52
A2 Mrs. Robinson
Written-By – P. Simon 4:31
A3 The Windmills Of Your Mind
Written-By – Marilyn & Alan Bergman, M. Legrand 8:00
A4 Everyday People
Written-By – Sylvester Stewart 3:55
B1 Let's Fall In Love All Over
Written-By – Robert Martin 3:51
B2 Windy
Written-By – Ruthann Friedman 2:50
B3 Psychedelic Sally
Written-By – Horace Silver 2:58
B4 Traces
Written-By – Buie, Cobb 4:01
B5 Proud Mary
Written-By – John C. Fogerty 2:23
Label: Neptune Records – NLPS-201
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Jazz, Soul
Style: Seventies Soul, Soul-Jazz
Billy Paul's Ebony Woman (1970) is praised as a unique showcase of his versatile voice, blending soul, jazz, and reimagined popular covers ("Mrs. Robinson," "Everyday People") with early Philly Soul production by Gamble & Huff, marking a strong, albeit often overlooked, precursor to his later mega-hit 360 Degrees of Billy Paul, highlighting his artistic depth beyond just "Me & Mrs. Jones".
An early Gamble & Huff production, it foreshadowed the iconic Philadelphia Sound with smooth arrangements, elegant strings, and solid rhythm sections.
Paul proves his unique ability to adapt his gravelly voice to diverse material, from upbeat funk ("Proud Mary") to poignant ballads.
He radically reimagines hits by Simon & Garfunkel, Sly & the Family Stone, and CCR, transforming them with his soulful interpretation and rich production.
While not a massive hit initially, it demonstrated the vocal and artistic depth that would define his later success, especially on the massively popular 360 Degrees of Billy Paul.
Modern listeners and critics celebrate expanded reissues (like BBR's) for making this "must-have" album accessible, featuring great sound and interviews.
Many consider it a cornerstone album, revealing Paul's brilliance before his crossover fame, with some calling it a "masterpiece".
In essence, Ebony Woman is a soulful, imaginative journey through 1970s pop culture, showcasing Billy Paul as a profound interpreter and a pivotal figure in soul music's evolution, making it essential listening for fans of the genre.
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".
Enchantment
A2 Gloria 5:20
A3 Dance To The Music 4:00
A4 Sexy Lady 3:00
B1 Come On And Ride 4:16
B2 My Rose 4:28
B3 Sunshine 4:40
B4 Thank You Girl For Loving Me
Written by Emanuel Johnson, Michael Stokes
Label: United Artists Records – UA-LA682-G
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
Enchantment's self-titled 1976 debut album is praised as a strong, classic soul/R&B record, showcasing the group's vocal talent with standout singles like "Gloria" and "Sunshine," alongside deep cuts like the funk track "Hold On," with reviewers highlighting its lush arrangements, diverse styles (sweet soul, funk, disco), and timeless quality that defied the disco era's rise.
The album is noted for its intricate harmonies, masterful lead vocals (especially E.J. Johnson's tenor), and rich instrumentation, making it a highly recommended staple of 70s soul.
The group was one of the last great "sweet soul" acts, blending the polished sound of Motown with Philly soul, notes Allmusic.
Reviewers emphasize the exceptional vocal versatility and harmonies, with E.J. Johnson's powerful tenor leading many tracks. "Gloria" (R&B #5) and "Sunshine" (R&B #3) were major successes, proving their chart power.
Tracks range from romantic ballads ("My Rose") and funk grooves ("Hold On") to sensual R&B ("Sexy Lady") and disco, creating a varied and magical listening experience, according to this Amazon review.
Despite the emergence of disco, the album's quality soul/R&B sound is considered non-dated and highly enduring.
In summary, Enchantment's debut is celebrated as a high-quality, essential soul album, praised for its tight musicianship, standout singles, and consistent quality from start to finish, solidifying their place in 70s soul music history.
Encore
Written-By – Bushkin, DeVeries 2:51
A2 Someday
Written-By – Jimmie Hodges 2:14
A3 Along The Navaho Trail
Written-By – Charles, DeLange, Marks 3:05
A4 Running Wild
Written-By – Gibbs, Grey, Wood 1:25
A5 Accentuate The Positive
Written-By – Harold Arlen & Johnny Mercer 3:24
A6 Mary, Mary Lou
Written-By – Cayet Mangiaracina 2:44
B1 When I Fall In Love
Written-By – A. Felden 2:41
B2 I Cover The Waterfront
Written-By – Heyman, Green 2:11
B3 My Foolish Heart
Written By – H. Martin, J. Ward, S. Brown 2:20
B4 Today I Sing The Blues
Written-By – Cliff White, Curtis Lewis 3:20
B5 The Gypsy
Written-By – Billy Reid 2:30
B6 It's The Talk Of The Town
Written-By – Neiburg, Livingston, Symes 3:08
Label: Keen – A 2003
Format: Vinyl, LP, Album
Country: US
Released: 1958
Genre: R&B Soul, Pop
Style: Soul, Rhythm & Blues
Sam Cooke's Encore (1958) showcases his transition from gospel to pop, featuring smooth standards and early self-penned hits like "Win Your Love for Me," but some critics find its big band/lounge style (emulating Nat King Cole) safer and less soulful than his singles, offering a glimpse into his mainstream aspirations amidst an otherwise brilliant, but sometimes "harmless," crooning performance, especially alongside his debut Songs by Sam Cooke.
Encore leans into the sophisticated, clean-cut pop-crooner style, with Cooke covering standards like "Moonlight in Vermont" and "Danny Boy" with a smooth, almost "Sinatra-esque" delivery, a departure from the raw gospel of his background.
The album features the Bumps Blackwell Orchestra, a small combo with prominent guitar, giving it a classy but sometimes "lo-fi" sound compared to his clearer singles.
Some listeners find the material a bit too "white-bread" or "harmless," wishing he'd focused more on his innate soul, while others appreciate the tasteful, elegant arrangements.
Tracks like "Win Your Love for Me" and "Let's Go Steady Again" shine as early examples of his original pop flavor, and the album provides a contrasting texture to his groundbreaking singles.
It's often reviewed as part of his early Keen years, reflecting his initial goal to be a broad mainstream entertainer before his powerful, socially conscious hits emerged, notes byjeffburger.com.
Encore is a valuable, but divisive, part of Cooke's catalog; a solid collection of standards showing his versatility, but not always capturing the groundbreaking soul power he would soon unleash, making it a fascinating listen for understanding his early career path.
End Of A Rainbow
Bass – Will Lee
Synthesizer – Barry Miles 5:45
A2 In My Life 4:18
A3 You Don't Have To Say You're Sorry
Guitar – Steve Khan
Harp – Gloria Agostini
Piano – Michael Abene 3:37
A4 More Today Than Yesterday
Bass – Will Lee
Trumpet – Randy Brecker
Written-By – Pat Upton 5:29
B1 Give It Time
Bass – Chuck Rainey
Trumpet – Randy Brecker 3:07
B2 There Is No Time
Drums – Andy Newmark 3:28
B3 What's At The End Of A Rainbow
Guitar – Steve Khan
Harp – Gloria Agostini
Piano – Michael Abene 2:50
B4 This Side Of Heaven
Drums – Andy Newmark
Synthesizer – Barry Miles 3:03
B5 Sweet Sadie The Savior
Baritone Saxophone – Ronnie Cuber
Bass – Chuck Rainey
Tenor Saxophone – Joe Farrell 6:25
Label: CTI Records – CTI 5001
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Jazz
Style: Soul, Pop
Patti Austin's End of a Rainbow (1976) is a highly acclaimed debut for CTI Records, praised for showcasing her incredible vocal range, songwriting (especially "Sweet Sadie the Savior," "Say You Love Me"), and smooth blend of soul, jazz, and R&B, featuring lush arrangements, pop sensibilities (Stevie Wonder influence), and stunning ballads like "In My Life," making it a vital introduction to her artistry before her later Quincy Jones success.
It demonstrates her "heart and soul," from tender, heartfelt ballads to impressive scat singing, reminiscent of Ella Fitzgerald.
The album features eight original compositions, with "Sweet Sadie the Savior" (also recorded by Blood, Sweat & Tears) and "Say You Love Me" (a charting single) standing out.
Features rich mix of smooth soul, jazz, and pop, influenced by Stevie Wonder, with lush strings, harp, and top session players.
Standout Tracks: "In My Life," "You Don't Have to Say You're Sorry," "Give It Time," and the title track are frequently mentioned highlights.
Considered a classic, it earned a spot in many critics' top albums and charted well in the jazz world. It is an excellent starting point to understand Austin's vocal prowess and musical depth.
For Old Fans it;s a chance to revisit her formative CTI work, highlighting her unique voice before her mainstream superstardom.
It's seen as a foundational album, bridging classic soul and contemporary jazz-pop, and remains a permanent favorite for many.
The album marked Austin's strong debut on CTI after a decade in the industry, establishing her sophisticated style before her major pop hits in the 80s.
It was a U.S. Top 40 jazz charted album and remains a beloved staple in soul and jazz collections.
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.
Eric Mercury
3:04
A2 Pours When It Pains
3:17
A3 Princess Summerfallwinterspring
3:32
A4 Colour Yesterdays
4:49
A5 Sweetie-Pie
3:30
B1 Down The Backstairs Of My Life
4:00
B2 Forgive A Fool In Love
3:18
B3 Nothing Last Forever
3:10
B4 Love Enough
4:58
B5 No One
3:02
Label: Mercury – SRM 1-1026
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Released in 1975 on Mercury Records, the self-titled album by Canadian soul artist Eric Mercury is a 10-track collection of soul and funk featuring a stellar lineup of session musicians. It is widely recognized for its high-quality production, blending smooth soul with rock-infused arrangements.
At its launch, the album garnered positive reviews from major industry publications like Billboard and Cash Box, which praised Mercury's unique stylistic blend.
The album features notable session players, including Danny Kortchmar, David Foster, David Paich, Jeff Baxter, and Jim Keltner. While not a massive commercial success, the self-titled 1975 LP is regarded as a solid example of mid-70s soul.
Eric Mercury was a talented songwriter known for his work with artists like Donny Hathaway and was considered a highly skilled, albeit sometimes overlooked, artist in the industry.
The 1975 Eric Mercury album is considered a standout, refined effort compared to his earlier, more eclectic projects, offering a polished, professional sound.
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.
Eugene Wilde
Written-By – D. Robinson, M. Horton, R. Broomfield
6:48
A2 Gotta Get You Home Tonight
Written-By – M. Horton, R. Broomfield
5:17
A3 Let Her Feel It
Written-By – M. Horton, R. Broomfield
6:25
A4 Chey Chey Kulé
Written-By – M. Horton, R. Broomfield
3:31
B1 Rainbow
Written-By – M. Horton, R. Broomfield
3:40
B2 Just Be Good To Me
Written-By – V. Broomfield
4:36
B3 Personality
Written-By – M. Horton, R. Broomfield
3:38
B4 Gold
Written-By – D. Robinson, M. Horton, M. Forte, R. Broomfield
Label: Philly World Records – 90239-1
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul; Funk
Style: Eigties Soul, Funk, Disco
Eugene Wilde’s self-titled 1984 debut album on Philly World Records is a celebrated Contemporary R&B release (rated approx. 4.2/5 by collectors)
Highlighted by the hit "Gotta Get You Home with Me Tonight," the album is characterized by a glossy, 80s synth-heavy, and soulful sound, featuring emotive vocals often compared to Lionel Richie.
Key Tracks:-
"Gotta Get You Home Tonight": The standout hit and centerpiece of the album. It reached #1 on the US R&B charts and remains a defining track of the era, later heavily sampled in hip-hop and R&B.
"Personality": Another significant chart success that helped establish Wilde as a leading male vocalist in the soul scene.
"Don’t Say No (Tonight)": A popular ballad that reinforces the album's romantic, laid-back theme.
A prime example of mid-80s R&B, combining modern electronic production with soulful, romantic, and "sensuous" delivery.
The album holds a high regard among R&B collectors, frequently rated over 4/5 stars for its quality and consistency.
Some CD versions include extended versions of tracks, with superior sound quality compared to the original 1984 vinyl. The album is considered a "must-buy" for fans of 80s R&B and soul.
Everybody Wanna Live On
Written-By – Eula Jean Rivers, The Raders
8:35
A2 Please Don't Try (To Take Me Away To The Sky)
Written-By – The Raders
4:32
A3 (Call Me) The Travelling Man
Written-By – The Raders
6:53
A4 Listen
Written-By – The Raders
5:56
B1 Baby It's You
Written-By – Williams, Bacharach, David
6:38
B2 Sweet Sweetning
Written-By – The Raders
4:12
B3 (My Love For You Is) Honest And True
Written-By – The Raders
6:29
B4 Your Sweet Love Is A Blessing
Written-By – The Raders
6:07
Label: HBS – ABCD-921
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Disco
Released in 1975 on Isaac Hayes' Hot Buttered Soul label, Everybody Wanna Live On by The Masqueraders is a critically praised, soulful 1970s harmony album. Produced and arranged by Hayes, it features high-quality balladry and up-tempo tracks, including the R&B hits "Baby It's You" and "(Call Me) The Traveling Man".
The album is heavily influenced by Isaac Hayes, featuring lush arrangements, his band 'The Movement,' and a mix of sweet soul ballads and funk-tinged tracks. It is noted for having a significant "groove".
As a premier Memphis soul group, The Masqueraders deliver superb, tight harmonies throughout, with lead singer Lee Hatim highlighted for his fine form.
Track Highlights:-
"Baby It's You": A "sumptuous" and imaginative cover of The Shirelles’ classic, featuring a rare alto saxophone solo by Isaac Hayes.
"(Call Me) The Traveling Man": A group original and R&B hit, now considered a "vocal group classic".
"Your Sweet Love Is A Blessing": A lengthy, dramatic ballad described as the most "Hayes-centric" track on the record.
"Listen": An uptempo, foot-tapping "fest" that provides a high-energy contrast to the album's many ballads.
While sometimes considered to have slightly dated, "preachy" lyrics on faster tracks, the overall album is regarded as a high-quality soul record and a key release for the group.
Although highly acclaimed by soul aficionados, the album only charted modestly at #57 on the R&B chart, largely because it was released as disco was beginning to dominate the charts.
The album was reissued by Ace/Stax, bringing this 1970s gem back into circulation.
Everything I Do Gonna Be Funky
Written-By – O'Donel Levy
3:20
A2 Marbles
Written-By – O'Donel Levy
6:25
A3 Will It Go Round In Circles
Written-By – Billy Preston, Bruce Fisher
3:20
A4 Livin' For The City
Written-By – Stevie Wonder
4:59
B1 Sideshow
Written-By – Bob Eli, V. Barrett
4:48
B2 Willow Weep For Me
Written-By – Ann Ronnell
6:20
B3 Hey, Love!
Written-By – O'Donel Levy
3:17
B4 Are You Foolin Me
Written-By – O'Donel Levy
3:07
Label:
Groove Merchant – GM 535
Format:
Vinyl, LP, Album, Stereo
Country: US
Released:1974
Genre: R&B Jazz, Funk, Soul
Style: Funk, Jazz-Funk
Everything I Do Gonna Be Funky is a jazz-funk album by American guitarist O'Donel Levy, recorded in 1974 and released on the Groove Merchant label. Following his acclaimed 1973 album Simba, this record shifts toward a more "full-on funk" approach compared to his typically more laidback style.
The recording session includes notable jazz and session artists such as David Sanborn (saxophone), Ralph MacDonald (percussion), Lew Soloff (trumpet), and Charles Covington (keyboards).
Levy performs his signature tight, funky guitar work and contributes some vocals to the set. Features heavy electric funk arrangements by Dave Matthews.
Critics generally describe the album as a solid showcase of Levy's "bursting" guitar sound and sophisticated soul arrangements. While some retrospective reviews, such as those from AllMusic, suggest it lacked the strong original tunes of its predecessor Simba, it remains highly regarded by funk enthusiasts for its "hard-grooving" instrumentation and iconic "shocking" cover art.
O Donel Levy ODonel Levy
Executive Suite 1
Written-By – Felder, Sigler, Harris
A2 When The Fuel Runs Out (Instrumental)
Written-By – Felder, Sigler, Harris
A3 You Believed In Me (Part 1 & 2)
Written-By – Jennings, Lewis, Lucas
B1 I'm A Winner Now
Written-By – Felder, Harris
B2 Your Love Is Paradise
Written-By – Felder, Sigler
B3 You Got It (Part 1)
Written-By – Sigler, Hurtt
B4 You Got It (Part 2)
Written-By – Sigler, Hurtt
Label: Polydor – 2310 400
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Philly
Executive Suite 1 (1974) by the Philadelphia-based soul group Executive Suite is a highly regarded Philly soul/disco LP released on Polydor Records. It features lush production, including contributions from the legendary Baker, Harris & Young team. The album is highlighted by the standout track "I'm A Winner Now".
The album is deeply rooted in the Philly soul sound, with smooth vocals and polished, orchestral instrumentation. It seamlessly bridges smooth soul ballads with early disco-influenced rhythms, characterized by the "neck-snapping drums" and melodic harmonies that would later define the genre's peak.
The group consisted of Henry Tuten, Billy Tyler, Charles Conyers, and Vincent Unto. The group worked with notable producers and musicians from Sigma Sound Studios, including Bobby Eli and Bunny Sigler.
The album holds an average rating of 4.15/5 on Discogs, with enthusiasts praising its consistency despite the band's lack of major commercial success at the time of its release.
Exotic Mysteries
Engineer – Godfrey Diamond, Rafael Charres
Lead Vocals – Donald Smith
Remix – Bert DeCoteaux, Godfrey Diamond
7:00
A2 Quiet Moments 3:54
A3 Magical Journey 4:58
A4 Exotic Mysteries
Alto Flute, Soprano Flute – David Hubbard
Soprano Flute, Bass Flute – Donald Smith
5:00
B1 Singing For Love
Rhythm Guitar – Butch Campbell
Twelve-String Guitar – Aurell Ray
5:29
B2 Mystical Dreamer (A Tribute To Miles Davis)
Flute – Donald Smith
Soprano Saxophone – David Hubbard
6:00
B3 Twilight 1:28
B4 Night Flower
Flute – Donald Smith
Soprano Saxophone – David Hubbard
6:07
Label: Columbia – JC 35654
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Jazz Fusion
Lonnie Liston Smith's Exotic Mysteries (1978) is praised as a smooth, accessible jazz-funk fusion gem, blending disco, R&B, and ethereal jazz with vibrant rhythms, rich textures, and Donald Smith's otherworldly vocals, featuring standout tracks like Marcus Miller's "Space Princess" and showcasing excellent musicianship for a delightfully engaging, groovy experience, though some jazz purists find it too pop-oriented.
Standout Tracks: "Space Princess" (a dance favorite) and "Night Flower" (late-night radio staple), plus "Quiet Moments".
Features Marcus Miller (bass), Steve Thornton (congas), Lino Reyes (drums) with highly skilled performances and rich textures. Donald Smith's ethereal, "otherworldly" vocals add a unique, soulful depth.
Considered a classic of the era, bridging jazz fusion with mainstream appeal and influencing UK jazz-funk.
Hailed for its engaging melodies, mature sound, excellent production, and pure enjoyment. Some hardcore jazz fans might dislike its pop/disco leanings, but it's celebrated as masterfully crafted, accessible music.
In essence, Exotic Mysteries is seen as a successful, enjoyable fusion album that offers a dreamy, funky escape, perfect for fans of sophisticated grooves and soulful jazz.
Experience
A2 Making Love (For The Very First Time With You) 5:04
A3 Take A Chance On Me 5:05
B1 Don't Expose Your Thing 4:01
B2 Your Love Is Heavy 3:27
B3 Prove It To Me 3:42
B4 You're Gonna Walk Out On Me 4:07
B5 It's Got To Be That Way
Label: Malaco Records – LP-6352
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul
Eddie Floyd's 1977 Experience album for Malaco Records captured him in a deep Southern Soul/Blues style, offering regional appeal despite the era's shift towards disco; it showcased his gritty vocals and soulful storytelling on tracks, highlighting his enduring talent and connection to the Stax legacy, though it didn't achieve widespread chart success like his '60s hits, fitting into his career as a solid effort in the deep soul vein after his main Stax run.
Released on Malaco Records, the album leaned into the burgeoning Southern Soul/Blues sound, a perfect fit for Floyd's gritty delivery.
By 1977, mainstream tastes were changing (disco era), so Experience was more of a cult or regional favorite, not a crossover smash, but it kept Floyd connected to his roots.
Expect heartfelt, often gritty, deep soul music, showcasing Floyd's powerful voice and songwriting, which had defined his Stax-era hits like "Knock on Wood".
While specific track reviews are scarce in snippets, it's known to feature his signature style, with songs reflecting life and love from a seasoned perspective, typical of Malaco's output.
Overall: Experience is considered a solid, authentic deep soul album from Eddie Floyd, a favorite among fans of classic Southern Soul, even if it wasn't a commercial blockbuster in the late '70s
Explores Your Mind
Written-By – A. Green 2:56
A2 Take Me To The River
Written-By – A. Green, M. Hodges 3:43
A3 God Blessed Our Love
Written-By – A. Green, E. Randle, W. Mitchell 3:54
A4 The City
Written-By – A. Green, C. Hodges 3:24
A5 One Nite Stand
Written-By – A. Green 2:24
B1 I'm Hooked On You
Written-By – A. Green, W. Mitchell 3:19
B2 Stay With Me Forever
Written-By – A. Green, A. Sanders 3:12
B3 Hangin' On
Written-By – A. Green, M. Allen 4:18
B4 School Days
Written-By – A. Green 3:09
Label: Hi Records – SHL 32087
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Released in October 1974, Al Green Explores Your Mind is the eighth studio album by soul icon Al Green. It is widely regarded as one of his most accessible and polished efforts, bridging the gap between deep Southern soul and pop-oriented smooth soul.
The album was produced by Willie Mitchell at Royal Studios in Memphis. Mitchell employed a "lighter touch" than on previous records, creating a sophisticated sound characterized by dreamlike string arrangements and smooth horns.
Backed by the Hi Rhythm Section—featuring the Hodges brothers on bass, guitar, and organ—the record maintains a "kinetic groove" and a "chunky, punchy" feel.
Recorded shortly after Green’s religious conversion in 1973, the album blends romantic, secular themes with an emerging spiritual depth.
Key Tracks:
"Sha-La-La (Make Me Happy)": The album’s primary commercial hit, peaking at No. 7 on the Billboard Hot 100. It is noted for its infectious pop charm and Green's charismatic delivery.
"Take Me to the River": Often cited as one of Green’s greatest performances, this "sex and religious ode" became an enduring soul standard. It gained further fame when covered by the Talking Heads in 1978.
"God Blessed Our Love": A solemn, mellow track that reflects Green's spiritual concerns and remains a favorite for romantic occasions.
"School Days": The album's closing track, featuring sentimental lyrics about a school girlfriend that "works like a charm" due to Green's phrasing.
The album was Green’s fifth consecutive record to reach No. 1 on the Soul Albums chart and peaked at No. 15 on the Pop Albums chart.
Critics frequently rank it among his finest works, praising the "sheer amount of string arrangements" and Green’s intimate, persuasive vocals. You can find various editions of the album on Discogs or download it digitally on Amazon..
(Provided by Soulyears.com)
Expression Of Soul
Written-By – A. Felder, B. Sigler
3:47
A2 Please Let Me Come Home
Written-By – Elijah Walker
3:33
A3 God Bless Our Love
Written-By – Al Green, E. Randle, Willie Mitchell
8:00
A4 I Stand Accused
Written-By – William Butler, Jerry Butler
5:15
B1 Love Me In Your Own Way
Written-By – Charles Brimmer
4:34
B2 We've Only Just Begun
Written-By – Paul Williams, Roger Nichols
5:05
B3 Just Another Morning
Written-By – Charles Brimmer
3:12
B4 The Music Is Funky (Is It Alright)
Written-By – Charles Brimmer
3:18
Label: Chelsea Records – CHL 508
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Southern Soul, Bayou Funk
Released in 1975, Expression of Soul is the debut studio album by New Orleans deep soul singer Charles Brimmer. The album is widely regarded as a quintessential example of mid-70s southern soul, heavily influenced by the producer-manager Senator Jones and the regional sound of New Orleans.
Brimmer is praised as a "classic deep soul testifier". His vocal delivery is noted for being "tremendously soulful" and "hot," often compared to contemporary Al Green in its emotive intensity.
Reviews suggest the album may have been rushed by Chelsea Records to capitalize on Brimmer's single success, leading to production that some critics feel could have been more "fine-tuned". Despite this, the album is noted for representing his talent effectively.
While some fans consider it his best-known work due to its hits, critics often debate whether his second album, Soulman, is musically superior due to "more seasoned and expressive" vocals.
Album Highlights:-
"God Bless Our Love": A cover of the Al Green classic, this track was the album's breakout national hit, selling over 300,000 copies and becoming a defining song of the deep soul genre.
"The Music Is Funky (Is It Alright)": Described as a mid-tempo "crossover cooker" that reflects the energy of Brimmer's live stage show.
"I Stand Accused": Recognized as one of the standout "drenched in deep southern soul" tracks on the record.
Market Value: As of 2026, original vinyl copies typically hold a median value of approximately $11.16, with high-quality copies reaching up to $23.52. The album maintains a high average rating of 4.44/5 among collectors on platforms like Discogs.
A CD reissue was released by Good Time records in late 2023, though some listeners have noted a lack of updated remastering information or enhanced audio quality in these versions.
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".
Feel My Soul
Soloist, Synthesizer [Synthesizer Solo] – Robbie Buchanan
Written-By – Billy Meyers, Jon Lind
4:50
A2 I Am Ready Now
Written-By – David Lasley, Willie Wilcox
4:56
A3 This Game Of Love (I'm Never Coming Down)
Soloist, Guitar [Guitar Solo] – Roland Bautista
Written-By – Nicholas Ashford/Valerie Simpson
4:03
A4 I Am Love
Written-By – Allee Willis, David Foster, Maurice White
4:36
B1 Shine A Light
Written-By – Maurice White, Wanda Vaughn, Wayne Vaughn
4:46
B2 Just For A While
Written-By – Gino Vannelli, Ross Vannelli
5:04
B3 My Sweet Delight
Soloist, Synthesizer [Synthesizer Solo] – Greg Phillinganes
Written-By – David Foster, Maurice White, Tony Haynes
4:28
B4 Change Is Gonna Come
Written-By – Maurice White
4:44
B5 This Day
Written-By – Edwin Hawkins
3:23
Label: Geffen Records – GHS 4014
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Disco
Jennifer Holliday's 1983 debut album, Feel My Soul, produced by Maurice White (of Earth, Wind & Fire), was critically praised for showcasing her powerful, gospel-infused voice, balancing soul and Broadway theatricality with sophisticated arrangements, despite some reviewers noting her occasional tendency to over-sing, but ultimately establishing her as a major talent, though a pop crossover hit remained elusive.
Maurice White’s production is described as "confident and sophisticated". The New York Times noted that the production effectively muted Holliday's Broadway "bluster" without dampening her "emotional fire". Maurice White expertly focused on Holliday's immense vocal talent, allowing her to shine without taking excessive risks.
Reviewers consistently praise Holliday's "thrilling fullness" and emotional commitment. While some critics, like Jack Lloyd of the Philadelphia Inquirer, felt she occasionally "tried too hard" to demonstrate her range, others lauded her ability to balance power with sensitivity.
The album blended soul, R&B, and Broadway influences, featuring strong horn arrangements and well-crafted material, including the theatrical ballad "I Am Love". It was seen as a confident, intelligent debut that proved Holliday's potential beyond Broadway, even if it didn't explode on the pop charts.
Feel My Soul is a definitive showcase for Jennifer Holliday's exceptional vocal abilities. It's a sophisticated soul album, elevated by Maurice White's production and Holliday's raw, gospel-trained power. While a critical success that solidified her solo career, its pop chart success was limited compared to its powerful content, leaving fans wanting more recordings from her.
Feel The Music
Lead Vocals, Written-By – Shawn Sandridge
Written-By – Rahni P. Harris, II
5:38
A2 It Must Be Love
Written-By – Debbie Sandridge, Rahni P. Harris, II
4:04
A3 Out Tonight
Lead Vocals – Chris Jones
Rhythm Guitar – Rahni Harris
Written-By – Shawn Sandridge, Debbie Sandridge, Rahni P. Harris, II
4:56
A4 So What
Guitar – Doug Simon
Written-By – Rahni P. Harris, II
4:57
B1 Love You Anyway
Producer, Written-By – Roger Troutman
Written-By – Larry Troutman
4:25
B2 Caught In The Middle
Written-By – Debbie Sandridge, Rahni P. Harris, II
4:40
B3 Eyes
Written-By – Rahni P. Harris, II
4:11
B4 Promise Me
Drums – Zachery Harris
Lead Vocals, Written-By – Karen Harris Chappell
Written-By – Cecil Powell, Rachel Beavers, Rahni P. Harris, II
4:02
B5 Lookin' Up
Lead Vocals, Written-By – Karen Harris Chappell
Written-By – Rahni P. Harris, II
3:54
Label: Capitol Records – ST-12297
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk, Boogie
Dayton's Feel the Music (1983) is widely praised as a gem of 80s R&B/Funk, featuring polished soul, catchy hooks, and impeccable vocals, with highlights including the iconic vocoder-driven "The Sound of Music" and smooth grooves like "Out Tonite," blending 70s disco vibes with contemporary sounds for a standout album for funk and boogie fans. Reviewers call it a masterpiece, noting strong tracks and production, though some original pressings missed an instrumental outro on the final song.
A blend of Post-Disco, Funk, Contemporary R&B, and Quiet Storm - Polished, soulful, structured tracks with strong melodies, catchy hooks, and impeccable vocals, featuring fat drums, huge synths, and effective vocoders.A smooth, grown-and-sexy boogie feel, considered a masterpiece by many fans.
Standout Tracks: "The Sound of Music" (a standout fusion of disco & R&B with synth/vocoder), "Out Tonite," and "Promise Me".
Some original releases of the album were reportedly missing the delayed instrumental ending on the last track, "Lookin UP".
While excellent, the album was part of Ohio's rich funk scene but offered a slightly softer, more polished sound than some contemporaries.
Fans consider it a classic and a masterpiece, a must-have for 80s R&B/boogie lovers, delivering strong jams from start to finish.
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.
Fever
Written-By – R. Laws 4:30
A2 Fever
Written-By – E. Cooley, J. Davenport 3:24
A3 All The Time
Written-By – W. Jeffrey 4:00
A4 Stay Still (And Let Me Love You)
Written-By – A. Mardin, J. Joseph 7:24
B1 Strugglin'
Written-By – W. Murray 4:08
B2 Captain Midnite
Written-By – R. Laws 2:58
B3 Karmen
Written-By – R. Laws 3:47
B4 Night Breeze
Written-By – B. Lyle 6:29
B5 From Ronnie With Love
Written-By – R. Laws 4:22
Label: Blue Note – BN-LA628-G
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Funk
Ronnie Laws' 1976 album Fever is a highly-regarded jazz-funk masterpiece, showcasing his powerful saxophone over smooth grooves and tight rhythms, blending soulful fusion with energetic funk, featuring standout tracks like "Captain Midnight," "Let's Keep It Together," and the experimental "From Ronnie With Love," solidifying his distinct sound with heavy guitar, lush keys, and strong grooves, making it a key release in '70s fusion.
Pure Jazz Funk, Soul Jazz Fusion, featuring smooth, cinematic grooves and high-octane funk. Produced by Wayne Henderson (of The Crusaders), giving it a classic 70s feel with similarities to The Crusaders' sound. Characterized by dripping electric guitar, dreamy textures, solid rhythm sections, and synthesizer flourishes.
Standout Tracks:
"Captain Midnight": A smooth, late-night groove.
"Let's Keep It Together": Energetic funk with tight rhythms.
"Stay (And Let Me Love You)" / "Karmen" / "Night Breeze": Slow, groovy swells with dreamy guitar.
"From Ronnie With Love": An experimental, free-jazz piece with an intense sax solo, showcasing his jazzier side.
Features top-tier players like Marlon "The Magician" on guitar and members of Pleasure/The Crusaders on keys and bass (Wilton Felder, Joe Sample).
Praised for balancing musical integrity with commercial appeal and representing a creative peak in Laws' early career before he leaned more towards 'sophistifunk'.
Overall, Fever is considered a must-have for jazz-funk fans, offering a vibrant mix of infectious grooves, sophisticated arrangements, and powerful saxophone work that captures the essence of mid-70s jazz fusion.
Finally Got Myself Together
Written-By – L. Brownlee, L. Simon 4:43
A2 I'm A Changed Man (Finally Got Myself Together)
Written-By – Ed Townsend 3:05
A3 I'll Always Be Here
Written-By – A. J. Tribble, G. Davis, L. Simon 2:59
A4 Miracle Woman
Written-By – Ed Townsend 3:19
B1 We Go Back A Ways
Written-By – A. J. Tribble, L. Simon, S. Davis 3:50
B2 Guess What I've Got
Written-By – Ed Townsend 3:51
B3 Try Me
Written-By – Ed Townsend 5:12
B4 Don't Forget What I Told You
Written-By – A. J. Tribble, L. Simon 4:59
Label: Buddah Records – BDLP 4003
Format: Vinyl, LP, Album
Country: UK
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Finally Got Myself Together (1974) by The Impressions is a smooth, harmony-driven soul and funk album showcasing a post-Curtis Mayfield era with lush arrangements, featuring hits like the title track and "I'll Always Be Here," produced by Ed Townsend and Lowrell Simon, blending sweet grooves with gospel-infused funk for a mature, romantic sound.
The album features rich harmonies, sweet melodies, and a sophisticated, mellow groove, reminiscent of late-70s soul with key contributions from Ed Townsend (known for Marvin Gaye's Let's Get It On) and Lowrell Simon (also of The Lost Generation).
A strong album from their later period, demonstrating the group's enduring appeal and evolution in the 1970s soul scene.
In essence, it's a collection of smooth, well-crafted soul tracks that solidify The Impressions' reputation with lush production, heartfelt vocals, and danceable funk, making it a beloved record for soul fans.
Modern critics often highlight it as a "relatively undiscovered gem" that proved the group could still excel without Mayfield’s direct involvement.
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.
Finders Keepers
Written-By – J. Colbert, N. West 3:09
A2 Good-Bye Is Not The Only Way
Written-By – H. Scales 3:36
A3 We Got To Get Our Thing Together
Written-By – C. Arline, J. Avery, J. Dean 4:08
A4 If You Move I'll Fall
Written-By – J. Dean, W. Wooten 5:59
B1 A Little Understanding
Written-By – D. Davis, S. Mancha 3:17
B2 Midnight Sunshine
Written-By – G. Beene, M. Griffin 3:28
B3 Finders Keepers
Written-By – J. Colbert, N. West 2:52
B4 I'm Just A Shoulder To Cry On
Written-By – A. Vance, D. Davis, H. Scales 4:20
B5 One Broken Home For Sale
Written-By – C. R. Cason 5:20
Label: Epic – PE 33902
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Southern Soul
Soul Children's Finders Keepers (1976) is a strong post-Stax album for the trio (J. Blackfoot, Norman West, Shelbra Bennett), blending their signature raw Southern soul with a slightly more polished Epic Records sound, featuring powerful vocals, gospel-infused ballads, and rocking openers like "Highway," showing their ability to adapt while retaining their fiery essence, with fans praising its excellent sound quality and classic soul feel.
The album marks their move to Epic after Stax's collapse, finding them as a trio after Shelbra Bennett's departure, but still delivering top-notch soul.
While more polished than their Stax work, it retains a raw, Southern soul edge, with gospel-drenched vocals from J. Blackfoot preventing ballads from becoming too sweet.
Standout Tracks: "Highway," the opening track, is noted for its powerful, rocking soul-rock sound, offering a strong counterpoint to softer Philly soul of the era.
Reviewers describe it as a superb example of their artistry, full of "heaping helpings" of soul, with many songs considered stunners.
Fans on Amazon highlight excellent sound quality and the CD's value, with some searching for it for years.
In essence, Finders Keepers is considered a high-quality, essential release for fans of Southern soul, showcasing the Soul Children's enduring talent and vocal power on a new label.
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.
Fire It Up
A2 Love Gun 5:44
A3 Lovin' You Is A Pleasure 4:08
A4 Love In The Night 6:22
B1 Come Into My Life 7:10
B2 Stormy Love 2:05
B3 When Love Is Gone 7:32
Label: Gordy – G8-990MI
Format: Vinyl, LP, Album
Country: US
Released: 1979
Written by Rick James
Genre: R&B Soul, Funk
Style: Funk, Disco
Released in 1979, Rick James' Fire It Up is a high-energy, self-produced funk album that solidified his "punk-funk" style, featuring the Stone City Band's heavy grooves.
While sometimes overlooked for his later work, it is widely regarded as a strong, percussion-heavy transition album, blending danceable hits like the title track and "Love Gun" with cinematic soul ballads.
A departure from the more disjointed Bustin' Out of L Seven, this album showcases a cleaner, more focused, and refined "punk-funk" sound, utilizing heavy horns and rhythmic, bass-driven arrangements.
This was the first album Rick James produced entirely on his own, reportedly completing it in just 13 days. The album is heavy on percussion, horn sections, and thick basslines. It transitioned his sound from the "raggedy" feel of his second album, Bustin' Out of L Seven, to a more streamlined, professional "punk funk" aesthetic.
Standout Tracks:
"Fire It Up" & "Love Gun": The opening tracks are praised as a strong, high-energy, and funky introduction.
"Love in the Night" & "When Love Is Gone": Highlighted for their slower, soulful, and cinematic quality.
"Lovin' You Is A Pleasure": A notable, synth-heavy, and, smooth, track.
Critics and fans generally consider it a solid, underrated album,, though some critics at the time found the ballad-to-funk ratio uneven. It is often recommended as a must-hear for those looking to explore beyond the Street Songs album.
While some reviews suggest it doesn't quite reach the heights of his later masterpieces, Fire It Up is a crucial, high-quality part of James' 1970s output, displaying his ability to blend gritty funk with polished production.
First Class
2 Nothing You Can Do 3:47
3 Coming Back To You 2:47
4 Give Him Up 3:18
5 I Wasn't There 5:08
6 Lucky Me 3:25
7 Going Out Of My Head 6:18
8 Hypnotize 4:15
Producer – Sylvia Robinson
Producer, Mixed By, Engineer – George Kerr
Label: All Platinum – AP-3022
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk
The self-titled 1977 album by the Baltimore-based soul quartet First Class was produced by George Kerr alongside Tommy Keith, Sylvia Robinson, and Donnie Elbert, the album followed their debut, Going First Class.
Known for its "East Coast soul" sound, the album was a collaborative effort with members of the group The Softones.
Beyond the original vinyl, the material has been reissued in digital and CD formats, such as the 2012 collection titled They Call This Group First Class They Are! with some bonus tracks added.
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.
Flowers
Written-By – Jeanette Hawes, Wanda Hutchinson
4:01
A2 Me For You
Written-By – Clarence McDonald, Fritz Baskett
4:17
A3 You've Got The Right To Know
Written-By – Wanda Hutchinson
2:36
A4 We Go Through Changes
Written-By – Henry Hicks Jr., Wanda Hutchinson
0:55
A5 Special Part
Written-By – Clarence McDonald, Deniece Williams, Lani Groves
3:52
B1 No Plans For Tomorrow
Written-By – Henry Hicks Jr., Wanda Hutchinson
3:44
B2 How Can You Stop Loving Someone
Written-By – Wanda Hutchinson
4:14
B3 Flowers
Written-By – Al McKay, Maurice White
4:28
B4 God Will Take Care Of You
Written-By – G.D. Martin, W.S. Martin
0:33
Label: Columbia – PC 34163
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
The Emotions' 1976 album Flowers is a highly praised soul/disco classic, marking a significant collaboration with Earth, Wind & Fire's Maurice White and Charles Stepney, who produced it, adding funk and tight instrumentation to the group's incredible vocal harmonies. Critics highlight the smooth, funky blend, featuring hits like "I Don't Wanna Lose Your Love" and the title track "Flowers," establishing a strong sound that paved the way for their later smash "Best of My Love," making it a pleasant, essential precursor in their discography.
Maurice White and Charles Stepney infused the album with Earth, Wind & Fire's signature tight grooves, prominent bass (Verdine White), and crisp instrumentation, blending seamlessly with The Emotions' sweet, powerful harmonies.
The album boasts two major singles, the soulful ballad "I Don't Wanna Lose Your Love" and the funky "Flowers," showcasing the album's diverse, yet cohesive, sound.
The sisters' incredible vocal interplay and layered harmonies are a central highlight, elevating tracks like "We Go Through Changes" and the sweeter "Me for You".
Flowers is seen as a crucial turning point, a "pleasant precursor" that honed the sound the group would perfect on their next album, solidifying their place in R&B and disco.
Widely regarded as a classic, praised for its stunning vocals and incorporation of funk. Many consider it The Emotions' best or at least a pivotal album, showcasing them at their peak during a golden era of soul/disco.
In essence, Flowers is celebrated for its irresistible blend of sweet soul vocals, disco energy, and sophisticated funk, making it a beloved album and a vital stepping stone in The Emotions' legendary career.
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.
Bobby Womack
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.
Forever
Written-By, Producer – Andre Miller, Cornell Ward
A2 Rock And Hold Your Baby
Producer – Jim Sims, Willie Clayton
Written-By – Willie Clayton
A3 Special Lady
Producer – Jim Sims, Willie Clayton
Written-By – Andre Miller, Cornell Ward
A4 Stone Good Lover
Producer – Cornell Ward, Jim Sims, Willie Clayton
Written-By – J. Armstead*
B1 Can I Change My Mind
Producer – Jim Sims, Willie Clayton
Written-By – Barry Despenza, Carl Wolfolk
B2 Make Me Yours Forever
Written-By, Producer – Andre Miller, Cornell Ward
B3 Rocking Chair
Producer – Jim Sims, Willie Clayton
Written-By – C. Reid*, W. Clark*
B4 One Night Stand
Producer – Jim Sims, Willie Clayton
Written-By – Al Green
Label: Timeless Records – TRPL 127
Format: Vinyl, LP, Album
Country: UK
Released: 1988
Genre: R&B Soul
Style: Modern Soul
Forever is regarded by fans and critics as a definitive "modern soul" classic from Willie Clayton. Critics highlight Clayton’s "amazing" vocal performance and his ability to deliver soulful interpretations of mostly familiar songs.
The album is frequently cited as a must-listen for soul music enthusiasts, with Clayton's voice described as having a signature style that makes melodies feel timeless.
Reviewers describe the music as "mood music" that evokes imagery of dimly lit dance floors and romantic affection.
It is often called an "overlooked" gem of late-80s soul, praised for its "killer" tracks and for maintaining a high standard of quality that helped define Clayton as one of the last great "Soul Men".
Key Tracks: "Make Me Yours Forever": Identified by fans as a standout "killer boogie slow jam" that makes the entire project essential for soul collectors.
Collectors and critics often cite the album for its "winsome melodies" and "lush arrangements" that reflect a mix of Memphis and Motown influences. It is frequently described as a "must-have" for fans of modern soul, with some critics noting that Clayton remains an underrated figure in the genre.
Forever Michael
Arranged By – James Carmichael
Producer – Brian Holland
Written-By – B. Holland, E. Holland
3:41
A2 Take Me Back
Arranged By – James Carmichael
Producer – Brian Holland
Written-By – B. Holland, E. Holland
3:29
A3 One Day In Your Life
Arranged By – Sam Brown
Producer – Sam Brown
Written-By – R. Armand, S. Brown III
4:15
A4 Cinderella Stay Awhile
Arranged By – David Blumberg
Producer – Hal Davis
Written-By – M. David, M. B. Sutton
3:11
A5 We've Got Forever
Arranged By – James Carmichael
Producer – Hal Davis
Written-By – E. Willensky, M. David
3:12
B1 Just A Little Bit Of You
Arranged By – James Carmichael
Producer – Brian Holland
Written-By – B. Holland, E. Holland
3:14
B2 You Are There
Arranged By – James Carmichael
Producer – Brian Holland
Written-By – C. Yarian, R. Meitzenheimer, S. Brown III
3:23
B3 Dapper-Dan
Arranged By – Art Wright
Producer – Hal Davis
Written-By – D. Fletcher, H. Davis, R. Esters
3:08
B4 Dear Michael
Arranged By – James Carmichael
Producer – Hal Davis
Written-By – E. Willensky, H. Davis
2:37
B5 I'll Come Home To You
Arranged By – Eddy Manson, Freddie Perren
Producer – Fonce Mizell, Freddie Perren
Written-By – C. Yarian, F. Perren
3:05
Label: Motown – M6-825S1
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Pop
Style: Seventies Soul, Ballad
Forever, Michael (1975) is Michael Jackson's fourth solo album, released by Motown, marking his final release with the label before his solo superstardom, showcasing a smoother soul sound and his transition from boy soprano to tenor with hits like "One Day in Your Life," "We're Almost There," and "Just a Little Bit of You," bridging his child-star era with his future global icon status.
It captures Michael at age 16, moving from his child-star image to a more mature artist, with his voice developing into a tenor. Blends soul, funk, and pop, featuring heartfelt ballads and more upbeat tracks. It produced several hit singles: "One Day in Your Life" (a UK #1), "We're Almost There," and "Just a Little Bit of You".
The album served as a crucial bridge before his massive breakthrough with Off the Wall (1979) and his collaboration with Quincy Jones. The production of the album included contributions from Motown legends like Brian Holland and Hal Davis, alongside Sam Brown III and Freddie Perren.
In essence, Forever, Michael offered fans a soulful, emotional glimpse of the evolving artist, solidifying his vocal talent and paving the way for the global phenomenon he would soon become.
The album was a moderate success in the U.S., reaching number 10 on the Billboard Top Soul Albums chart and number 101 on the Billboard 200. Critics generally praised Jackson's maturing voice and performance, though some retrospective reviews noted that the standard Motown arrangements didn't yet hint at the massive "sonic revelations" of his later breakthrough, Off the Wall.
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
Written-By – Fontella Bass, Oliver Sain
3:55
A2 Hold On This Time
Written-By – B. Davis, H. Banks, R. Jackson
2:27
A3 I Want Everyone To Know
Written-By – D. Bryant
2:59
A4 I Need To Be Loved
Written-By – Oliver Sain
2:26
A5 Talking About Freedom
Written-By – Byron Bowie
3:20
B1 I Need Love
Written-By – Fontella Bass
2:33
B2 Wiping Tears
Written-By – Fontella Bass
2:23
B3 Now That I've Found A Good Thing
Written-By – Fontella Bass
3:43
B4 Who You Gonna Blame
Written-By – Oliver Sain
2:42
B5 My God, My Freedom, My Home
Written-By – Morris Dollison
3:40
Label: Paula Records – LPS 2213
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul, Gospel
Fontella Bass's album Free (originally Now That I Found A Good Thing) is a soulful, funky R&B/Chicago Soul record from 1972, showcasing her powerful, gospel-infused voice on deep grooves like "Now That I've Found a Good Thing" and spiritual ballads such as "My God, My Freedom, My Home," blending Southern Soul's raw emotion with deep-pocketed rhythms, making it a cult classic known for its raw emotion, killer arrangements, and spiritual depth.
Deep-pocketed, funky, rich with horns, congas, and organ, delivering powerful, church-reared vocals, the album explores freedom, love, and spiritual devotion, blending secular funk with gospel intensity.
It features stomping funk ("Now That I've Found a Good Thing"), deep soul ballads ("I Need Love"), and spine-chilling gospel ("My God, My Freedom, My Home").
Considered a magnum opus, showcasing Bass's immense talent beyond her hit "Rescue Me," and a criminally underrated gem in Southern Soul.
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.
Free Your Mind--The 700 West Sessions
A2 Love Fades
B1 Mister President
B2 Free Your Mind
C1 We Have Love
C2 Lord Help Me
C3 Three Cheers For My Baby
D1 Trouble Will Remain
D2 We've Come A Long Way
D3 Liberty
Label: Now-Again Records – NA5027
Format: 2 x Vinyl, LP, Album
Country: US
Released: 2007
Genre: R&B Funk, Soul
Style: Seventies Soul, Funk
In 1973 Amnesty recorded five hard, vocal funk numbers alongside some ballads and a handful of demos based around nothing more than guitar accompaniment. Only two songs were ever released; Amnesty’s biting, difficult-to-categorize prog/rock/soul/funk stretched far beyond Indianpolis’s bounds and the band didn’t have a label to take them to the next level. Finally made available thirty three years after they were recorded, these songs are funk arranged with dangerous complexity and performed with precision – arguably the most unique funk to originate from Naptown, and some of the best music of its kind.
Free Your Mind: The 700 West Sessions by Amnesty is a highly praised compilation of unearthed 1973 Indiana funk/soul, celebrated for its tight harmonies, intricate arrangements, and powerful political messages, blending influences from The Temptations, P-Funk, and Earth, Wind & Fire into a unique, "supergroovalistic" sound that fans of deep funk and psych-soul adore. Reviewers highlight tracks like "Can I Help You?" and "Lord Help Me" for their compelling grooves and potent socio-political lyrics, marking it as a lost gem of the era, finally appreciated decades later.
An album packed with psychedelic, progressive soul with strong vocal harmonies, reminiscent of The Temptations ("Ball of Confusion"), Funkadelic, Earth, Wind & Fire, Sly & The Family Stone, and Chicago. Features tight horns, wah-wah, intricate rhythms, and powerful percussion, creating intense, driving grooves.Politically charged, tackling societal issues with empathetic vocals and "right-on" messaging, fitting their name.
Standout Tracks: "Can I Help You?", "Lord Help Me," "Three Cheers for My Baby," and "Mister President" are frequently mentioned as highlights.
The album is a treasure discovered from the vaults, showcasing a band that blended rock fundamentals with soulful funk, deserving of wider recognition.
Critics and fans overwhelmingly recommend the album for its quality and historical significance, calling it "soul-tastic," "pure jazzed-up funk," and "unstoppable party music" that was "incessantly funky" and ahead of its time. It's considered essential listening for collectors and enthusiasts of 70s soul and funk.
Free Yourself
Written-By – Clarence Oscar Smith
3:23
A2 Functus
Written-By – Michael Hughes
4:50
A3 Peace Gone Away
Written-By – Donald Fields
4:45
A4 Free Yourself
Written-By – Anthony Easton, Gregory Elliot, Michael Hughes
7:57
B1 Hey You
Written-By – Experience Unlimited, Kenny St. Lewis, Max Kidd
3:38
B2 People
Written-By – Donald Fields
6:09
B3 Funky Consciousness
Written-By – Experience Unlimited
9:08
Label: Black Fire – BF 19757
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Rock, Jazz-Funk, Soul
Released in 1977, Free Yourself is the debut studio album by the Washington, D.C.-based band Experience Unlimited (later known as E.U.).
The album is a seminal recording that blends soul, jazz, and funk-rock. It is widely recognized for laying the foundation for Washington D.C.’s signature go-go scene.
Described as "free-flowing," the album is characterized by youthful energy, infectious grooves, and positive messages of peace, love, and social awareness.
Key Tracks:-
"Free Yourself": Features early stylings of go-go rhythms.
"Funky Consciousness": A 9-minute epic featuring heavy guitar work and a "raucous" breakbeat.
"Peace Gone Away": A soulful, reflective track.
"People": A ballad featuring haunting vocal harmonies underscored by acoustic guitar.
Bandleader Gregory "Sugar Bear" Elliott describes the recording process as spontaneous, with the young members simply being themselves and "saying what we felt".
The album has since become a certified classic within the "Deep Funk" and spiritual jazz canons. Notable high-quality reissues have been released by labels such as Strut Records and Now-Again Records (as part of the Vinyl Me, Please Essentials series), often including remastered audio and interviews with Sugar Bear.
While Experience Unlimited later found mainstream success with the 1988 hit "Da Butt," Free Yourself remains a critical favorite in the deep funk and spiritual jazz canons.
EU E.U.
Freedom Flight
Written-By – Shuggie Otis
2:27
A2 Strawberry Letter 23
Written-By – Shuggie Otis
3:57
A3 Sweet Thang
Written-By – Johnny Otis, Shuggie Otis
4:05
A4 Me And My Woman
Written-By – Gene Barge
4:15
A5 Someone's Always Singing
Written-By – Kenny Kahn, Shuggie Otis
3:22
B1 Purple
Written-By – Shuggie Otis
7:05
B2 Freedom Flight
Written-By – Shuggie Otis
12:48
Label: Epic – E 30752
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Funk, Psychedelic
Freedom Flight, Shuggie Otis's visionary 1971 album, blends psychedelic soul, funk, blues, and jazz, showcasing his multi-instrumental talent (guitar, bass, organ, drums) and groundbreaking sound, featuring the original "Strawberry Letter 23" and lauded for its raw, genre-bending originality and intricate arrangements, a precursor to his masterpiece Inspiration Information.
It fuses psychedelic soul, funk, rock, R&B, blues, and jazz into a unique, visionary sound, notes The Vinyl Press. Shuggie Otis played most instruments himself, including guitar, bass, keyboards, and percussion, notes Music On Vinyl and Citizen Vinyl.
Includes the original version of "Strawberry Letter 23," later a hit for The Brothers Johnson, and features tracks like "Sweet Thang" and "Purple". Produced by his father, Johnny Otis, and recorded with notable musicians like George Duke and Wilton Felder.
Considered a pioneering work in psychedelic soul and funk, influential despite its raw sound compared to Inspiration Information, notes Music On Vinyl.
Overall, Freedom Flight offers a journey through diverse musical landscapes, from soulful melodies and hard funk rhythms to introspective jazz fusion, all delivered with technical skill and creative innovation.
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.
Friends
Written-By – Charmaine Sylvers, Dana Meyers, Nidra Beard
5:08
A2 Don't Try To Change Me
Written-By – Roberta Stiger, Tina Scott, William Bryant
4:08
A3 Help Me
Written-By – Jody Watley, Joey Gallo, Leon Sylvers, Jr., Nidra Beard
5:08
A4 On Top Of The World
Written-By – Dana Meyers, Richard Randolph
4:04
A5 I Don't Wanna Be The Last To Know
Written-By – Kevin Spencer, Linda Carriere (2), Nidra Beard, William Shelby
3:54
B1 Friends
Written-By – Glen Barbee, Nidra Beard, William Shelby
5:00
B2 Playing To Win
Written-By – Charmaine Sylvers, Jody Watley, Ralph E. Clayborne
4:18
B3 I Just Stopped By Because I Had To
Written-By – Joey Gallo, Leon Sylvers, Jr., Nidra Beard, Stephen Shockley
4:05
B4 There It Is
Written-By – Charmaine Sylvers, Dana Meyers, Nidra Beard
4:26
B5 I Can Make You Feel Good
Written-By – Howard Hewett, Renwick Jackson, William Shelby
Label: Solar K 52345
Format: Vinyl, LP, Album
Country: UK
Released: 1982
Genre: R&B Soul, Pop
Style: Eighties Soul, Disco, Funk
Shalamar’s 1982 album Friends is widely regarded by critics and fans as the definitive work of the group's "classic" lineup, featuring Howard Hewett, Jody Watley, and Jeffrey Daniel. Produced by Leon Sylvers III, the album is celebrated as a "testament" to his musical ability and a peak example of early 1980s post-disco and synth-funk.
Reviews frequently highlight the "Solar Sound"—a polished blend of 70s orchestral elements (strings and brass) with crisp 80s synthesizers and drum machines. Sylvers' "watertight" basslines and "superlative" production are credited for giving the album a contemporary feel that has aged well.
The "tag-team" chemistry between Howard Hewett’s emotive tenor and Jody Watley’s stylish vocals is often cited as the album's core strength.
While primarily known for its massive UK hit singles—"A Night to Remember," "There It Is," "I Can Make You Feel Good," and the title track—the deeper cuts like "I Don't Wanna Be the Last to Know" are also praised as first-class R&B ballads.
Described as a "joyous work" and "supreme, shiny pop soul" that was as central to 1982 as seminal albums by ABC or Simple Minds. Users generally rate it highly (avg. ~3.5/5), calling it a "must-have" for fans of West Coast R&B, though some note it can occasionally feel "generic" in its disco-funk tropes.
Friends is considered a definitive album of 1982, successfully transitioning the group from a disco act to a versatile, modern dance-pop group,
Modern reissues, particularly the Big Break Records (BBR) Deluxe Edition, are highly recommended for their remastering quality, which brings out instrument separation and bass depth not found in older pressings.
From Dusty.... With Love
Written-By – Butler, Gamble, Huff
2:27
A2 Bad Case Of The Blues
Written-By – Gamble, Chambers
2:06
A3 Never Love Again
Written-By – Gamble, Huff, Chambers
3:21
A4 Let Me In Your Way
Written-By – Gamble, Chambers
2:45
A5 Let's Get Together Soon
Written-By – Gamble, Huff
2:41
B1 Brand New Me
Written-By – Butler, Gamble, Bell
2:25
B2 Joe
Written-By – Felder, Gamble, Harris
2:21
B3 Silly, Silly Fool
Written-By – Gamble, Huff
2:30
B4 The Star Of My Show
Written-By – Gamble, Huff
2:27
B5 Let's Talk It Over
Written-By – Gamble, Huff
2:29
Label: Philips – SBL 7927
Format: Vinyl, LP, Album
Country: UK
Released: 1970
Genre: R&B Soul, Pop
Style: Sixties Soul. Pop-Soul
From Dusty...With Love (1970) received mixed reviews, praised for its Philly Soul sound, strong vocals on tracks like "Joe" and "The Star Of My Show," but criticized by some for cheesy production, weaker slow songs, and feeling overshadowed by the classic Dusty in Memphis, though it contained gems like "Let Me Get in Your Way" and "Bad Case of the Blues". While some critics found its production dated, fans appreciated its soulful moments, highlighting it as a solid entry in her catalog, especially for devoted followers.
Many noted its strong Philly Soul sound, with horns, strings, and funky bass, reminiscent of Sigma Sound. Praised for Dusty's distinctive, soulful, and husky voice, particularly on tracks like "Joe," "The Star of My Show," and "Let Me Get in Your Way".
Considered to have catchy soul-pop songs and a few standout gems, with "Bad Case of the Blues" being a fun pop track. Some fans considered it a masterpiece and a must-have for devoted followers, even with its later 80s-esque production on some tracks. Many felt it didn't live up to the brilliance of Dusty in Memphis, making it feel less essential. Some slower tracks, such as "Never Love Again," were considered dull or filler.
Overall, From Dusty...With Love is seen as a solid, though not universally acclaimed, album that showcases Dusty Springfield's enduring vocal talent within a specific pop/soul production style, offering highlights that appeal to fans despite its flaws and comparisons to her more legendary work.
Full Moon
The album is most notable for introducing Freddie Jackson as lead vocalist before he launched his multi-platinum solo career. Reviewers often point to this record as a clear showcase of the vocal prowess that would later define his "Quiet Storm" success.
The album features a "glittery" production style defined by clean rhythm guitars, post-disco rhythms, and processed Fender Rhodes piano. Critics describe it as a mix of high-energy funk steppers and mid-tempo numbers with a "sassy groove".
While it was a "poor seller" upon its initial release and failed to produce major hits, it has gained high praise through reissues. Modern reviews frequently rate it between 4.4 and 5 stars on collector platforms like Discogs.
Standout Tracks:0
"Mr. Magician": A cult favorite and the album's opener, described as a funky, slap-bass-driven dancer with an atmospheric, catchy hook.
"Full Moon": The title track is praised for its "freaky keyboards" and "sumptuous" production.
"Your Love": A standout mid-tempo ballad that serves as a precursor to Freddie Jackson’s later R&B hits.
"Perfect" & "Rock The World": Highly regarded mid-tempo R&B jams that critics argue should have been larger commercial successes.
Despite lack of commercial success upon release, it is now considered a sought-after, essential, and "spellbinding" funk album. For those looking to purchase, the album was notably remastered and reissued by Big Break Records (BBR) in 2012, which includes expanded liner notes and bonus tracks. You can find various pressings and digital versions through platforms like Amazon and Discogs.
Funk Deluxe
A2 Tender Lovin' 4:13
A3 This Time 5:17
A4 Partime Lover 4:31
B1 Take It To The Top 5:30
B2 She's What I Need 5:42
B3 Friends 7:28
Label: Salsoul Records – SA 8565
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Funk, Soul
Style: Funk, Disco, Boogie
The 1984 self-titled album Funk Deluxe is a solid post-disco/R&B effort produced by Randy Muller (of Brass Construction/Skyy), characterized by tight, in-the-pocket funk, sizzling synths, and soulful vocals. It represents the late-period Salsoul sound, leaning heavily into 80s, synth-heavy funk with a "fierce funk attack," making it a recommended listen for fans of 1980s funk and boogie.
Produced and written by Randy Muller, the album features a familiar sound to his other projects, combining traditional funk elements with modern 80s, futuristic, and synthetic, modish studio effects.
Standout Tracks:- "This Time": A chugging, rhythmic highlight compared to Muller's work with Brass Construction; "Dance It Off": Often cited as a high-energy dancefloor killer with a perfect bass-and-beats combination; "Tender Lovin'": Another fan favorite frequently highlighted for its quintessential 80s soul feel.
The album is described as having "hot" and "fresh" grooves designed to make the listener dance. It fits within the late Salsoul Records era, which moved away from disco towards pure funk.
It is considered a strong, albeit not groundbreaking, example of 1984 R&B/funk, with a "fierce" sound for that era. Reviewers on Rate Your Music and Discogs praise it as an "end to end burner" and "the funkiest funk album," noting that while it doesn't reinvent the genre, its "in the pocket" grooves are irresistible for dancing.
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.
Funkadelic
A2 I Bet You 6:10
A3 Music For My Mother 6:19
A4 I Got A Thing, You Got A Thing, Everybody's Got A Thing 3:50
B1 Good Old Music 8:01
B2 Qualify & Satisfy 5:16
B3 What Is Soul 8:40
Producer – George Clinton
Written-By – W. Nelson (tracks: B2), E. Hazel (tracks: B2), C. Haskins (tracks: A4), G. Clinton (tracks: A1 to A3, B1 to B3), S. Barnes (tracks: A2), P. Lindsey (tracks: A2)
Label: Westbound Records – WB 2000
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Funk, Soul, Rock
Style: Psychedelic Rock, Funk
Released in 1970 on Westbound Records, Funkadelic is the self-titled debut studio album by the American band Funkadelic. It is widely regarded as a groundbreaking fusion of psychedelic rock, soul, gospel, and blues that laid the foundation for the P-Funk movement.
The album is characterized by a "chaotic fusion" of styles, blending raw grooves with heavy, hallucinogenic distortion.
Unlike the polished crossover appeal of Detroit's Motown records, Funkadelic embraced improvisation, fuzzed guitars, and "spiritual dissonance".
Often described as a "warped acid rock" project, the record's sprawling, loose jams were heavily influenced by psychedelic culture and LSD.
Key Tracks:-
"Mommy, What's a Funkadelic?": A nine-minute psychedelic opener featuring trippy effects and spoken-word elements.
"I Bet You": A gritty rock-funk track later covered by the Jackson 5.
"Music for My Mother": A raw, blues-drenched workout originally released as the band's first single.
"What Is Soul": A sprawling closer that humorously defines "soul" with gritty imagery like "a ham-hock in your cornflakes".
The album featured the original Funkadelic lineup, led by producer George Clinton: Eddie Hazel: Lead Guitar; Billy Bass Nelson: Bass; Tiki Fulwood: Drums; Tawl Ross: Rhythm Guitar; Mickey Atkins: Organ.
While initially met with mixed reviews due to its "dark, slow, tuneless" nature that "scared" traditional R&B fans, it has since been re-evaluated as a masterpiece. As of 2026, it holds high critical acclaim for its unpolished authenticity and influence on subsequent funk and hip-hop acts. Recent 2025/2026 remastered editions have restored the album's full "cosmic glory" across vinyl and digital formats.
Funky Stuff
Written-By – Hiromasa Suzuki 6:46
2 Funky Motion
Written-By – Hiromasa Suzuki 5:33
3 Breeze
Written-By – Hiromasa Suzuki 4:30
4 Scratch
Written-By – Wayne Henderson 5:20
5 Funky Stuff
Written-By – Kool & The Gang 4:28
6 One For Jiroh
Written-By – Hiromasa Suzuki 4:45
7 Gentle Wave
Written-By – Hiromasa Suzuki 5:15
8 Four Up
Written-By – Hiromasa Suzuki 6:33
Label: Columbia – KZ-7502
Format: Vinyl, LP, Album
Country: Japan
Released: 1975
Genre: Jazz
Style: Jazz-Funk, Soul-Jazz
Jiro Inagaki & Soul Media's 1975 album, Funky Stuff, is a highly-regarded Japanese jazz-funk masterpiece, praised for its tight grooves, excellent musicianship, fusion of American black music with jazz-rock, and cool 70s aesthetic, featuring standout tracks like the Kool & The Gang cover and originals like "Painted Paradise," though some find certain solos overly long, it's considered an essential, polished gem of the genre.
Deeply rooted in American funk and soul, aiming for "black funk", many call it a "definitive masterpiece," a "must-have," and a "hidden gem" of Japanese jazz-funk.
Standout Tracks: "Painted Paradise" (dynamic), "Breeze" (mellow funk), and their sharp take on Kool & The Gang's "Funky Stuff" are frequently mentioned.
A few user reviews note that the track lengths, particularly the extended solos in songs like "Painted Paradise" and "Funky Motion", can feel "tiring" or a bit excessive, potentially leading to a feeling of wasted potential despite good performances. Another review found the album good "for what it is and nothing more," describing it as background music for an office hallway.
Overall, the album is highly recommended for fans of jazz-funk, fusion, and groovy music from the 1970s. Its reputation has grown globally over time, leading to high demand and numerous reissues. It's an album that successfully blends Japanese perfectionism with raw American funk, creating an infectious, high-quality groove that is both exhilarating and smooth.
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.
Garnet Mimms Has It All
Written-By – M.Steals & M.Steals
3:47
A2 Johnny Porter
Written-By – W. Cuomo, B.R. Appleberry
4:38
A3 Lovin' Power
Written-By – C. Jackson, M. Yancy
6:29
A4 Tail Snatcher
Written-By – J. Lane
5:38
B1 What It Is
Written-By – J. Lane, R. Muller
6:20
B2 We Had It All
Written-By – D. Fritts, T. Seals
3:10
B3 It's You
Written By – P. Smith
Written-By – G.M. Brown
3:45
B4 Street Music
Written-By – L. Alexander
3:19
Label: Arista – AB-4153
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Garnet Mimms' 1977 album "Has It All" marked a significant stylistic shift and served as his final studio release before retiring to enter the ministry. While the album is "frantic" in its disco approach, it still features "soulful 70s ballads" with full arrangements.
Produced by Jeff Lane and Randy Muller (of Brass Construction), the album is a radical departure from Mimms' 1960s soul roots, leaning heavily into disco-funk and smooth soul.
Reviews highlight Mimms' ability to adapt his powerful, gospel-grounded vocals to the polished, upbeat sounds of the late 1970s. Listeners have noted his voice remains "beautiful" and "reminiscent of Sam Cooke" in its smoother moments.
Modern listeners on platforms like Discogs give the album high marks, with average ratings typically between 4.2 and 4.5 out of 5 as of January 2026.
"What It Is": The album’s standout single, credited to Garnet Mimms & The Truckin' Company. It was a minor R&B hit, reaching #38 on the Billboard R&B chart and #44 on the UK Singles Chart in 1977. "What It Is (Part II)" is praised by collectors as a "wigged-out, guitar-wailing disco-funk" track that remains an underground favorite for DJs.
The original Arista LP (catalog AB 4153) remains the primary way to hear this album, as it has not seen extensive modern digital reissues compared to his 1960s work.
As of late 2025 and early 2026, original copies have a median sale price of approximately $6.37 to $9.65, with high-quality "Near Mint" copies reaching over $20.00.
In essence, Has It All is valued as a strong representation of Garnet Mimms' enduring talent, offering a deep dive into his powerful vocal delivery and soulful songwriting for fans of classic R&B and gospel.
Gene Allison
Written-By – T. Jarrett
2:06
A2 I'll Be Waiting For You
Written-By – S. Kari
2:28
A3 Hey, Hey, I Love You
Written-By – T. Jarrett
2:36
A4 I Don't Know Why
Written-By – S. Thompson
2:32
A5 Everything's Alright
Written-By – C. Otis, W. Dixon
2:24
A6 I Believe In Myself
Written-By – T. Jarrett
2:19
B1 Have Faith
Written-By – H. Stone, S. Thompson
2:41
B2 Let There Be Women
Written-By – A. Tucker, R. Catron
2:23
B3 Everybody But Me
Written-By – P. Tate
2:35
B4 Reap What You Sow
Written-By – R. Gaines
2:06
B5 Tell Me The Truth
Written-By – T. Jarrett
2:37
B6 Let's Sit And Talk
Written-By – T. Jarrett
2:44
Label: Vee Jay Records – VEE JAY LP 1009
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul, Rhythm & Blues
The 1964 self-titled album by Nashville R&B singer Gene Allison, often associated with his hit-making era on the Vee-Jay label, is a prime example of early soul. It features his signature church-influenced, passionate vocals, most notably on his top-5 R&B hit, "You Can Make It If You Try".
The album is characterized by a blend of sacred, gospel-tinged vocals with secular R&B, featuring sparse, moody arrangements.
It includes his 1957 breakout hit "You Can Make It If You Try" (later covered by the Rolling Stones) and similarly styled, emotionally charged tracks like "Have Faith" and "Everything Will Be Alright".
While his career saw ups and downs, the material from this period highlights his role in shaping the Nashville R&B sound, characterized by a "deep soul" feel.
It was released during the peak of his association with Vee-Jay, showcasing his work with mentor and songwriter Ted Jarrett.
The album serves as a concise collection of Allison’s most impactful work prior to the mid-60s soul explosion. It showcases a transition from 1950s R&B toward a more polished soul sound, with a high-rated, rare 4.33/5 rating on Discogs.
Gene Chandler ’80
Written-By – Bob Stone, Mark Gibbons
4:12
A2 Lay Me Gently
Written-By – Albert Thompson, Barbara Acklin
4:45
A3 All About The Paper
Written-By – Clarence McDonald, Lowrell Simon
4:39
A4 Rainbow '80
Written-By – Curtis Mayfield, Eugene Dixon
5:26
B1 Do It Baby
Written-By – James Thompson
3:35
B2 You've Been So Sweet To Me
Written-By – Eva Dixon, Lena Thompson
4:27
B3 I'll Be There
Vocals [Duet With] – Joni Berlmon
Written-By – Eugene Dixon, James Thompson
3:34
B4 Let Me Make Love To You
Written-By – Eugene Dixon, James Thompson
Label: 20th Century Fox Records
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul, Disco
Gene Chandler – '80 is a well-regarded 1980 modern soul album that effectively updates the Chicago soul legend's sound with contemporary, slicker production. Featuring standout tracks like "Does She Have a Friend?" and "Rainbow '80," the album is praised for its quality arrangements by figures like Tom Tom 84.
The album is characterized as modern soul, blending Chicago soul, funk, and disco influences.
Track Highlights: "Does She Have a Friend?" is frequently highlighted as a "two-step" classic. A notable update of his hit "Rainbow" is also included, titled "Rainbow '80".
The album is considered a strong effort that holds up well, with some listeners rating it highly for its, engaging,, danceable,, and well-produced, tracks.
Released during a period when many classic soul artists were adapting to, the, late-'70s/early-'80s sound. The album is often, described as a must-have for 70s and 80s soul collectors.
Reviewers often describe it as a "fire" album that deserves more attention than it receives. While it is far removed from his 1960s doo-wop prime, it is seen as a successful effort by a legacy artist to stay relevant in the changing musical landscape of the early '80s.
hile it didn't reach the chart-topping heights of his debut single, it remains a favorite for those who appreciate the evolution of Chicago soul into the disco-adjacent "modern soul" era.
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.
Genius + Soul = Jazz
Written-By – Ray Charles
3:30
A2 I've Got News For You
Written-By – Ray Alfred
4:28
A3 Moanin'
Written-By – Bobby Timmons
3:14
A4 Let's Go
Written-By – Ray Charles
2:39
A5 One Mint Julep
Written-By – Randolph Toombs
3:02
B1 I'm Gonna Move To The Outskirts Of Town
Written-By – Roy Jacobs, William Weldon
3:38
B2 Stompin' Room Only
Written-By – Howard Marks (4)
3:35
B3 Mister C
Written-By – Ray Charles
4:28
B4 Strike Up The Band
Written-By – George & Ira Gershwin
2:35
B5 Birth Of The Blues
Written-By – DeSylva, Brown & Henderson
5:05
Label: Impulse! – A-2
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B Jazz, Blues, Soul
Style: Soul, Soul-Jazz, Big Band
Ray Charles' Genius + Soul = Jazz (1961) is widely praised as a masterful blend of his soulful vocals and hard-bop jazz, featuring tight big band arrangements by Quincy Jones and Ralph Burns, showcasing his piano skills and powerful voice on tracks like "I'm Gonna Move to the Outskirts of Town," "Moanin'," and "I've Got News for You," creating an essential, swinging, and deeply satisfying album for fans of both jazz and soul.
The album successfully merges Ray's innate soulfulness with classic jazz, delivering both fiery instrumentals and heartfelt vocals, living up to its title. It features dynamic arrangements from jazz legends Quincy Jones and Ralph Burns, with top-tier musicians from the Count Basie orbit providing rich backing.
Listeners are reminded of Charles' incredible voice on bluesy numbers like "I'm Gonna Move to the Outskirts of Town" and his swinging organ/piano work on instrumentals like "Stompin' Room Only".
Notable cuts include the funky "Booty-Butt," the iconic "Moanin'," the bluesy "I've Got News for You," and the Spanish-tinged "Senor Blues".
While not overly innovative for Charles, it's celebrated for being "good, solid jazz and blues, played by masters," making it a definitive work in his jazz catalog.
Critics laud it as a high point in his jazz explorations, a cohesive collection that serves as a great introduction to his jazz artistry.
Reissues are often praised for improved sound quality, bringing out the warmth of the organ and the power of the big band.
In essence, Genius + Soul = Jazz is a classic, demonstrating Ray Charles as a master of big band jazz, delivering an exciting and soulful listening experience.
Gerald Alston
Written-By – Alan Stokes, James Varner, Stan Sheppard 5:35
A2 Stay A Little While
Written-By – James Varner, Stan Sheppard 5:21
A3 I Come Alive When I'm With You
Written-By – Gerald Alston, James Varner, Stan Sheppard 4:36
A4 Let's Try Love Again
Written-By – James Varner, Stan Sheppard 4:39
A5 Midnight Angel
Written-By – Gerald Alston, Gloria Sklerov 4:41
B1 You Laid Your Love On Me
Written-By – Gerald Alston, James Varner, Stan Sheppard 4:56
B2 I Can't Tell You Why
Written-By – Don Henley, Glenn Frey, Timothy B. Schmidt 4:09
B3 I've Waited All Night
Written-By – Gerald Alston, Royal Bayyan 5:10
B4 Activated
Written-By – James Varner, Stan Sheppard 5:19
B5 We've Only Just Begun
Written-By – Paul Williams, Roger Nichols 4:24
Label: Motown – MOT-6265
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Funk
Style: Eighties Soul
Gerald Alston's self-titled 1988 album is a sophisticated Rhythm & Blues and Soul debut that marked his departure as the lead singer of The Manhattans to launch a solo career with the Motown label.
The album is noted for its polished, mature "adult soul" sound that retains the classic feeling Alston cultivated with The Manhattans, while incorporating an updated late-80s production style. It is a captivating blend of Funk, Soul, and Pop.
The record is a collection of strong ballads and bouncy, upbeat cuts, appealing to fans of classic soul and R&B. The selection of songs, including an Eagles remake, is seen as a strong showcase of his talent.
Production was handled by Stan Sheppard and James Varner, who also contributed backing vocals alongside singers like Julia and Maxine Waters. Noted session musicians such as Paul Jackson Jr. (guitar) and Paulinho Da Costa (percussion) also contributed.
Reviews generally praise the album's flow and strong tracklist, describing it as a magnificent and amazing listening experience.
The album was a commercial success, spending 33 weeks on the Billboard Soul/R&B albums chart and peaking at No. 18 on March 4, 1989.
The album features 10 core tracks, with expanded editions sometimes including bonus versions, three of which were R&B hit singles:
"Take Me Where You Want To" - The album's lead single, which became a top 10 R&B hit, peaking at No. 6 on the charts.
"I Can't Tell You Why" - A smooth cover of the Eagles classic, released as a single that reached No. 52 on the R&B chart.
"You Laid Your Love On Me" - Another charting single, peaking at No. 41.
Overall, the album is highly recommended by listeners as a "classic" and a "gem" with every song contributing to a highly pleasing listening experience. You can find more details about the album, including track listings, on Discogs or potentially purchase physical copies on sites like Amazon.
Get My Hands On Some Lovin’
7:55
A2 Living My Life Just For You
4:03
A3 All I Want
4:23
A4 Something Inside You Feel
4:28
B1 Climbin' Higher
4:57
B2 Daisy Lady
4:37
B3 Something Beautiful
5:26
B4 Young Girl
4:44
Label: Parachute Records – RRLP 9014 DJ
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Released in 1979 on Casablanca's Parachute subsidiary, Climbing Higher is the second studio album by the Tuskegee-based funk octet 7th Wonder. The record is widely regarded as a solid example of late-70s modern soul and funk, blending uptempo dance floor tracks with smoother R&B grooves.
Key Tracks and Highlights:-
Daisy Lady: The album's standout track, renowned for its "monster" breakbeat and infectious funky rhythm. It has been heavily sampled in hip-hop and remains a staple for DJs of classic soul and funk.
Do It With Your Body: Another uptempo highlight that showcases the band's club-oriented sound and tight instrumentation.
Climbin' Higher: The title track features the soaring vocal arrangements and melodic lines characteristic of the band's polished production style.
Ballads: The album includes slower moments like "Young Girl" and "Living My Life Just For You," which provide a soulful contrast to the high-energy funk tracks.
Critical consensus generally places the album as a high-quality, albeit somewhat "slept on," funk record. Reviewers describe the sound as a mix of soul, funk, and early disco, noting the "clubby groove" that defines the uptempo tracks.
While some tracks beyond "Daisy Lady" are occasionally labeled as average by purists, the ensemble playing and production are frequently cited as "superb" and "impressive".
The album captures the transition of Chicago soul from standard doo-wop roots into more polished, uptempo dance arrangements. Its production is typical of the OKeh era, featuring tight brass sections and the lead tenor vocals of Robert Hill or Marvin Smith, which helped the group briefly rival bigger acts like The Impressions.
On enthusiast platforms, the album maintains strong ratings, typically ranging from 4.0 to 4.4 out of 5 among listeners on sites like Discogs.
Get On Up And Get Away
Written-By – Bill Sheppard, Gilbert Moorer
2:40
A2 Listen To Me
Written-By – Bill Sheppard, Gilbert Moorer
2:25
A3 How Was I To Know
Written-By – Gilbert Moorer
2:10
A4 Groovin
Written-By – Ed Brigati, Felix Cavaliere
2:25
A5 Everybody's Laughing
Written-By – Bill Sheppard, Gilbert Moorer, M. Edwards
2:45
A6 How Could It Be
Written-By – Gilbert Moorer
2:27
B1 Get On Up
Written-By – Bill Sheppard, Gilbert Moorer
2:25
B2 My Sweet Baby
Written-By – Gilbert Moorer
2:45
B3 No Doubt About It
Written-By – Alvis Moorer, Gilbert Moorer, Sam Pace
2:35
B4 Woman
Written-By – A. Russell, O. C. Perkins
2:20
B5 When I'm Ready
Written-By – Bill Sheppard, M. Edwards
2:20
B6 Things Won't Be The Same
Written-By – Calvin Edmonds, Charles Smith
2:15
Label: Bunky Records Inc. – BS 300
Format: Vinyl, LP, Album
Country: US
Released: 1967
The Esquires' 1967 debut album, Get On Up And Get Away, is a classic Chicago soul LP capturing the group's vibrant harmonies and upbeat sound, featuring their major hits "Get On Up" and "And Get Away," showcasing rich vocals and sweet, swinging Chi-Soul grooves produced by Bill "Bunky" Sheppard for Bunky Records. It's a definitive release of melodic, joyful soul from the late 1960s, highlighting the group's knack for both hits and lesser-known gems.
Quintessential Chicago Soul, blending smooth harmonies with deep, heartfelt vocals and catchy, danceable rhythms, noted for its "Chi-soul groove". Includes the massive breakthrough single "Get On Up" (a Top 10 R&B hit) and its follow-up, "And Get Away," alongside other excellent tracks. Masterfully produced by the legendary Bill "Bunky" Sheppard, giving it that distinct Chicago sound.
The album features the group's impressive vocal range, from soaring falsetto to deep bass, creating a rich tapestry of sound, and represents the group's peak, showcasing their bright, joyful beginning and influencing later groups like The Chi-Lites.
Notable Hits: The title tracks, "Get On Up" and "And Get Away," were major successes; "Get On Up" peaked at #11 on the Billboard Hot 100 and #3 on the R&B charts in 1967.
In essence, Get On Up And Get Away is a top-notch soul LP, celebrated for its pure, shining melodies and timeless harmonies that defined a significant era of soul music.
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.
Give Your Baby a Standing Ovation
Written-By – Henry Williams, Marv Johnson
4:34
A2 Ain't No Sunshine
Written-By – Bill Withers
4:40
A3 You Don't Care
Written-By – Larry Wade, Terry Callier
3:50
A4 Share
Written-By – Terry Callier
4:04
B1 Love Can Make It Easier
Written-By – Skip Scarborough
4:47
B2 The Glory Of Love
Written-By – William Hill
3:50
B3 Stand Up And Show The World
Written-By – Skip Scarborough
3:10
B4 Soul Strollin'
Written-By – Larry Wade, Terry Callier
3:32
B5 Closer
Written-By – B. Eaton, C. Wolfolk, D. Davis, K. Barker
3:43
Label: Cadet – CA 50037
Format: Vinyl, LP, Album
Country: US
Released: 1973
The Dells' 1973 album, Give Your Baby a Standing Ovation, is a classic Chicago soul/funk record on Cadet Records, known for its smooth harmonies, powerful vocals, and rich production by Don Davis, featuring the iconic, gold-selling title track that celebrates women; it blends mellow grooves with righteous soul, showcasing The Dells' masterful vocal blend and earning them another gold record during their prolific career.
Named after their massive hit song, this album solidified their legendary status, becoming their third gold record, masterfully produced by Don Davis, with contributions from Charles Stepney and Bob Miller.
A cornerstone of Chicago soul, showcasing the group's enduring vocal talent and cementing their place among soul legends, the akbum features "spacey soul," rock/soul grooves, strong backbeats, and sophisticated arrangements, with some tracks having a rock edge.
Overall, Give Your Baby a Standing Ovation is a tight, beautifully arranged album that captures The Dells at their peak, delivering soulful anthems and showcasing their distinct vocal blend with a polished, full sound.
The album's title track was a major commercial success, reaching #3 on the R&B charts and peaking at #34 on the Billboard Hot 100. Critics and fans consider the album a "masterclass in vocal harmony" and a "modern soul masterpiece". It remains a significant piece in the evolution of American soul music, capturing the spirit of the early 1970s.
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.
Glow
Arranged By [Vocal Arrangement] – Nick DeCaro
Bass – Wilton Felder
Percussion – Steve Forman
Strings, Synthesizer [Ensemble] – Larry Nash
Written-By – Leon Russell 3:04
A2 Your Song
Bass – Willie Weeks
Piano [Acoustic] – Joe Sample
Written-By – Elton John-Bernie Taupin 5:37
A3 Agua De Beber
Bass – Wilton Felder
Percussion – Steve Forman
Written-By – Jobim, Gimbel, DeMoraes 3:47
A4 Have You Seen The Child
Bass – Wilton Felder
Organ – Joe Sample
Tambourine – Steve Forman
Written-By – Al Jarreau 3:52
A5 Hold On Me
Written-By – Al Jarreau 1:52
B1 Fire And Rain
Bass – Willie Weeks
Percussion – Ralph MacDonald
Piano [Acoustic] – Joe Sample
Written-By – James Taylor 4:45
B2 Somebody's Watching You
Bass – Willie Weeks
Percussion – Ralph MacDonald
Synthesizer – Larry Nash
Written-By – Sylvester Stewart 3:53
B3 Milwaukee
Bass – Paul Stallworth
Percussion – Ralph MacDonald
Written-By – Al Jarreau 4:52
B4 Glow
Bass – Willie Weeks
Percussion – Ralph MacDonald
Written-By – Al Jarreau 4:33
Label: Reprise Records – MS 2248
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz, Pop
Style: Jazz, Funk, Soul
Al Jarreau's 1976 album Glow is a smooth blend of jazz, funk, and soul, his second album, showcasing his innovative vocal scatting and interpretation of covers like Leon Russell's "Rainbow in Your Eyes," James Taylor's "Fire and Rain" (funked-up), and Jobim's "Agua de Beber," alongside originals like the funk track "Milwaukee" and his stunning acapella "Hold On Me," featuring top session players like Larry Carlton and Joe Sample for a transcendent, funky-jazzy vibe.
The album highlights Jarreau's signature vocalese, "wah-wah" guitar-like scatting, and impressive multi-tracked acapella work, and seamlessly blends jazz improvisation with funk grooves, evident in tracks like "Fire and Rain" and "Somebody's Watching You".
It features insightful covers of popular artists (Elton John, Sly Stone, Jobim) alongside originals, breathing new life into them.
Standout Tracks: Includes the funky "Milwaukee," the Brazilian-infused "Agua De Beber," the vocal showcase "Hold on Me," and the infectious "Rainbow in Your Eyes".
Supported by legendary session players, including Wilton Felder, Joe Sample, Larry Carlton, and Ralph MacDonald, adding rich instrumentation.
Glow is considered an amazing, even transcendent album, building on his debut and solidifying his unique sound with its smooth, funky, and vocally dazzling approach, making it a key moment in his career.
Go For It
Arranged By [Horns] – Pete De Angelis
Arranged By [Rhythm] – Bill Neale
Producer – Alan Rubens, Bill Neale, Steve Bernstein
Soloist, Guitar – Billy Ingram
Written-By – B. Neale, L. Barry
4:06
A2 Sunrise
Arranged By [Rhythm] – Bill Neale
Arranged By [Strings] – Pete De Angelis
Producer – Bill Neale, Len Barry
Written-By – B. Neale, D. Bernstein, L. Barry
3:43
A3 I Can Understand It
Arranged By – Pete De Angelis
Producer – Alan Rubens, Len Barry, Steve Bernstein
Written-By – Bobby Womack
5:06
A4 Harmony
Producer, Arranged By – James (Budd) Ellison
Written-By – Phyliss Nelson
6:00
B1 Betcha Bottom Dollar
Arranged By [Horns] – Jimmy Ingram
Producer, Arranged By [Rhythm] – Larry James
Soloist, Synthesizer – John Barry
Written-By – D. Watson, D. James, L. James
4:40
B2 Baby Doll
Arranged By [Strings] – Pete De Angelis
Producer, Arranged By [Rhythm] – Larry James
Soloist, Synthesizer – John Barry
Written-By – D. Watson, D. James, L. James
4:31
B3 Tramp
Arranged By [Rhythm] – Bill Neale
Arranged By [Strings] – Pete De Angelis
Producer – Alan Rubens, Len Barry, Steve Bernstein
Soloist, Flugelhorn – Butch Ingram
Written-By – B. Neale, D. Bernstein, L. Barry
3:47
B4 Forget You (It's Too Late)
Arranged By [Strings] – Pete De Angelis
Producer, Arranged By [Rhythm] – Larry James
Soloist, Synthesizer – John Barry
Written-By – D. James, L. James
5:21
Label: Fantasy – F-9596
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Released in 1980 on Fantasy Records, Go For It by Slick is a disco/soul album that offers a more laid-back sound compared to their previous work, featuring highlights like "Baby Doll" and "Betcha Bottom Dollar". It is noted for featuring uncredited lead vocals by Brandi Wells on three tracks.
The album moves away from the more intense energy of their earlier material towards a smoother, laid-back disco/funk sound.
Key Tracks: "I Can Understand It": A disco-style cover of the Bobby Womack classic; "Betcha Bottom Dollar": Highlighted for its funky "chopper" bassline, handclaps, and horn arrangements; "Baby Doll": Frequently cited by listeners as a fun, standout track; "Tramp": Described as a refreshing, urban-mellow groove.
A point of contention among listeners is the lack of explicit credit for Brandi Wells, who sings lead on three tracks, despite other members being mentioned.
While sometimes compared to their debut, this 1980 release is seen as a distinct, smoother follow-up in the late-disco era. The album maintains a solid community standing, with an average rating of 4.04 / 5 on Discogs.
The album generally holds a positive, albeit niche, reputation among disco funk collectors for its 1980 sound. The group's association with Fat Larry James provided a high level of polished musicianship, typical of the late 70s/early 80s Philly soul and disco scene.
Goin’ Places
Written-By – Michael Henderson
4:01
A2 Goin' Places
Written-By – Michael Henderson
4:08
A3 Let Me Love You
Written-By – Michael Henderson, Ray Parker
5:00
A4 I Can't Help It
Written-By – Michael Henderson
4:16
B1 I'll Be Understanding
Written-By – Michael Henderson, Rudy Robinson
3:03
B2 At The Concert
Vocals [Duet] – Michael Henderson, Roberta Flack
Written-By – Michael Henderson
7:16
B3 Won't You Be Mine
Written-By – Ken Peterson
7:00
Label: Buddah Records – BDS 5693
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul, Jazz, Funk
Style: Jazz-Funk, Soul, Disco
Released in 1977, Michael Henderson's Goin' Places is a mix of heavy, synth-driven funk and cinematic soul that showcases his range as a vocalist and bass player. While some critics found it a step down from his debut in terms of song quality, it is generally regarded as a solid R&B effort featuring notable tracks like "Whip It" and a duet with Roberta Flack.
The album features a blend of funk, soul, and R&B, with prominent electric keyboard and synth work. Recorded at Electric Lady Studios, the album features appearances by Herbie Hancock and a duet with Roberta Flack on "At The Concert".
Key Track Highlights:-
"At the Concert": A major highlight, this nearly 8-minute duet with Roberta Flack is often cited as an "epic" and "underrated jazz-funk masterpiece".
"Won't You Be Mine": Praised for its effortless disco-funk groove, this track is frequently recommended for dance floors or skating rinks.
"Goin' Places": The title track is described as a "perfect song for steppin'" with a smooth, rhythmic drive.
"Whip It" & "I Can't Help It": These are heavier, synth-laden funk jams that showcase Henderson's "big time funkster" energy, though some critics feel they try slightly too hard to be funky.
"Let Me Love You": A standout ballad that fans consider "untouchable" for its sensitive vocal performance.
While some retrospectives, such as one on Substack, viewed it as a slight decline from his debut Solid due to oversinging on some tracks, others consider it a strong, top-to-bottom funk album.
Goin' Places reached #18 on the R&B charts and #49 on the pop charts, firmly establishing Henderson's transition from jazz-fusion (with Miles Davis) to a funk/R&B solo artist.
Critics generally view it as a solid effort that highlights Henderson's transition from a session bassist for legends like Miles Davis and Stevie Wonder to a versatile solo artist.
It holds an average score of approximately 4/5 across Discogs community reviews and was graded a B- by some specialized R&B critics.
Goin Places Going Places
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.
Good Time Man
Written-By – Denise LaSalle, Leonard Gibson
4:38
A2 Sometimes
Written-By – B. Anderson
3:52
A3 Good Time Man
Written-By – Leonard Gibson
4:08
A4 Falling To Pieces Together
Written-By – Denise LaSalle, Leonard Gibson
3:33
A5 Cry To Me
Written-By – Bert Russell
4:20
B1 Too Crowded In My Bed
Written-By – Denise LaSalle, Leonard Gibson
4:13
B2 Snuggle Up With Somebody
Written-By – George Jackson
3:30
B3 Wake Me Up
Written-By – Leonard Gibson
4:23
B4 Too Thin
Written-By – Frederick Knight
4:00
B5 We Ain't Through Yet
Written-By – Leonard Gibson, Rick Lucas
4:23
Label: Malaco Records – MAL 7423
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul, Blues
Style: Southern Soul
Latimore 's 1985 Good Time Man album, released on Malaco Records, offers classic, smooth soul and blues, showcasing his distinctive, laid-back vocals on tracks like the funky "Catches up on Love" and ballads such as "Shake the Sheets," blending seductive slow jams with soulful grooves, solidifying his reputation as a master of the genre with its intelligent, matter-of-fact delivery of heartfelt lyrics.
The album continues Latimore's signature smooth, soulful sound, focusing on heartfelt delivery rather than vocal acrobatics, making it relatable and deeply emotional.
It features throbbing funk, straight blues, and seductive slow ballads, including covers like Clarence Carter's "Snatchin' It Back" and "I Smell a Rat," alongside original gems. Tracks like "Shake the Sheets" (a Billy Ray Charles tune) and the funk-infused "Catches up on Love" are frequently mentioned as standout moments.
Reviewers often praise his ability to convey emotion simply and effectively, making familiar themes feel fresh, with one critic noting he "just puts those lyrics across, intelligent and matter-of-fact, as if you've never heard them before".
In essence, Good Time Man is a well-crafted soul album that delivers exactly what fans expect from Latimore: sophisticated, smooth, and undeniably soulful music for relaxing and enjoying good vibes.
Good Vibes!
Written-By – R. Jones
3:17
A2 I Thought You Were Mine
Written-By – L. Cook
2:35
A3 The Situation Needs No Explanation
Written-By – E. Randle
2:41
A4 Same Thing In Mind
Written-By – R. Jones
3:19
A5 Stepping On Up
Written-By – Bowden, L. Gregory, James
2:44
B1 Hurt
Written-By – M. Holmes
3:10
B2 Going In Circles
Written-By – A. Poree, J. Peters
3:21
B3 All God's Children Got Soul
Written-By – Booker T., W. Bell
3:09
B4 Blue Velvet
Written-By – Bernie Wayne, Lee Morris
5:53
B5 Message From A Black Man
Written-By – N. Whitfield & B. Strong
3:27
Label: ABC Records – ABCS-706
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
Good Vibes (1970) is the debut album by Oakland-based soul group The Natural Four, released on ABC Records before their later work with Curtis Mayfield. It is highly regarded by soul collectors and enthusiasts, boasting a strong 4.42-4.45/5 rating on platforms like Discogs and Rate Your Music.
The album features a mix of soulful, often smooth vocal harmonies characteristic of the early '70s. While not as widely known as their later Curtom Records material, this debut established their sound, with high demand among soul music collectors.
The album is considered a must-have for fans of vocal group soul from that era, showcasing their early talent and potential. Critics and listeners highlight the "crisp, smooth" lead vocals of Chris James and the group's "sweetest harmony ever recorded".
Unlike their later, more polished Chicago-soul sound under Leroy Hutson, Good Vibes! features a raw, early-70s aesthetic that balances classic vocal harmonies with soulful, rhythmic arrangements.
Good, Good, Twistin’
A2 Shout And Shimmy 3:00
A3 Tell Me What You're Gonna Do 2:09
A4 Good, Good, Lovin' 2:15
A5 Have Mercy Baby 2:14
A6 Begging, Begging 2:50
B1 Love Don't Love Nobody 2:02
B2 Dancin' Little Thing 2:15
B3 Come Over Here 2:41
B4 You Don't Have To Go 2:42
B5 Just Won't Do Right (I Stay In The Chapel Every Night) 2:40
B6 It Was You 2:40
Label: King Records – 780
Format: Vinyl, LP, Album
Country: US
Released: 1962
Genre: R&B Soul, Pop
Style: Rhythm & Blues, Twist, Soul
Good, Good, Twistin' by James Brown & His Famous Flames is generally seen as a filler album for completists, featuring mostly repurposed tracks and a few decent new ones like "Shout and Shimmy," but lacks the essential hits of his earlier work, making it less essential than his groundbreaking live or studio albums, though modern reissues offer decent sound quality for early soul fans.
Many consider it a strange, "bewildering" release, relying heavily on tracks from previous albums and missing key hits like "Try Me" or "Please Please Please". It's often recommended for completists or serious fans, not for newcomers to James Brown's catalog.
The album does offer a few newer songs, with "Shout and Shimmy" often highlighted as a standout, though it's noted as derivative of The Isley Brothers' "Shout". Despite its filler status, it captures that pure, early 1960s soul sound, and reissues can offer great, silent vinyl for the price.
If you're looking for foundational James Brown, skip Good, Good, Twistin' for Live at the Apollo or other major releases. If you're a completist or just want some affordable, groovy early soul, a decent pressing can be a fun, albeit unessential, addition.
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
Greatest Hits
Written-By – Johnson, Kirkland, Brown
2:34
A2 Oh No, Not My Baby
Written-By – Goffin-King
2:35
A3 Funny
Written-By – S. Taylor
2:20
A4 We Can Work It Out
Written-By – Lennon-McCartney
2:27
A5 It's Gonna Be Alright
Written-By – Goffin-King
2:35
A6 Ask Me
Written-By – Brenda Bruno, Tony Bruno
2:59
A7 I Don't Need Anything
Written-By – Pockriss, Vance
3:05
A8 Anything For A Laugh
Written-By – Stone, Levenson
2:42
B1 If You Gotta Make A Fool Of Somebody
Written-By – Rudy Clark
2:13
B2 Since I Found You
Written-By – E. Townsend, M.Brown
2:54
B3 One Step At A Time
Written-By – Armstead, Ashford, Simpson
2:03
B4 Little Girl Lost
Written-By – Harrison, Dixon, Turner
2:06
B5 I've Got A Lot Of Love Left In Me
Written By – Killem
2:06
B6 One In A Million
Written-By – Rudy Clark
2:59
B7 Soul Serenade
Written-By – Ousley, Dixon
2:40
Label: Wand – WDS 684
Format: Vinyl, LP, Compilation
Country: US
Released: 1967
Genre: R&B Soul, Blues, Pop
Style: Sixties Soul, Vocal
Maxine Brown's Greatest Hits is a classic soul and R&B compilation album, primarily from 1967 (Wand Records), showcasing the underappreciated singer's powerful voice through hits like "Oh No, Not My Baby" and "All in My Mind," featuring uptown arrangements, duets with Chuck Jackson, and tracks produced by Otis Redding, offering a journey from girl-group pop to early funk.
Features her deep, soulful vocals set against sweet, uptown arrangements, creating a distinctive sparkle.
Includes iconic tracks such as "Oh No, Not My Baby," "All in My Mind," "If You Gotta Make a Fool of Somebody," and "One in a Million". Contains four memorable duets with fellow soul singer Chuck Jackson, like "Something You Got".
Features some tracks (like "Baby Cakes") produced by the legendary Otis Redding. The collection spans from girl-group-style pop to more emerging '70s funky soul.
Collects essential recordings from her time with the Scepter-Wand organization in the early 1960s, capturing a definitive sound of that period. Highlights Brown as a highly skilled R&B vocalist often overshadowed by contemporaries like Dionne Warwick.
Essentially, it's a comprehensive collection of a phenomenal but under-recognized vocalist's finest work from her peak years. The album is often paired with her earlier 1965 release on CD, such as the Spotlight On/Greatest Hits compilation released by Kent Records.
Grits Ain’t Groceries
Written-By – Washington, Thornton, Bass, Thompson 2:20
A2 Grits Ain't Groceries (All Around The World)
Written-By – Titus Turner 2:39
A3 I Can't Quit You Baby
Written-By – Campbell, Dixon 6:40
A4 I'll Always Love You
Written-By – Morris Dollison 2:57
A5 Twenty Three Hours
Written-By – Morris Dollison 2:22
B1 Spring
Written-By – Banks 3:53
B2 Steal Away
Written-By – Jimmy Hughes 2:52
B3 You're The One
Written-By – Adolph Smith 2:21
B4 So Blue Without You
Written-By – Strong, Barksdale, McGill, Flemons 2:11
B5 Did You Ever Love A Woman
Written-By – King, Taub 2:53
Label: Checker – LPS-3011
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Blues
Style: Rhythm & Blues, Soul
Little Milton's 1969 album, Grits Ain't Groceries, is a pivotal work marking his shift towards a funkier, harder-edged blues-soul sound, moving from smoother vibes to raw grooves with potent horns, with the hit title track becoming a signature song, showcasing his soulful voice and guitar chops for a career pinnacle on Checker Records.
It significantly diverged from his smoother soul hits like "We're Gonna Make It," embracing a grittier, funk-infused blues that defined his late '60s sound.
Expect powerful horn arrangements, driving rhythms, and Little Milton's deeply soulful vocals, blending B.B. King's guitar finesse with emerging funk elements.
The catchy, funk-blues "Grits Ain't Groceries" was a Top 15 R&B hit, solidifying its status as a career highlight.
The album is seen as a high point, showcasing his versatility and evolving artistry on Chess Records' Checker label before his move to Stax.
It remains a beloved record, celebrated for its authentic blues feeling with a contemporary, funky edge, proving Milton's ability to evolve with the times.
In essence, Grits Ain't Groceries is a vital listen for fans of blues and soul, capturing Little Milton at a peak moment of creative fusion.
Groovy Ideas
Arranged By – Sonny Sanders
Directed By – Quinton Joseph
Producer – Eugene Record
Written-By – Eugene Record, Sandra Drayton
3:18
A2 I Call It Trouble
Arranged By – Sonny Sanders, Tom Tom Washington
Directed By – Quinton Joseph
Producer – Eugene Record
Written-By – Barbara Acklin, Eugene Record
3:16
A3 I'm Living With A Memory
Arranged By – Tom Tom Washington
Directed By – Quinton Joseph, Willie Henderson
Producer – Eugene Record
Written-By – Barbara Acklin, Eugene Record
2:42
A4 It's A Groovy Idea
Arranged By – Sonny Sanders, Tom Tom Washington
Directed By – Quinton Joseph, Willie Henderson
Producer – Eugene Record
Written-By – Chuck Jackson, Marvin Yancy
2:58
A5 I Did It
Arranged By – Tom Tom Washington
Directed By – Quinton Joseph, Willie Henderson
Producer – Eugene Record
Written-By – Eugene Record
2:32
A6 Portrait Of A Broken Heart
Arranged By – Sonny Sanders, Tom Tom Washington
Directed By – Quinton Joseph, Willie Henderson
Producer – Eugene Record
Written-By – Barbara Acklin, Eugene Record
3:32
A7 Seven Days Of Nights
Arranged By – Sonny Sanders
Directed By – Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Carl Davis, Eugene Record
2:34
A8 More Ways Than One
Arranged By – Sonny Sanders
Directed By – Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Barbara Acklin, Eugene Record
3:32
B1 Love Makes A Woman
Arranged By – Sonny Sanders
Producer – Carl Davis, Eugene Record
Written-By – Davis, Record, Sims, Sanders
2:53
B2 Be By My Side
Arranged By – Sonny Sanders
Directed By – Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Barbara Acklin, Eugene Record
2:34
B3 Just Ain't No Love
Arranged By – Sonny Sanders
Directed By – Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Carl Davis, Eugene Record
2:45
B4 Here Is A Heart
Arranged By – Sonny Sanders
Directed By – Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Barbara Acklin, Carl Davis, Eugene Record
2:38
B5 I've Got You Baby
Arranged By – Sonny Sanders
Producer – Carl Davis, Eugene Record
Written-By – Karl Tarleton, James Cleveland
2:12
B6 After You
Arranged By – Sonny Sanders, Tom Tom Washington
Directed By – Quinton Joseph, Willie Henderson
Producer – Carl Davis, Eugene Record
Written-By – Barbara Acklin, Eugene Record
2:25
B7 Am I The Same Girl
Arranged By – Sonny Sanders
Producer – Carl Davis, Eugene Record
Written-By – Eugene Record, William Sanders
2:58
B8 Come And See Me Baby
Arranged By – Sonny Sanders
Directed By – Gerald Sims
Producer – Carl Davis, Eugene Record
Written-By – Eugene Record
2:53
Label: Kent Records – KENT 072
Format: Vinyl, LP, Compilation
Country: UK
Released: 1987
Genre: R&B Soul
Style: Seventies Soul, Funk
Barbara Acklin's Groovy Ideas, released on Kent Records (KENT 072), is a compilation of her smooth Chicago Soul and Pop-Soul tracks, praised for its consistent quality, showcasing hits like "Am I the Same Girl," and offering deep cuts with heartfelt vocals, capturing her signature emotive style perfect for soul aficionados. While specific critical reviews for the Kent reissue are scarce, general reception highlights its cohesive sound, with tracks like "I'll Bake Me a Man" and "It's a Groovy Idea" defining her appeal.
The album is highly regarded by soul enthusiasts for its curation of Acklin’s Chicago soul sound. It holds an average user rating of 4.36 / 5 on Discogs and 4.20 / 5 on Rate Your Music. Critics highlight Acklin's "vulnerable voice" and the "classic slice of late-1960s soul" found in her major hits, particularly the title track "It’s a Groovy Idea" and her signature "Love Makes a Woman".
A must-have for followers of classic soul, especially the '70s Chicago sound. The album provides a strong, listenable experience from start to finish, appealing to both casual listeners and dedicated collectors. In essence, Groovy Ideas is a solid representation of Barbara Acklin's enduring talent, delivering the heartfelt, smooth soul that made her a beloved artist.
Guinn
Producer – Donald R. Robinson, Michael Forte
Written-By – G. Paschal, L. Montgomery
5:28
A2 Open Your Door
Producer – Donald R. Robinson
Written-By – G. Paschal, R. Dixon
4:56
A3 I Can't Live Without You
Producer – Baylor, McKinley Horton
Written-By – L. Montgomery, M. Guinn
4:45
A4 Slow Down
Producer – Bobby Eli
Written-By – Allison Hobbs, A. Hobbs, L. Montgomery
4:55
B1 Sincerely
Producer – Michael Forte
Written-By – S. Harcum
4:08
B2 Tell Me
Producer – Donald R. Robinson
Written-By – G. Paschal, L. Montgomery, R. Dixon
4:28
B3 People Will Be People
Producer – Coleman, Baylor, Horton
Written-By – C. Coleman, G. Paschal, L. Montgomery
3:48
B4 Give Everything You Got For Love
Producer – Michael Forte
Written-By – L. Montgomery, L. Fulton
5:02
Label: Motown – 6168ML
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul
Style: Eighties Soul, Downtempo, Disco
Released in 1986 on Motown, the self-titled debut from Philadelphia-based sibling group Guinn is a hidden gem of mid-80s R&B and Quiet Storm. Despite being somewhat lost in the label’s internal transitions at the time, it has since earned a reputation among soul aficionados as a high-quality "no-skip" record.
The album is characterized by polished production and sophisticated vocal harmonies. "Dreamin’," the album's standout track and most significant legacy, became a massive hit for Vanessa Williams.
Reviewers often highlight "The Feelings Killing Me" for its funky "soul stomp" energy and the bass-driven single "Open Your Door". The record leans heavily into the Quiet Storm and Contemporary Gospel styles popular in the mid-80s.
It maintains a strong reputation on enthusiast platforms like Discogs, where it holds an average rating of 4.12/5 based on user feedback. Critics often describe it as a "mature" R&B effort that deserved more mainstream success than it received during its initial run.
For those looking for better audio quality, a Remastered Edition was released, though some listeners have noted that certain early CD reissues appeared to be mastered directly from vinyl.
Happy And In Love
Written-By, Arranged By – Frank Clark 3:10
A2 How Did You Make Me Love You
Written-By – Dee Ervin
Written-By, Arranged By – Frank Clark 2:44
A3 Can You Take What I'm Gonna Do
Written-By, Arranged By – Frank Clark 2:58
A4 If You Don't Get It Yourself
Written-By, Arranged By – Frank Clark 2:48
A5 I've Just Gotta Tell Somebody
Arranged By – Art Freeman
Written-By – Dee Ervin, Lynn Farr 3:03
A6 Love's Finally Found Me
Arranged By – Art Freeman
Written-By – Alex Brown, Dee Ervin 3:18
B1 What Else Can I Do
Written-By, Arranged By – Frank Clark 4:12
B2 Seems Like I Gotta Do Wrong
Arranged By – Art Freeman
Written-By – Dee Ervin, Lynn Farr 3:10
B3 Don't Tell Me How To Love You
Written-By, Arranged By – Frank Clark 4:34
B4 I'm So In Love
Arranged By – Art Freeman
Written-By – Dee Ervin, Janet Spagg 3:06
B5 I'll Take You All The Way There
Arranged By – Frank Clark
Written-By – Dee Ervin, Monk Higgins 2:34
Label: Canyon Records – LP-7709
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Funk
Gloria Lynne's Happy and in Love (1970) is praised as a vibrant, bluesy soul/funk album where her gritty voice shines in lush arrangements, moving beyond traditional jazz with powerful, emotional performances of heartbreak and love, supported by excellent session musicians like Paul Humphrey, showcasing her as a versatile, underrated vocalist despite its initial lack of major hits.
While known for jazz, this album dives into soul, funk, and R&B, featuring rich strings and horns in the style of Stax and Hi Records.
Lynne's powerful, emotive voice handles both sunny tunes and melancholic ballads, delivering raw, human feeling, particularly evident on tracks like "I'm So In Love".
The album boasts a superior session band, with standout bass by Robert "Pops" Popwell and drums by Paul Humphrey, providing solid grooves.
Despite the "happy" title, much of the album explores themes of heartbreak with uncommon sensitivity, balanced by romantic, honest numbers.
Reviewers highlight it as a strong, well-executed collection that showcases Lynne's versatility and passion, proving she's more than a "one-hit wonder" (referencing her famous "I Wish You Love").
In essence, Happy and in Love is a standout record that solidified Gloria Lynne's place as a soulful powerhouse, even if it didn't reach the heights of her signature song.
While technically a commercial failure at the time of its UK release—where it "bombed" on the DJM label—the album has gained a reputation among collectors as a hidden treasure. It is praised for capturing Lynne’s "smooth-with-some-rough-edges" vocal approach at its finest.
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.
Happy Together
Bass – Bernard Edwards
Guitar – Nile Rodgers
Keyboards – Robert Sabino
Written-By – Nile Rodgers And Bernard Edwards
6:17
A2 Inside Out
Bass – Sandy Anderson
Drums – Steve Arrington
Guitar – Sergio Diaz
Keyboards, Synthesizer – Lenny Underwood
Written-By – Jesse Rae
5:12
A3 Happy Together
Bass – Marcus Miller
Drums – Yogi Horton
Guitar – Bobby Eli, Jeff Mironov
Keyboards, Synthesizer – Lenny Underwood
Percussion – Jimmy Maelen
Written-By – Alan Gordon, Gary Boner
7:07
B1 Happy People
Bass – T. M. Stevens
Drums – Yogi Horton
Guitar – Jeff Mironov, Sergio Diaz
Keyboards, Synthesizer – Lenny Underwood
Written-By – Eugene Jackson, Jimmy Douglass
6:05
B2 When You Love Somebody
Bass – Marcus Miller
Drums – Woody Cunningham
Guitar – Bobby Eli, Jeff Mironov
Keyboards – Lenny Underwood
Percussion – Jimmy Maelen
Saxophone – Gary Bartz
Written-By – Gloria Sklerov, Harry Lloyd
4:26
B3 Love's Alright
Bass – T. M. Stevens
Drums – Yogi Horton
Guitar – Bobby Eli, Jeff Mironov
Keyboards – Lenny Underwood
Percussion – Jimmy Maelen
Saxophone – Gary Bartz
Written-By – René Moore And Angela Winbush
3:56
B4 Magic Touch
Bass – T. M. Stevens
Drums – Yogi Horton
Guitar – Jeff Mironov, Sergio Diaz
Keyboards – Lenny Underwood
Written-By – David Courtney
3:43
Label: RCA Victor – AFL1-4240
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Disco
Released in 1982, Happy Together is the fifth studio album by the New York soul/disco group Odyssey. Critics and listeners generally view it as a mixed but polished effort that leans heavily into the funk and pop-soul sensibilities of the early 1980s.
Reviews often categorize the album as "pretty average" in comparison to their earlier masterpieces, though it remains a favorite for completionists of 80s soul.
Produced by Jimmy Douglass, the album features a "soulful and funky sheen" typical of the era. Some reviewers note that the group sounds less energetic than on previous records, describing the performance as slightly "half-hearted" or "tired".
On platforms like Discogs, the album maintains a solid average rating of approximately 4.0 to 4.5 out of 5 across various pressings.
Key Tracks:-
"Inside Out": Widely considered the album's standout track and a 1982 summer smash in the UK. Written by Jesse Rae, it features a distinctive groove that has remained a club staple.
"Happy Together": A seven-minute funk remake of the 1960s hit by The Turtles. While ambitious, some critics feel the vocal treatment is unspectacular compared to the original.
"Magic Touch": A minor UK hit written by David Courtney, noted for its bright pop-soul/rock crossover appeal.
"When You Love Somebody": A traditional Odyssey ballad sung by Louise Lopez, described as predictable but superior to other tracks in the set.
"Together": A notable inclusion on certain editions, written by Chic’s Nile Rodgers and Bernard Edwards.
CD Reissues: For many years, the album was difficult to find on CD until modern reissues (often including bonus 12" versions) became available. Vinyl: Original 1982 pressings are still widely traded among collectors on sites like Discogs.
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.
Havana Candy
Even with production limitations, Austin's voice shines, delivering conviction and emotion on ballads and upbeat tracks alike. It features strong soul-funk (early tracks), smooth vocal jazz, and catchy AOR/fusion elements, appealing to fans of those styles. Released during a financially strained period for CTI, some reviews note recycled arrangements, but Austin's performance elevates the material.
Fan Favorites: "Little Baby," "I Just Want To Know," "I Need Somebody" (Austin-penned), and the popular duet "That's Enough For Me" (with Dave Grusin) are often highlighted. Tracks lean into tropical sounds and AOR (Adult Oriented Rock), making it great for fans of that smooth, melodic sound.
Reviews are mixed but lean positive, especially from loyal fans. While some acknowledge the production's shortcomings, many feel Austin's exceptional vocals and the strong melodies, particularly in the latter half, make it a worthwhile listen, especially for those discovering her early work.
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.
He’ll Be Back
Songwriter – C. Gordon, J. Thomas
2:37
A2 Peace Of Mind
Songwriter – A. King, D. Bupp
2:53
A3 When A Man Loves A Woman
Songwriter – A. Wright, C. Lewis
2:10
A4 Since I Don't Have You
Songwriter – J. Vogel, J. Beaumont, Rock, Taylor, J. Verscharen, Martin, Lester
2:27
A5 I'm Glad I Waited
Songwriter – A. Smith
2:45
A6 I Wanna Be Free
Songwriter – Gordon, Butler, Thomas
2:29
B1 Sunny
Songwriter – Bobby Hebb
3:01
B2 There's Got To Be A Way
Songwriter – J. Simmons
2:43
B3 I Love You A Thousand Times
Songwriter – I. Foxx, L. Dixon
2:31
B4 Why Do I Love You
Songwriter – Butler, Givens, Johnson
1:50
B5 Why Did I Lie
Songwriter – Butler, Givens, Johnson
2:20
B6 Get Hep To Love
Songwriter – Butler, Givens, Johnson
Label: Minit – LP-24006
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
The Players' 1967 album "He'll Be Back" is a classic of sweet, sad 60s soul, centered around the hit single of the same name about a soldier going to Vietnam, featuring lead singer Herbert Butler and members of The Dells, known for its heartfelt vocals and touching harmonies, creating a memorable but rushed studio effort that birthed a successful single and tour despite its quick production.
Reviews highlight its strong R&B roots, emotional depth, and lasting appeal as a quintessential 60s soul record, even if it's a product of its era's recording practices. The title track, "He'll Be Back," was a significant R&B hit, known for its poignant story and perfect harmonies.
The Players were a studio group, primarily comprising Herbert Butler and members of The Dells (Barksdale, Carter, Allison, McGill), with other singers added for live performances.
It's a quintessential 1960s soul album, characterized by sweet melodies, heartfelt lyrics, and rich vocal arrangements, capturing the emotional depth of the era's R&B.
The album explores themes of love, loss, and separation, particularly in the context of the Vietnam War, giving it a poignant, bittersweet quality.
Despite being a quick, rushed follow-up to the single, it's remembered fondly as a great example of 60s soul music.
In summary, "He'll Be Back" is a beloved piece of 60s soul, praised for its emotional resonance and classic sound, even though it was a product of studio expediency.
He ll Be Back
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.
Alexander ONeal Alexander O Neal
Heart and Soul
Written-By – Loesser, Carmichael 3:02
A2 Games That Lovers Play (Eine Ganze Nacht)
Written-By – Snyder, Last, Kusik, Loose 2:30
A3 He's My Guy
Written-By – Warren Schatz 2:44
A4 What A Difference A Day Makes
Written-By – Grever, Adams 3:00
A5 A Change Is Gonna Come
Written-By – Sam Cooke 3:30
A6 If I Had A Hammer
Written-By – Hays, Seeger 2:15
B1 When Love Flies Away
Written-By – Ragovoy, Bell 3:09
B2 Cry Me A River
Written-By – Arthur Hamilton 3:04
B3 Stay With Me
Written-By – Weiss, Ragovoy 3:29
B4 What Is A Woman
Written-By – Schmidt, Jones 3:00
B5 That's For Me
Written-By – Hammersein II - Rodgers 2:36
B6 My Man's Gone Now
Written-By – Heyward, Gershwin 3:20
Label: Warner Bros. Records – W 1674
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Lorraine Ellison's 1967 album Heart & Soul is a highly regarded work, praised for its deep soul roots, Ellison's powerful vocals, and sophisticated jazz arrangements. It is often considered a tremendous early album in the soul genre.
Ellison's voice is frequently described as exceptional, "far beyond others". Her signature song, "Stay with Me," is noted as a "full-blooded, screaming, beautiful, agonised, ecstatic, sobbing, sexual, soaring performance".
According to Dusty Groove, the album "mixes her deep soul roots with some sophisticated jazzy arrangements from Oliver Nelson," resulting in a "wonderfully rich feel". The blend of deep soul and jazz arrangements is a key highlight.
The album is considered a classic within the soul genre, with an average rating of 4.14/5 on community-driven sites like Discogs. The inclusion of powerful tracks like "Stay with Me" and covers of standards such as "A Change Is Gonna Come" and "Cry Me a River" contributes to its lasting appeal.
Heat Wave
Written-By – Holland-Dozier-Holland 2:39
A2 Then He Kissed Me
Written-By – Spector-Greenwich-Barry 2:30
A3 Hey There Lonely Boy
Written By – Shuman-Carr 2:31
A4 More
Written-By – Oliviero, Newell, Ortolani 2:13
A5 Danke Schoen
Written-By – Kaempfert, Gabler 3:03
A6 If I Had A Hammer
Written By – Hays-Seeger 2:14
B1 Hello Stranger
Written-By – Lewis 2:38
B2 Just One Look
Written By – Carroll-Payne 2:32
B3 Wait Till My Bobby Gets Home
Written By – Spector-Greenwich 2:16
B4 My Boyfriend's Back
Written By – Feldman-Goldstein-Gottehrer 2:07
B5 Mockingbird
Written By – Foxx/Foxx 2:30
Label: Gordy – GLP 907
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul, Motown
Martha & The Vandellas' 1963 album, Heat Wave, is praised as an essential, confident early Motown release, anchored by Martha Reeves' powerful vocals and Holland-Dozier-Holland's dynamic, sax-driven production, though it's an uneven mix of classic covers and the iconic title track, cementing their place as a top girl group despite filler songs. Reviewers highlight the energy of the title track, strong harmonies, and the band's developing sound, but note some covers fall flat, making it a beloved but imperfect gem.
The Title Track, "(Love Is Like a) Heat Wave" is universally acclaimed as a standout, praised for its propulsive energy, catchy hooks, and explosive arrangement.
Martha Reeves' strong, confident lead vocals are seen as the heart of the group, bringing life to the tracks.
The album showcases early Motown hallmarks, featuring baritone sax, tambourines, and driving rhythms. The tight, precise backing vocals from Rosalind Ashford and Annette Beard are a major highlight.
While containing classics, the album mixes its hits with lesser-known covers of 1963 pop hits (like "My Boyfriend's Back," "Danke Schoen"), which some find clogs the album's flow.
Some cover versions are considered only for die-hard fans, lacking the freshness of the original hits or the group's signature sound.
Overall, Heat Wave is considered a vital early Motown record, offering a confident, energetic, and exhilarating listen, even if it isn't a perfectly cohesive album; its highs, especially the title track, are legendary.
Heaven
A2 Greasy 5:11
A3 Saying It With Music 5:34
A4 Song For My Soul 4:56
B1 Scorpio Stew 4:13
B2 Maya Mosquito 3:49
B3 Diego Shuffle 4:20
B4 Heaven Prelude 3:35
Label: Tabu Records – BQL1-1996
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz Soul
Style: Caribbean Jazz-Funk
Michael Boothman's Heaven album is a highly sought-after Caribbean jazz-funk record that fuses elements of soul, funk, jazz, gospel, disco, and pop. Known for its sophisticated arrangements and tropical feel, the album has become a collector's item among vinyl enthusiasts.
The album is a pioneering example of Caribbean jazz fusion, blending American soul and jazz styles with influences from calypso and soca, indigenous music of Trinidad and Tobago.
It features soaring guitar work from Boothman, complemented by lush arrangements from keyboardist Leon Pendarvis that incorporate strings and distinctive, sweetly scatting wordless background vocals by singers including Lou Courtney, Edna Holt, and Lani Groves.
Recorded live at RCA Studios in New York, the executive production by Clarence Avant retains an authentic 1970s sound.
Standout tracks that exemplify the album's unique sound include the title track "Heaven", "Saying It With Music", and "Diego Shuffle".
The album is credited with helping to broaden perceptions of Caribbean music and place Caribbean Jazz proudly on the map. A remastered version was released on streaming platforms in 2022, 45 years after its original vinyl release.
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.
Here’s Esther...Are You Ready
Written-By – Chuck Jackson, Marvin Yancy
4:02
A2 Philadelphia Freedom
Written-By – Elton John & Bernie Taupin
5:38
A3 I Hope You'll Be Very Unhappy Without Me
Written-By – Bill LaBounty, Jay Senter
3:55
A4 Love Makes A Woman
Written-By – Carl Davis, Eugene Record, Gerald Sims, William Sanders
5:27
B1 Our Day Will Come
Written-By – Bob Hilliard, Mort Garson
5:28
B2 Bedtime Stories
Written-By – Jonah Ellis
3:45
B3 Oo Oop Oo Oop
Written-By – Alvin Fields, Michael Zager
5:30
B4 I'll Close My Eyes
Written-By – Eunice Burgess, James Burgess, Red Rowe
4:03
Label: Mercury – SRM-1-3769
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Esther Phillips' Here's Esther...Are You Ready (1979) is a highly-regarded soul/disco album, praised for its unique interpretations of contemporary hits like Elton John's "Philadelphia Freedom" and Natalie Cole's "Mr. Melody," alongside standout tracks like "Bedtime Stories" and "Our Day Will Come," showcasing her distinctive, bluesy vocals and ability to blend pop, soul, and funk with great production. It's often bundled with her subsequent album, Good Black Is Hard to Crack, and seen as a peak in her Mercury Records era, featuring excellent material and solid grooves.
Reviewers frequently mention her voice, comparing it to Dinah Washington or Billie Holiday, noting its sultry, bluesy, and sometimes trumpet-like quality. She breathed new life into popular songs, making them distinctly her own, notes this Amazon review.
The album blends smooth soul, disco, and funk, enhanced by keyboards and backing vocals, creating a rich soundscape. Produced by Harvey Mason, it's considered a strong, well-produced effort.
Standout Tracks: "Mr. Melody," "Philadelphia Freedom," "Our Day Will Come," "Bedtime Stories," and "Oo Oop Oo Oop" are often cited as favorites, says this Discogs entry.
Overall, Here's Esther...Are You Ready is celebrated as a superb album showcasing Esther Phillips at her best, delivering soulful depth and danceable tracks, making it a favorite for fans of classic soul, disco, and rare groove.
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 Jude
Written-By – Dan Greer, George Jackson
2:35
A2 Hey Jude
Written-By – Lennon-McCartney
4:00
A3 Back In Your Arms
Written-By – Jackson, Chambers, Leakes, Moore
2:53
A4 Toe Hold
Written-By – David Porter, Isaac Hayes
2:46
A5 Night Owl
Written-By – Don Covay
2:20
A6 My Own Style Of Loving
Written-By – Jackson, Leakes, Moore
2:38
B1 A Man And A Half
Written-By – Jackson, Chambers, Leakes, Moore
2:48
B2 Sit Down And Talk This Over
Written-By – Bobby Womack, Wilson Pickett
2:19
B3 Search Your Heart
Written-By – George Jackson, Raymond Moore
2:40
B4 Born To Be Wild
Written-By – Mars Bonfire
2:44
B5 People Make The World
Written-By – Bobby Womack
2:45
Label: Atlantic – SD 8215
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Funk
Style: Sixties Soul, Southern Soul
Wilson Pickett's Hey Jude (1969) is a highly acclaimed soul/funk album praised for its electrifying Southern soul, powerful vocals, and especially for the iconic, fiery cover of The Beatles' "Hey Jude", featuring Duane Allman's legendary guitar work, making it an essential listen alongside other killer tracks like "Toe Hold" and "Born to Be Wild". Critics hail it as a masterpiece of soul, showcasing Pickett's vocal prowess and introducing Allman to broader audiences, despite some pressings facing technical issues.
The Title Track: Pickett transforms the Beatles' ballad into a scorching, soulful epic, with Duane Allman delivering one of his most famous guitar solos, making it a standout remake.
Southern Soul at its Peak: The album is packed with uptempo funk and deep soul, moving beyond the iconic title track to offer consistent, high-energy tracks. Reviewers call it an "essential purchase" and one of Pickett's best, a "killer album" with "all killer no filler". It's considered a career-defining moment for both Pickett and Allman, blending R&B, soul, and rock.
While generally praised, some critics argue that Pickett’s "unyielding" vocal attack can occasionally lack the nuanced emotional range found in contemporaries like Otis Redding.
In Summary, Hey Jude is a landmark album, celebrated for its incredible musicality, especially the phenomenal fusion of Pickett's raw soul and Allman's fiery guitar on the title track, making it a must-have for soul and funk fans.
The album maintains strong ratings across platforms, typically averaging 4.0 to 4.5 out of 5 stars on sites like Discogs. You can purchase the album on major platforms like Amazon or find vintage pressings through Discogs.
Hey Now Hey ( The Other Side Of The Sky )
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.
Bobby Bland Bobby Blue Bland
Hold Me Tight
Written-By – Johnny Nash
A1 Hold Me Tight
Written-By – Johnny Nash
2:50
A2 Don't Look Back
Written-By – R. White, W. Robinson
2:01
A3 Love
Written-By – Peter Tosh
4:04
A4 People In Love
Written-By – Johnny Nash
2:50
A5 Groovin'
Written-By – E. Brigati, F. Cavaliere
2:00
B1 Cupid
Written-By – Sam Cooke
3:29
B2 Lovey Dovey
Written-By – A. Ertegun, M. Curtis
2:11
B3 You Got To Change Your Ways
Written-By – Peter Tosh
2:40
B4 You Got Soul
Written-By – Margaret Nash
2:48
B5 Don't Cry
Written-By – Jimmy Norman
2:55
Label: JAD – JS-1207
Format: Vinyl, LP, Album
Country:US
Released: 1968
Genre: Reggae, Pop
Style: Reggae, Rocksteady
Johnny Nash's 1968 album, Hold Me Tight, is a pivotal reggae/rocksteady record known for its classic title track, blending sweet pop melodies with burgeoning Jamaican grooves and light orchestration, foreshadowing Nash's later reggae-pop success, offering a cozy, soulful sound with tracks like "Cupid" and "You Got Soul," and capturing a warm, inviting stereo mix that's a favorite for collectors.
Primarily Rocksteady and Reggae, with elements of Pop Rock, Pop-Soul, and Soul, notes AllMusic and Record Town - Fort Worth, TX.
The famous title track, "Hold Me Tight," was a major hit, reaching #5 on the U.S. Billboard Hot 100 and #5 in the UK, establishing a distinct sound.
Features honeyed vocals, warm stereo sound, and a mix of infectious rocksteady rhythms with some orchestral arrangements that aren't overly intrusive, offering a "cozy" feel, according to Rate Your Music and Discogs.
Produced by Arthur Jenkins and Johnny Nash, with recordings sometimes featuring Jamaican influences, says Discogs.
The album served as an important precursor to Nash's later reggae breakthroughs, showcasing his ability to blend Caribbean sounds with mainstream pop appeal,
Hold On (To Your Dreams)
Written-By – Hunter, Bullock
10:33
A2 Ain't Nothing Missin' (But The Music)
Written-By – Hunter, Bullock
5:33
A3 Don't Make Me The Reason
Written-By – Fordham, Love, Bullock
4:58
B1 (Just When) My World Seemed Blue
Written-By – Fields, Reynolds, Grace, Bullock, Spencer
6:02
B2 Let Me Lay With You
Written-By – Reynolds, Grace, Carson, Bullock
5:53
B3 Remember The Love
Written-By – Chestener Loretta Gorden, Steven Rice, Bullock
4:06
B4 You've Been A Part Of Me
Written-By – Fordham, Love, Bullock
4:30
Label: Cotillion – SD 5220
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Soul, Funk, Disco
Released in July 1980 on Cotillion Records, Hold On (To Your Dreams) is the solo debut from William "Wee Gee" Howard, the former lead singer of the legendary soul group The Dramatics.
The record is celebrated as a "smooth soul" gem that captures the transition from late 70s funk to early 80s modern soul. It was written, arranged, and produced by Vernon Bullock, who utilized an uptempo, polished style featuring synthesizers and keys that remained tasteful rather than overproduced.
The album blends Soul, Funk, and Disco. Critics have compared Howard’s vocal performance and the lush arrangements to the work of soul icon Lamont Dozier.
The standout "Hold On (To Your Dreams)" is a sprawling 10-minute epic known for its soaring, emotional groove and inspirational lyrics. The album lyrics focus on resilience, faith, and the pursuit of goals despite life's obstacles, often featuring messages of self-belief and encouragement.
Other notable tracks:-
"Ain't Nothin' Missin' (But the Music)": Often cited as the most commercial track on the LP, noted for its high hit potential despite being released as a B-side.
"You've Been a Part of Me": A raw, straight-from-the-heart confession that highlights Wee Gee’s ability to "lay his heart on the line".
On collector platforms like Discogs, the album maintains a high average rating of approximately 4.4/5, reflecting its status as a favorite among soul and funk enthusiasts. While the original LP was released in 1980, it has seen various reissues, including a notable 2006 Japanese mini-LP CD release.
Hold The Light...
A2 He Brought Joy Into My Life 4:07
A3 On The Other Side 3:42
A4 Lord, You Blessed 3:04
B1 Love In The World 3:35
B2 Nobody's Fault But Mine 3:49
B3 I'm Glad 4:14
B4 He Looked Beyond My Faults 6:15
Label: Gospel Roots – GR-5020
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Gospel, Soul
Style: Gospel
Mitty Collier’s 1978 album, "Hold The Light...", marks a significant transition in her career from R&B star to gospel singer and pastor. Released on Gospel Roots (a subsidiary of TK Records), the album reflects her spiritual commitment following her departure from the secular music industry in the early 1970s.
Critics often highlight the album as a definitive moment in Collier's "sanctified" era. It is celebrated for its sincerity and powerful vocal delivery, retaining the deep, husky contralto that defined her 1960s Chess Records hits like "I Had a Talk with My Man".
Reviews note that while the production moves toward traditional gospel, Collier’s performance remains "earthy" and assertive. Her ability to "take you to church" is frequently cited as her greatest strength, with her voice described as "searing" and capable of "bringing you to tears".
The album is highly regarded by soul and gospel collectors, maintaining a high average rating (approximately 4.25/5) on collector platforms such as Discogs. The title track, "Hold The Light," and the overall arrangement of the album emphasize piano, organ, and traditional choir-backed harmonies, moving away from the brassy, R&B-focused production of her earlier years.
The lyrics focus on resilience, faith, and "looking for some light at the end of the black," a recurring theme in her later work. The album was produced during a period when gospel was increasingly influencing the "pop ocean," making it accessible to fans of traditional R&B while remaining firmly rooted in the church.
Honesty
A2 Still Within Your Heart 4:27
A3 Dirty Laundry 4:08
A4 Nobody But You 4:45
B1 If You Need Me 5:07
B2 What You Gawn Do? 5:33
B3 Summer Hot 5:15
Label: The Boardwalk Entertainment Co – NB 33256-1
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul, Funk
Style: Eighties Soul
Honesty is an R&B/soul album that represents Curtis Mayfield's transition into the early 1980s sound. It followed his 1981 release Love Is The Place and features his trademark socially conscious lyrics balanced with a musically "happy" and relaxed atmosphere.
The album is a blend of soul, funk, and R&B, incorporating 1980s production elements such as synthesizers and vintage keyboard sounds alongside Mayfield’s traditional rich horn and string arrangements.
While many tracks lean into "sunshot" and "langorous" soulful vibes, Mayfield maintains his sharp social awareness on tracks like "Dirty Laundry".
Key Tracks: "Hey Baby (Give It All To Me)": A high-energy opening track; "Summer Hot": A flute-backed closer often described as having a "sizzling" funk feel similar to The Gap Band; "Dirty Laundry": A politically charged yet musically laid-back song featuring a harmonica.
Curtis Mayfield produced the album and wrote all its tracks. It features Mayfield on guitar and vocals, with support from a full orchestra including cello, viola, and violin, as well as flute, saxophone, and brass sections. Richard Tufo contributed heavily to the rhythm, horn, and string arrangements.
Critics often describe Honesty as one of Mayfield's most "musically happiest" sets of songs, though some note it may not reach the historic heights of his earlier 1970s masterpieces like Super Fly. It is frequently paired with Love Is The Place in modern reissues and digital collections, such as The Boardwalk Sessions.
Hooked On A Feeling
Written-By – M. James
3:00
A2 I Can't Be Satisfied
Written-By – D. Greer
3:25
A3 One In A Million
Written-By – D. Greer
3:06
A4 Take It From One Who Knows (A Loser)
Written-By – D. Greer
3:26
Medley (4:30)
A5a Were You There
Written-By – Trad.
Arranged By – S.R. Crain
A5b Touch The Hem Of His Garment
Written-By – S. Cook
B1 So Nice To Be Loved By You
Written-By – Williams, Williams, Lewis, Young
2:35
B2 Touching Me
Written-By – D. Greer
3:41
B3 Don't Break Your Promise
Written-By – D. Greer
2:52
B4 Mr. River
Written-By – R. Jones, S. Hendricks
2:14
B5 You'll Never Know
Written-By – H. Warren, M. Gordon
3:44
Label: Sounds Of Memphis – SOM-7001
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
The Ovations' "Hooked on a Feeling" stands out as a prime example of early 1970s Memphis soul, featuring the group's smooth harmonies and Louis Williams' emotive lead vocals. Released in 1972 on Sounds of Memphis, the album captures the Ovations' resurgence after earlier hits on Goldwax Records.
The LP emerged during a career revival for the Ovations, originally formed from the Del Rios vocal group in the early 1960s. Key tracks like the title song "Hooked on a Feeling" showcase catchy, uplifting hooks with infectious energy, often hailed as the album's standout.
Producer Dan Greer crafted beautiful backdrops for the trio's voices, blending balladry and mid-tempo grooves rooted in Southern soul traditions.
Key Tracks and Style:
"Hooked on a Feeling" delivers hook-laden, sweeping appeal that revitalized the group's profile.
"Touching Me" reached the Top 20 on R&B charts, highlighting their vocal synergy.
Listeners praise its sublime Memphis soul sound, though some note a shift toward supper-club polish in parts. Overall, the record triumphs as a testament to the Ovations' enduring talent amid industry changes.
Hot Fingers
A2 Move 5:46
A3 I Really Love You 4:30
A4 No Humans Allowed 6:45
B1 Hot Fingers 5:10
B2 Lock It Up & Rock It (The Wild Thing) 5:18
B3 Can't You See 4:51
B4 Shoot Your Shot
Label: Qwest Records – 1-25123
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Funk, Soul
Style: Electro, Funk, Disco
Reggie Griffin's 1984 album, Hot Fingers, is celebrated as a quintessential, early-electro, synth-heavy funk record, praised for its thick bass, bright synths, breakdance appeal, and tight grooves, blending the experience of Reggie Griffin (from Grandmaster Flash, Chaka Khan) with pure 80s funk energy, creating a warm, "dated in the best way" sound with killer production and standout tracks like the title track and "Shoot Your Shot".
Pure early 80s Funk/Electro, featuring thick basslines, bright synth stabs, breakbeats, and clean production, described as period-perfect and clean, a time-capsule of 1984 funk. Warm, danceable, and instantly nostalgic, perfect for breakdancing. Showcases Reggie Griffin's background with R&B and Sugar Hill artists, bringing a seasoned touch to the electronic sound.
Notable Tracks: "Hot Fingers," "Shoot Your Shot," "Throw Down," "No Humans Allowed," and "Lock It Up & Rock It (The Wild Thing)" are highlighted as highlights.
Fans call it a masterpiece of the era, a "pure 1984 funk" gem. The album's sound is seen as a perfect blend of funk and early electronic production. It's considered essential listening for fans of early electro-funk and vintage 80s grooves.
In essence, Hot Fingers is remembered as a definitive, enjoyable, and well-produced funk record from 1984 that captures the essence of the early electro-funk scene.
Hot Fun In The Summertime
Written-By – Fred Robinson
3:38
A2 Moonglow
Written-By – Eddie DeLange, Irving Mills, Will Hudson
3:45
A3 I Want To Hold Your Hand
Written-By – John Lennon And Paul McCartney
4:57
A4 I'm In Love
Written-By – Bernyce Leena, Monk Higgins
4:28
B1 Hot Fun In The Summertime
Written-By – Sylvester Stewart
2:52
B2 Someday We'll Be Together
Written-By – Harvey Fuqua, Jackey Beavers, Johnny Bristol
3:26
B3 Becky's Rainbow
Written-By – Fred Robinson
4:56
B4 The Creeper
Written-By – Fred Robinson
4:35
Label: Liberty – LST-11007
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz
Freddie Robinson's 1970 album Hot Fun in the Summertime is considered a soulful and crafty album that successfully ties together good groove, horns, female vocals, and strings, though some parts can veer toward easy listening or have a slightly "cheesy" feel. It is often described as a great example of groovy jazz-funk with R&B tones.
Reviewers highlight Robinson's "bossy without being arrogant" guitar style, which uses repetitive blues licks to "stoke up the fire". His use of the wah-wah and overdrive sound, reminiscent of Sly & The Family Stone's original track, is noted as a strong element.
The album is praised for its blend of R&B, soul, and jazz-funk. It is described as being in the style of contemporary recordings by The Meters and building on the example of Curtis Mayfield.
The album incorporates horns, female vocals, and strings effectively to create a sophisticated sound. The fat-bottomed bass work of Wilton Felder (of the Jazz Crusaders) is also singled out for special mention.
The covers of Sly & The Family Stone's "Hot Fun in the Summertime" and The Beatles' "I Want To Hold Your Hand" are considered strong, with critics suggesting they surpass the cover of "Moonglow," which is noted as leaning towards easy listening.
Overall Impression: One reviewer on a vinyl forum called it their favorite Freddie Robinson album, finding it to be a "real ripper" despite some "cheesy parts". Another source describes it as a great "after work" record, ideal for unwinding. The album holds an average user rating of 4.4/5 based on 15 ratings on Discogs, indicating a generally positive reception among fans.
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.
How Can I Forget - The Everest Sessions
2 Janet
3 Don't Laugh
4 Poor Boy
5 Country Girl
6 I've Got A Woman
7 Allison
8 I Lied
9 I Believe In Love
10 One More Thing
11 Hollywood
12 Ol' Man River
Label: Acrobat – ACRCD 175
Format: CD, Compilation
Country: UK
Released: 2005
Genre: R&B Soul
Style: Sixties Soul
How Can I Forget? – The Everest Sessions is a compilation album that showcases the early recording career of soul singer and songwriter Jimmy Holiday during his tenure with Everest Records in the early 1960s.
The album features his breakthrough hit, "How Can I Forget," which reached #8 on the Billboard Soul chart and #57 on the US Pop chart in 1963.
This release is a comprehensive reissue of his original Everest material, including all tracks from his six singles released on the label. Primarily deep soul and rhythm & blues, with some lighter tracks intended to capture a broader pop audience.
While this album highlights his skill as a vocalist, Holiday is often better remembered as a prolific songwriter. He famously co-wrote the 1969 hit "Put a Little Love in Your Heart" for Jackie DeShannon and penned numerous songs for Ray Charles.
Critics often highlight Holiday's "intense" and "soulful" delivery, though some contemporary reviews note that the song selection on the Everest sessions was sometimes inconsistent as the label experimented with his sound to find a pop-crossover hit.
While the original recordings date back to 1962–1964, the "Everest Sessions" compilation was notably reissued on CD by labels like Acrobat and Essential Media in the mid-2000s.
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.
Howard Tate
Written-By – Jerry Ragovoy
2:44
A2 8 Days On The Road
Written-By – Jerry Ragovoy, Michael Gayle
2:39
A3 You Don't Know Nothing About Love
Written-By – Jerry Ragovoy
2:33
A4 When I Was A Young Man
Written-By – Jerry Ragovoy, Joe Levine
2:21
A5 Girl Of The North Country
Written-By – Bob Dylan
3:42
A6 Where Did My Baby Go
Written-By – Jerry Ragovoy
2:25
B1 Keep Cool (Don't Be A Fool)
Written-By – Jerry Ragovoy
2:45
B2 Jemima Surrender
Written-By – Levon Helm, J. Robbie Robertson
2:29
B3 Strugglin'
Written-By – Jerry Ragovoy, Michael Gayle
2:35
B4 It's Heavy
Written-By – Gene Pistilli, Jerry Ragovoy
3:14
B5 It's Your Move
Written-By – Jerry Ragovoy, Joe Levine
3:40
B6 The Bitter End
Written-By – Jerry Ragovoy
2:44
Label: Atlantic – SD 8303
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Southern Soul
Howard Tate's self-titled album, Released in 1972 on Atlantic Records, marked the singer's reunion with legendary producer and songwriter Jerry Ragovoy. The album is widely recognized for its gritty Southern soul sound, sophisticated urban arrangements, and Tate's exceptional vocal range.
A blend of deep soul, pop-soul, and blues, often described as having "rock 'n' funky" arrangements. Produced by Jerry Ragovoy and recorded at The Hit Factory in New York.
Features elite session musicians, including drummer Bernard Purdie, guitarists Eric Gale and David Spinozza, and pianist Richard Tee.
Critics have praised Tate's "mellow elastic voice," noting his ability to move from cocksure grit to vulnerable, hurting tones similar to B.B. King.
The album features several Ragovoy originals alongside unexpected covers of contemporary rock and folk songs:
"She's a Burglar" – A standout track later covered by others.
"8 Days on the Road" – One of the primary singles.
"Girl of the North Country" – A Bob Dylan cover given a soulful "Atlantic treatment" with soaring horns.
"Jemima Surrender" – A cover of The Band's song, chosen by Ragovoy to appeal to broader audiences.
"Keep Cool (Don't Be a Fool)" – The album's first single.
Despite its high production value, the album was a commercial failure and failed to produce a major hit. Its lack of success is often attributed to the departure of Jerry Wexler from Atlantic and the "mediocrity" of some songwriting choices.
Over time, it has become an essential "lost" soul classic. The Boston Globe named it one of the best R&B albums of 1972. It was Tate's last major recording before a long disappearance from the music industry that lasted until his rediscovery in 2001.
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.
Hutson
Written-By – LeRoy Hutson
7:03
A2 I Bless The Day
Written-By – LeRoy Hutson
4:45
A3 It's Different
Written-By – LeRoy Hutson
4:42
B1 Cool Out
Written-By – LeRoy Hutson, Michael Hawkins
3:00
B2 Lucky Fellow
Written-By – C. Boyd*, G. Dickerson*, LeRoy Hutson
5:02
B3 Can't Stay Away
Written-By – LeRoy Hutson, Michael Hawkins
6:33
B4 So Much Love
Written-By – LeRoy Hutson
3:19
Label: Curtom – CU 5002
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Funk
Style: Seventies Soul, Chicago Soul
LeRoy Hutson's self-titled 1975 album, Hutson, is a landmark Chicago soul masterpiece known for its lush, orchestral arrangements, warm production, and sophisticated blend of soulful grooves and tight funk, featuring classics like "All Because of You" and "Lucky Fellow", and showcasing Hutson's prowess as a producer, arranger, and vocalist, often compared to Marvin Gaye or Roy Ayers but with a unique, intimate, and classy feel.
It's celebrated for its consistent quality, deep grooves, and intricate musicality that revealed new layers with each listen, solidifying its status in the rare groove scene.
The album was self-produced at Curtis Mayfield's Curtom Studios, featuring rich strings, horns, tight rhythms. It's elegant, atmospheric, intimate, yet deeply groovy, with a focus on sophisticated arrangements and seductive vocals. A highly influential and beloved album, rediscovered and praised during the rare groove era for its timeless quality and lack of "flat spots".
Offers continuous "soul goodness" with intricate details, bridges, and breakdowns that reward repeated listening. Masterfully balances intimacy with grand, expansive instrumentation demonstrating Hutson's full range as a musician, arranger, and producer.
The album features several tracks that became staples of the "Rare Groove" era:-
"All Because of You": A smooth-soul standout often compared to the work of Isaac Hayes and Barry White.
"Lucky Fellow": A masterful cover of the Maurice Jackson song, highlighted for its beautiful arrangement.
"Cool Out": A soaring instrumental groove frequently compared to Kool & The Gang’s "Summer Madness".
The album was voted number 26 in Mojo magazine's top 75 soul albums of the 1970s. Originally released in 1975, it has been reissued several times, including a deluxe remastered version by Acid Jazz Records. It is often paired with its successor, Hutson II (1976), as the definitive representation of his solo work.
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 See Clearly Now
Written-By – B. Marley
3:05
A2 That's The Way We Get By
Written-By – J. Bundrick
2:54
A3 Guava Jelly
Written-By – B. Marley
3:16
A4 (It Was) So Nice While It Lasted
Written-By – J. Nash
3:36
A5 Ooh Baby You've Been Good To Me
Written-By – J. Nash
2:33
A6 You Poured Sugar On Me
Written-By – B. Marley, J. Nash
3:26
B1 I Can See Clearly Now
Written-By – J. Nash
2:48
B2 Comma Comma
Written-By – B. Marley
3:01
B3 We're All Alike
Written-By – J. Bundrick
2:28
B4 How Good It Is
Written-By – J. Nash
2:44
The Fish And The Alley Of Destruction
Written-By – J. Bundrick
4:08
B6 There Are More Questions Than Answers
Written-By – J. Nash
2:47
Label: CBS – 64840
Format: Vinyl, LP, Album
Country: UK
Released: 1972
Genre: Reggae, Pop, Soul
Style: Reggae, Soul
Johnny Nash's 1972 album I Can See Clearly Now is widely celebrated as a pivotal release that helped bring reggae into the mainstream global consciousness. Critics generally regard it as a high-quality "reggae-pop" hybrid characterized by Nash's smooth, effortless high tenor vocals and optimistic energy.
While earlier reggae hits existed, this album’s title track was a phenomenal success, holding the No. 1 pop position for four weeks, making it one of the best-selling reggae singles of all time.
The album is noted for introducing the world to the songwriting of a then-fledgling Bob Marley. Nash recorded several Marley tracks, including "Stir It Up," "Guava Jelly," and "Comma Comma".
Reviewers describe the sound as rich, smooth, and buoyant. While some purists find it "dangerously corny" or overly homogenous, others praise it as a "superb analog recording" with "cutting edge grooves" for its time.
Notable Tracks:-
"I Can See Clearly Now": The centerpiece, described as a "masterpiece" of arrangement and a universal anthem of hope.
"Stir It Up": A successful cover of Marley's track that reached the US Top 12 in 1973.
"There Are More Questions Than Answers": A lullaby-like ballad that became a Top 10 hit in the UK.
"(It Was) So Nice While It Lasted": Often cited as a standout soulful ballad with "killer delivery".
The album holds a strong rating on community platforms like Rate Your Music (approx. 3.3/5) and Discogs (approx. 3.7/5). It remains in print decades later, a testament to its enduring "bright, sunshiny" appeal.
I Can’t Stand Myself When You Touch Me
Written-By – J. Brown
3:25
A2 There Was A Time
Written-By – B. Hobgood, J. Brown
3:35
A3 Get It Together (Part 1)
Written-By – B. Hobgood, J. Brown, A. Ellis
A4 Baby, Baby, Baby, Baby
3:50
Written-By – B. Hobgood, J. Brown, J. Crawford
A5 Time After Time
Written-By – J. Styne, S. Cahn
2:59
A6 The Soul Of J.B. (Inst.)
Written-By – B. Hobgood, G. Knochelman, J. Brown
2:42
B1 I Can't Stand Myself (When You Touch Me) (Part 2)
Written-By – J. Brown
3:50
B2 Get It Together (Part 2)
Written-By – B. Hobgood, J. Brown, A. Ellis
3:50
B3 Why Did You Take Your Love Away From Me
Written-By – B. Hobgood, J. Brown
2:30
B4 Need Your Love So Bad
Written-By – Little Willie John
3:25
B5 You've Got To Change Your Mind
Written-By – B. Byrd, G. C. Redd, J. Brown, R. Lenhoff
3:50
B6 Funky Soul #1
Written-By – B. Hobgood, J. Brown, J. Crawford
2:03
Label: King Records – 1030
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre:R&B Soul
Style: Sixties Soul, Funk
I Can't Stand Myself When You Touch Me (1968) is a pivotal James Brown album that solidified his transition into pure funk, featuring the iconic, raw title track and other grooves like "There Was a Time," showcasing his signature repeating rhythms, horn blasts, and powerful vocals over danceable grooves, moving away from ballads towards a consistent, energetic funk festival with great instrumentals and tight production.
It's considered one of his first full funk albums, establishing the template for his sound in the coming decade with relentless, danceable rhythms.
The title track features The Dapps, a band of white musicians led by Beau Dollar, while other tracks feature his longtime group, The Famous Flames, and iconic saxophonist Maceo Parker.".
Characterized by short, repetitive guitar/drum loops, intense horn arrangements, improvised lyrics, and Brown's signature raw, supercharged vocals.
While primarily funk-driven, the album includes Southern soul vamps like "You've Got to Change My Mind," a jazz standard cover of "Time After Time," and several instrumentals featuring Brown on the organ.
Included excellent instrumentals like "The Soul of J.B." and "Funky Soul #1," alongside a notable cover of the jazz standard "Time After Time". It Showcased heavier, livelier production, making tracks sound more powerful and groove-oriented.
The album marked a significant step in James Brown's career, cementing his role as the Godfather of Soul and a primary architect of funk music with its stripped-down, rhythmically focused sound.
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 Choose You (Tonight)
Backing Vocals – Dee Dee Wilde
Producer [Additional], Keyboards, Guitar – Jeff Lorber
Producer, Keyboards, Drum Programming, Backing Vocals – Eugene Wilde
Saxophone [Solo], Backing Vocals – Vince Broomfield
6:08
A2 Show Me The Way (To Your Heart)
Guitar – Randy Bowland
Percussion – Eddie Montalvo
Producer, Keyboards, Backing Vocals – Eugene Wilde
Producer, Keyboards, Drum Programming – Donald Robinson
5:25
A3 I Choose You (Tonight)
Guitar – Randy Bowland
Producer, Keyboards, Backing Vocals – Eugene Wilde
Producer, Keyboards, Drum Programming – Terry Burrus
6:49
A4 Who's That Girl
Backing Vocals – Eugene Wilde
Producer, Backing Vocals – Gerald Levert
Producer, Keyboards, Drum Programming – Marc Gordon
Written-By – Gerald Levert, Marc Gordon
4:50
B1 Ain't Nobody's Business
Backing Vocals – Eugene Wilde, Sean Levert
Producer, Backing Vocals – Gerald Levert
Producer, Keyboards, Drum Programming, Backing Vocals – Marc Gordon
Written-By – Gerald Levert, Marc Gordon
4:45
B2 I'll Keep Calling
Guitar – Randy Bowland
Percussion – Eddie Montalvo
Producer, Keyboards, Backing Vocals – Eugene Wilde
Producer, Keyboards, Drum Programming – Donald Robinson
5:05
B3 The Last Night
Guitar – Randy Bowland
Keyboards, Backing Vocals – Eugene Wilde
Percussion – Eddie Montalvo
Producer, Keyboards, Drum Programming – Donald Robinson
5:07
B4 I Can't Take It
Backing Vocals – Eugene Wilde
Guitar – Randy Bowland
Producer, Keyboards, Drum Programming – Donald Robinson
6:13
Written by Eugene Wilde (tracks: A1 to A3, B2 to B4)
Label: Magnolia Sound – MCA-42282
Format: Vinyl, LP, Album
Country: US
Released: 1989
Genre: R&B Soul
Style: Contemporary R&B, Soul
Released on May 11, 1989, I Choose You (Tonight) is an R&B and soul album by Eugene Wilde that serves as a staple of late-'80s contemporary R&B and the emerging New Jack Swing style.
The album is characterized as a blend of Contemporary R&B, New Jack Swing, and Quiet Storm soul. Reviewers describe the production as "glossy" and "radio-ready," featuring a mix of upbeat dance tracks and soulful ballads.
Wilde is praised for his "resonant, authoritative voice" and "vocal prowess," which carry the album's romantic and suggestive themes.
The album maintains high average user ratings across major platforms, including a 4.56/5 on Discogs and 5/5 stars from several Amazon UK reviewers.
Critics and fans frequently highlight the title track as a standout, alongside its association with Wilde's previous mega-hits like "Gotta Get You Home Tonight".
Verdict: It is widely considered a "must-have" for enthusiasts of '80s soul, though some modern listeners have noted that certain CD re-releases may feel "fragile" in their physical packaging.
I Feel For You
Written-By – Nic Murphy & David Frank
4:38
A2 Stronger Than Before
Producer – Robbie Buchanan
Written-By – Bruce Roberts, Burt Bacharach, Carole Bayer Sager
4:21
A3 My Love Is Alive
Music By, Lyrics By – Gary Wright
Producer – John Robie
4:42
A4 Eye To Eye
Producer – Russ Titelman
Written-By – Dan Sembello, Don Freeman, John Sembello, Michael Sembello
4:38
A5 La Flamme
Lyrics By – Chaka Khan, Rhoda Roberts
Music By – Philippe Saisse
4:27
B1 I Feel For You
Written-By – Prince
5:44
B2 Hold Her
Producer, Written-By – David "Hawk" Wolinski, James Newton Howard
5:14
B3 Through The Fire
Lyrics By – Cynthia Weil
Music By – Tom Keane
Producer – Humberto Gatica
Producer, Music By – David Foster
4:45
B4 Caught In The Act
Lyrics By – Alec Milstein
Lyrics By, Producer, Music By – Joe Mardin
3:45
B5 Chinatown
Lyrics By – Chaka Khan, Rhoda Roberts
Music By – Philippe Saisse
4:37
Label: Warner Bros. Records – 925 162-1
Format: Vinyl, LP, Album
Country: UK
Released: 1984
Genre: R&B Soul, Pop
Style: Eighties Soul, Funk, Contemporary R&B
Chaka Khan's 1984 album I Feel For You is widely regarded as a landmark release that bridged the gap between 1970s R&B traditions and modern 1980s high-tech production. Critics in 2026 continue to praise it as a "quintessential example of '80s pop" for its bold fusion of funk, soul, and emerging hip-hop influences.
Khan's "supernatural" range is a constant highlight, especially on the David Foster-produced ballad "Through the Fire" and the upbeat "This Is My Night".
Primarily produced by Arif Mardin, the album utilized then-cutting-edge electronic rhythms and "machine-sounding" synths that still offer a "fresh and exciting burst" of early '80s sound.
Many modern reviews label it "excellent from start to finish" and a "masterpiece," citing its ability to make various genres work together seamlessly.
Some contemporaneous critics, like Robert Christgau, felt Khan "coasted" on her vocals, while others noted that tracks like "Chinatown" or "La Flamme" can feel like "filler" compared to the massive singles.
The album was a massive comeback, peaking at #14 on the Billboard 200 and earning a Platinum certification. It won Khan a Grammy for Best Female R&B Vocal Performance in 1985.
Overall, the album is considered a commercial success and a quintessential 80s record that stands as a, if not the, definitive moment in Chaka Khan's solo career.
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 Hope We Get To Love In Time
Arranged By – Horace Ott
Written-By – J. Dean, J. Glover
4:41
A2 Your Love
Arranged By – Paul Riser
Written-By – H.B. Barnum, W. Johnson
3:50
A3 I Still Will Be With You
Arranged By – Jeffrey Steinberg
Written-By – N. Toney
3:49
A4 Never Gonna Let You Go
Arranged By – Horace Ott
Written-By – W. Schatz
3:14
A5 Nothing Can Stop Me
Arranged By – Johnny Allen
Written-By – T. Hester
4:31
B1 You Can't Change My Heart
Arranged By – David Van DePitte
Written-By – E. Cate, E. Cate
3:12
B2 I Hope We Get To Love In Time
Arranged By – Wade Marcus
Written-By – J. Dean, J. Glover
2:58
B3 My Love For You (Will Always Be The Same)
Arranged By – Horace Ott
Written-By – D. MacKechine, E. Beal
3:29
B4 Easy Way Out
Arranged By – David Van DePitte
Written-By – E. Cate, E. Cate
3:39
B5 We've Got To Get It On Again
Arranged By – Paul Riser
Written-By – D. Addrisi, Addrisi
2:40
Label: ABC Records – ABCD-952
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
Marilyn McCoo & Billy Davis Jr.'s I Hope We Get to Love in Time (1976) is praised as a soulful, smooth pop-R&B album, their successful leap from The 5th Dimension, highlighting their pristine vocals and chemistry, especially on the #1 hit "You Don't Have to Be a Star (To Be in My Show)" and the title track, showcasing a mature sound with Philly soul and disco influences under producer Don Davis. Reviews note its exquisite production, timeless feel, and sophisticated blend of pop and soul, cementing their status as a leading duo with classic tracks.
The album is anchored by the Grammy-winning hit "You Don't Have to Be a Star (To Be in My Show)," which reached #1 on both the Billboard Hot 100 and Soul charts.
Critics highlight the "Groovesville" soul influence of producer Don Davis, noting that the album mixes "club rhythms" with smooth, sophisticated ballads similar to the Philly International style.
Reviewers frequently praise McCoo’s "classy but heartfelt" vocals and the duo's natural harmonic chemistry. The album established McCoo and Davis as a successful entity beyond The 5th Dimension, featuring strong performances on tracks like "Your Love".
The album remains a "pop classic" and has seen various re-issues, including a digitally remastered and expanded edition featuring bonus tracks like "I’m So Glad I Found You". As of early 2026, it maintains a positive legacy among fans and collectors, with original vinyl copies continuing to be sought after.
I Keep Coming Back For More
Arranged By – John Davis
Producer – Gilda C. Woods, John Davis
Written-By – John Davis
5:09
A2 Take It Or Leave It
Arranged By – John Davis
Producer – Gilda C. Woods, John Davis
Written-By – B. Weisman, Evie Sands, R. Germinaro
3:40
A3 Everybody's Fool
Arranged By – John Davis
Producer – Gilda C. Woods, John Davis
Written By – E. Robin, A. Willis, D. Lasley
6:05
B1 Home To Myself
Producer – Gilda C. Woods, Norman Harris
Written-By – Sager, Manchester
4:50
B2 Let's Go All The Way (Down)
Producer – Bobby Eli, Gilda C. Woods
Written-By – Bobby Eli, Vinnie Barrett
3:41
B3 Leave Me Alone
Producer – Gilda C. Woods, Norman Harris
Written-By – Bobby Eli, Vinnie Barrett
4:43
B4 I Keep Coming Back For More
Producer – Bobby Eli, Gilda C. Woods
Written-By – George Guess, Norman Harris, Ron Tyson
3:30
Label: Chocolate City – CCLP 2002
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco, Philly
I Keep Coming Back For More, the 1976 album by Brenda & The Tabulations (essentially a Brenda Payton solo effort), is a highly-rated Philly Soul/Disco record known for its lush production at Sigma Sound, blending dancefloor hits like "Superstar" and "Let's Go All The Way (Down)" with soulful ballads such as a standout "Home to Myself" cover, praised for Payton's vocals and the classic Philadelphia sound.
Reviews highlight its strong production by Bobby Eli, Norman Harris, and John Davis, making it a collector's item with impressive remastered versions available.
A quintessential mid-70s Philadelphia sound, balancing upbeat disco/funk with smooth, heartfelt soul ballads.
Recorded at Sigma Sound Studios, featuring top Philly producers like Norman Harris and Bobby Eli, known for their work on many hits.
Brenda Payton's powerful and emotive voice is central, showcasing versatility from disco diva to soulful balladeer.
Includes the charting R&B track "Superstar," the popular disco cut "Let's Go All The Way (Down)," the emotional Dusty Springfield cover "Home to Myself," and slow jams like "Take It Or Leave It" and "Leave Me Alone".
Though technically a solo album under the group name, it solidified Payton's status and is celebrated by fans of classic soul and disco, often appearing on "best of" lists for the era.
Critics and fans view I Keep Coming Back For More as a brilliant, well-crafted album that captures the essence of the Philly sound, delivering both dancefloor energy and deep soul. The CD reissues are particularly noted for their excellent remastering and informative booklets, making it a must-have for collectors.
I Love You
Written-By – Sheila Holman, Tony Marks
3:11
A2 It's All In The Game
Written-By – Carl Sigman, Gen. Charles G. Dawes
3:13
A3 Since My Love Has Gone
Written-By – H. Wasserman, J. Aaron
2:38
A4 I Cried
Written-By – Billy Duke, Michael Elias
2:45
A5 I'll Be Forever Loving You
Written-By – L. Arnold, T. Danielf
2:50
A6 Since I Don't Have You
Written By – J. Rock And The Skyliners
3:10
B1 Hey There Lonely Girl
Written-By – Earl Shuman, Leon Carr
3:19
B2 Let Me Into Your Life
Written-By – A. Hotlen, Peter DeAngelis
2:20
B3 Four Walls
Written-By – Sheila Holman, Tony Marks
2:25
B4 Don't Stop Now
Written-By – E. Holman, J. Soloman
2:55
B5 Am I A Loser
Written-By – Eddie Holman, James Soloman
2:34
Label: ABC Records – ABCS-701
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Pop
Style: Sixties Soul, Ballad
Eddie Holman's I Love You album (1969) is a well-regarded late-60s soul masterpiece, praised for its stunning falsetto, emotional depth, and standout hits like "Hey There Lonely Girl" and "Since I Don't Have You," featuring strong vocals, minimal filler, and beautiful arrangements that solidify Holman's place beyond a one-hit wonder, despite some critics finding it leaning towards easy listening.
Reviewers consistently highlight Holman's incredible falsetto and smooth tenor, noting his ability to convey deep emotion and elevating the material. The album is described as melodic and deeply romantic. While many tracks harken back to the doo-wop era, they are noted for having "updated arrangements" and a "darker edge" that communicates themes of powerlessness and self-doubt.
The album captures the essence of late-60s soul, offering romantic ballads and uplifting tracks that resonate with listeners. Standout Tracks: "Hey There Lonely Girl" (a gold record hit) and "Since I Don't Have You" are frequently mentioned as iconic, with his version often considered superior to others.
Many find the album has very little filler, with almost every track shining, showcasing strong original compositions alongside great covers. While some praise the perfect sound and arrangements, others feel it leaned too much into easy-listening, denying his falsetto more "worthy material".
Considered a legendary, must-have album for soul fans, proving Holman was more than a one-hit wonder. It's celebrated for its timeless appeal, emotional impact, and exceptional vocal performances.
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 Touched A Dream
Written-By – D. Addrisi
5:07
A2 All About The Paper
Written-By – Clarence McDonald, Lowrell Simon
5:30
A3 Passionate Breezes
Written-By – Chuck Jackson, Marvin Yancey
5:35
B1 I Touched A Dream
Written-By – Eugene Record
5:18
B2 Just A Little Love
Written-By – Buddy Martin, James Jolis, Kevin Simone
3:39
B3 Look At Us Now
Written-By – Carl Davis, Clarence McDonald, Lowrell Simon
3:29
B4 Your Song
Written-By – Cecil Womack, Don Davis
3:27
Label: 20th Century Fox Records – T-618
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul, Disco
The Dells I Touched a Dream (1980) is considered the last great Dells album, a surprising hit with superb soulful arrangements by Sonny Sanders and Tom Tom 84, blending lush strings, funk, and emotive vocals for hits like the title track and "Passionate Breezes," offering mature soul that stands out even from their classic '60s/'70s work, though some fans prefer the raw sound of their earlier hits.
It features arrangements by Sonny Sanders and Tom Tom 84 (Earth, Wind & Fire's horn section), creating a rich, soulful sound with sophisticated arrangements incorporating elements of funk and smooth soul, a slight shift from their earlier baroque soul but still deeply emotional.
Widely regarded as a strong late-career effort, a big surprise for the year, and a highlight of their extensive catalog. While some fans miss the raw, soaring vocals of their Vee-Jay/Chess era, they acknowledge the beautiful performances and arrangements, with some tracks being re-recordings that offer a warmer, rounder sound.
In summary, I Touched a Dream is a highly recommended album for soul fans, showcasing The Dells' enduring talent with polished production and heartfelt performances, proving they could still deliver profound, chart-topping soul in the 1980s.
I Will
Written-By – D. Glasser 3:32
A2 If This Is Our Last Time
Written-By – D. Frazier 3:18
A3 I Can't Fake It Anymore
Written-By – B. Thompson, D. Thompson, J. Middleton, M. Thompson, S. Shulman 3:25
A4 Treat Me Right
Written-By – B. Thompson, D. Thompson, J. Middleton, M. Thompson, S. Shulman 3:46
A5 For The Good Times
Written-By – K. Kristofferson 3:50
B1 Something's Burning
Written-By – M. Davis 3:52
B2 Come To Me
Written-By – G. Price 3:15
B3 I Won't Mention It Again
Written-By – C. Mullins, C. Yates 3:23
B4 Lonely Heartaches
Written-By – B. Thompson, D. Thompson, J. Middleton, M. Thompson 4:12
B5 Neither One Of Us
Written-By – J. Weatherly 4:15
Label: Millennium – MNLP 8006
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk
Ruby Winters' album I Will, released in 1978, is widely regarded by soul enthusiasts and collectors as a "lost gem" of melodic soul. Critics and listeners consistently praise it for its passionate vocal performances and polished production.
The album maintains high ratings across major music platforms as of late 2025, typically ranging from 4.4 to 4.6 out of 5 stars based on user reviews.
Reviewers describe Ruby Winters' voice as "gorgeous," "passionate," and "yearning". Her ability to convey "honesty" about life and love is frequently cited as a standout quality.
The music is characterized by its "melodic soul perfection," often featuring "funky lilting bass" lines and infectious arrangements.
Fans note the album's ability to balance upbeat, infectious melodies with "bluesy, desolate and sad" lyrics, creating a deeply emotive listening experience.
Notable Tracks:
"I Will": Often called a "soul classic," this title track is praised for its magical harmonies and soulful bliss. A major hit in the UK, peaking at number 4 on the UK Singles Chartt.
"Come To Me": The song is a soul ballad where the narrator offers comfort and light to a lover who might leave but is reminded they can always return when lonely. Another major UK hit, peaking at number 11 on the UK Singles Chart.
"For the Good Times": A fan favorite, noted for its "beautiful" execution and emotional depth.
"Bluer Days Ahead": Highlighted for its faster pace and brass-heavy beat, demonstrating Winters' versatility across different soul styles.
While originally released as a vinyl LP on Millennium Records, the album has seen various reissues and is sought after in both original 7" 45 RPM and LP formats. You can find detailed tracklists and community ratings for different editions on the Ruby Winters Discogs page.
I Wrote A Simple Song
Written-By – Billy Preston, Joe Greene
2:28
A2 I Wrote A Simple Song
Written-By – Billy Preston, Joe Greene
3:28
A3 John Henry
Written-By – Billy Preston, Robert Sam
3:15
A4 Without A Song
Written-By – William Rose*, Edward Eliscu, Vincent Youmans
4:57
A5 The Bus
Written-By – Billy Preston, Joe Greene
3:32
B1 Outa-Space
Written-By – Billy Preston, Joe Greene
4:08
B2 The Looner Tune
Written-By – Billy Preston, Jesse Kirkland, Joe Greene
2:47
B3 You Done Got Older
Written-By – Billy Preston, Bruce Fisher
3:08
B4 Swing Down Chariot
Written By – Public Domain
4:13
B5 God Is Great
Written-By – Billy Preston, Joe Greene
3:32
B6 My Country 'Tis Of Thee
Written By – Public Domain
4:27
Label: A&M Records – SP-3507
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul, Blues
Style: Seventies Soul, Funk
Released in November 1971, I Wrote A Simple Song is Billy Preston’s sixth studio album and his successful debut for A&M Records, blending soul, funk, gospel, and rock. It is best known for the Grammy-winning instrumental hit "Outa-Space" and features guest appearances from artists like George Harrison.
The album is noted for its "soul stew" mix of styles, featuring, energetic, organic, and often instrumental tracks that showcase Preston's organ and piano skills.
Standout Tracks:-
"Outa-Space": The album’s massive hit was actually the B-side to the title track until DJs flipped the record. It won the 1972 Grammy for Best Pop Instrumental Performance and features Preston's pioneering use of the Hohner Clavinet through a wah-wah pedal.
"I Wrote a Simple Song": The title track is a soulful "slow jam" featuring straightforward lyrics about musical ambition.
"My Country, 'Tis of Thee": A deeply emotive, gospel-infused rendition that has been favorably compared to Ray Charles' "America the Beautiful".
"
The Bus": A funky instrumental that later became a staple of his live performances, often medlied with the Beatles' "Day Tripper".
This album marked a turning point in Preston’s career, establishing his commercial success in the US, according to Wikipedia and Wax Poetics.
Even after the Beatles' breakup, George Harrison contributed lead guitar on several tracks and dobro on the title song. Quincy Jones provided the strings and horn arrangements, adding a polished layer to the raw grooves.
While some retrospective reviews call it a "satisfactory affair" or "just another good Billy Preston album," it is noted for its collective groove playing rather than individual soloing.
Reviews often describe the album as a solid, feel-good, and at times, laid-back "party" record, rather than a deep, conceptual masterpiece.
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’ll Pick A Rose For My Rose
Written-By – Dean, Johnson, Weatherspoon
2:38
A2 I'm Not A Plaything
Written-By – Bradford, Johnson
2:09
A3 Just The Way You Are
Written-By – Johnson
2:43
A4 Sleep (Little One)
Written-By – Hunter, Stevenson
3:08
A5 Bad Girl
Written-By – Gordy, Robinson
3:01
A6 Everybody's Gotta Pay Some Dues
Written-By – White, Robinson
3:14
B1 So Glad You Chose Me
Written-By – Dean, Bowden, Weatherspoon
2:30
B2 I Wish I Liked You (As Much As I Love You)
Written-By – Lee Lambert, Williams, Gentile
2:42
B3 I Miss You Baby (How I Miss You)
Written-By – Paul, Broadnax
2:47
B4 Why Do You Want To Let Me Go
Written-By – Gordy
2:59
B5 You Got The Love I Love
Written-By – Allen, Johnson
2:32
Label: Tamla Motown – STML 11111
Format: Vinyl, LP, Album
Country: UK
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Motown
Marv Johnson's "I’ll Pick a Rose for My Rose" is a notable soul album released in the UK in 1969 by Tamla Motown to capitalize on the title track's Top 10 success in the British charts. Because Johnson struggled to find similar commercial success in the US during this period, the album was never issued in the United States.
The album is highly regarded by Northern Soul enthusiasts for its "ultra-stompy" rhythms and classic Motown arrangements.
Reviews highlight Johnson’s "acidic" yet smooth voice, sitting somewhere between a tenor and countertenor. While some critics have labeled him a "second-string" Motown act compared to legends like Marvin Gaye, most agree his performances on this set are of high quality and characteristic of the label's "Golden Age".
Fans often praise the "brilliant musical arrangements" featuring crisp drums, vibraphones, and backing vocals by The Andantes.
The album consists of recordings made between 1964 and 1971. Standout tracks include:
"I’ll Pick a Rose for My Rose": A smooth, orchestrated track about enduring affection.
"I Miss You Baby (How I Miss You)": A popular dance floor track known for its high energy.
"You Got the Love I Love": Originally the B-side to the title single, frequently cited as a favorite for its soulful lead and "swaggering guitar riff".
"Bad Girl": Co-written by Berry Gordy and Smokey Robinson.
User reviews across collector platforms consistently rank the album highly:- Discogs: Average ratings range from 4.4 to 4.75 out of 5 across various pressings; Rate Your Music: Critics describe it as a "bomb of classic Motown soul" that is both cheerful and danceable.
In 2011, Kent Records released a remastered CD version that includes the original 11 tracks from the STML 11111 LP plus 15 bonus tracks from the Motown vaults.
I ll Pick A Rose For My Rose
I’ll Play The Blues For You
Performer – Albert King
5:25
2 The Very Thought Of You
Performer – Albert King
4:30
3 I Worked Hard
Performer – Albert King
6:25
4 When You Down
Performer – Albert King
6:25
5 Feel Good
Performer – John Lee Hooker
9:12
6 Boom Boom
Performer – John Lee Hooker
4:48
7 Serves Me Right
Performer – John Lee Hooker
4:15
8 One Bourbon, One Scotch, One Beer
Performer – John Lee Hooker
5:00
9 King Snake
Performer – John Lee Hooker
4:40
Label: Tomato – 2696142
Format: CD, Album
Country: US
Released: 1989
Genre: R&B Blues
Style: Chicago Blues, Country Blues, Delta Blues
The collaborative album I'll Play the Blues for You (1989) is a significant live document featuring two blues titans, Albert King and John Lee Hooker, recorded during an October 1977 performance at The Double Door in Chicago.
Reviews highlight this release as an "essential" piece of blues history that captures both artists in a raw, high-energy club setting.
King is praised for his soulful "Stax-style" fusion, backed by a powerful horn section. Reviewers frequently mention his spine-chilling rendition of "The Very Thought of You" and his signature funky blues-rock style on tracks like "Born Under a Bad Sign".
Hooker provides a stark contrast with a smaller, more economical band, delivering raw, feedback-heavy takes on classics like "Boom Boom" and "Crawling King Snake".
Critics describe the album as "hardcore old school Blues perfection," noting the atmospheric quality that makes listeners feel as if they can "smell the sweat" in the room.
The album remains a sought-after title on secondary markets like Discogs, where it maintains a strong average rating of 4.37/5. As of early 2026, original 1989 CD and vinyl copies often sell for a median price of approximately $35.29.
I ll Play The Blues For You
I’ll Treat You Right
Written-By – Richard Kuebler, Tommy Tate
4:32
2 Thanks A Lot
Written-By – Lowell Fulson
3:37
3 Leave Me And My Woman Alone 4:15
4 Love Bone
Written-By – M. Hodges
4:32
5 Children Gone Astray
Written-By – Arthur Davis
5:08
6 Don't Burn The Bridge
Written-By – Jones, Wells
5:12
7 Back Away From It (Or Leave Me Alone)
Written-By – Roscoe Robbinson
4:40
8 Gonna Take My Heart's Advice
Written-By – Tommy Tate
4:54
9 Believe That
Written-By – T. Bingham
3:52
10 Hope You Love Me Like You Say You Do
Written-By – Mike Duke
4:10
Label: Bullseye Blues – BB 9520
Format: CD, Album
Country: US
Released: 1992
Genre: R&B Soul
Style: Southern Soul, Blues
Otis Clay's 1992 album, I'll Treat You Right, is generally praised as a strong comeback, showcasing his powerful, gritty soul-blues vocals across covers and originals, though some critics found the production a bit smooth; reviewers highlighted its deep Southern soul feel, Clay's interpretive skill, and standout tracks like "Thank a Lot," marking it as a significant R&B album of its time.
A blend of Southern soul and blues, featuring powerful, emotive vocals, with some notes of deeper, more traditional soul. Praised for Clay's remarkable range and heartfelt delivery, proving he was still a formidable soul singer.
Mostly covers of R&B, gospel, and blues standards, showcasing his versatility. Called a "solid new set of Southern soul and blues," highlighting Clay's "powerful, pliable, from-the-heart soul and gospel vocals" and "remarkable range".
Considered among the best R&B albums of 1992 by some, continuing the artistic success from his live comeback album in Japan. Some felt the instrumentation was too smooth or sterile, and some songs were "ordinary," but noted his vocal power.
In summary, I'll Treat You Right is seen as a successful return to form for Otis Clay, cementing his status as a master of soul and blues, even if some contemporary production choices weren't universally loved.
I’m A Blues Man
Written-By – A.D. Prestage, Joe Shamwell, Walter Godbo
3:31
A2 Three Into Two Won't Go
Written-By – Jimmy Lewis, Rick Cason
2:50
A3 Cheatin' Love
Written-By – Barbara Moore, Denise LaSalle
3:23
A4 Shade Tree Mechanic
Written-By – A.D. Prestage, Joe Shamwell, Walter Godbo
3:53
A5 It's Been So Long
Written-By – George Jackson (3), Johnny Henderson
3:27
B1 Get A Little, Give A Little
Written-By – Jimmy Lewis
4:09
B2 Please Don't Let Our Good Thing End
Written-By – Frank Johnson
4:10
B3 Steal Away
Written-By – Jimmy Hughes
4:07
B4 Blind Side
Written-By – Frank Johnson
2:45
B5 I Ain't Buying What You're Selling
Written-By – George Jackson (3), Nolan Coins, Robert Miller, Stewart Madison
3:22
Label: Malaco Records – MAL 7415
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Blues
Style: Southern Soul
Released in 1983 on Malaco Records, I'm A Blues Man is often hailed as the definitive final statement from Z.Z. Hill, who died shortly after its release. The album solidified his role in revitalizing Southern soul-blues, blending gritty, traditional themes with polished production.
The "Stax" Influence: Critics noted a "pronounced Stax attack" in the horn arrangements and rhythms, moving toward a more aggressive, brass-heavy sound compared to his earlier work.
The Daily Herald praised Hill for polishing a "grits-and-chitlins groove" until it "shines like a diamond," while AllMusic stated he successfully "rechristened himself as a blues man of the first order".
Renowned critic Robert Christgau found the songwriting stronger here than on his previous hits, specifically noting the balance of humor and heartbreak.
Key Tracks:-
"I'm A Blues Man": The title track serves as a manifesto for Hill's late-career persona, featuring a driving horn chart and soulful guitar riffs.
"Shade Tree Mechanic": A suggestive, uptempo fan favorite that highlights Hill’s playful "red-clay soul" style.
"Steal Away": A cover of the Jimmy Hughes classic that showcases Hill’s deep, emotional baritone delivery.
"Cheatin' Love": Continuing his "cheating song" legacy, this track captures the raw essence of Southern soul with soulful instrumentation.
The album was one of the 25 best-selling "Top Black Albums" of 1984, remaining on the charts for nearly a year. It currently holds an average rating of 4.06 / 5 on Discogs and near-perfect ratings on Amazon.
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 Doin’ Fine Now
Written-By – Felder, Harris, Baker
3:00
A2 Make Me Twice The Man
Written-By – McQueen
3:16
A3 By The Time I Get To Phoenix
Written-By – Webb
3:55
A4 Sanity
Written-By – Johnson, Schell, Brown, McQueen
3:00
A5 Hang On Sloopy
Written-By – Russell, Farrell
3:37
A6 Set The Record Straight
Written-By – McQueen
2:56
B1 Quick, Fast, In A Hurry
Written-By – Creed, Bell
2:36
B2 Uncle James
Written-By – Jefferson
3:25
B3 Ain't It So
Written-By – Jefferson
3:36
B4 I'm Doin' Fine Now
Written-By – Marshall, Bell
2:52
B5 Reach Out
Written-By – Hart, Janssen, Farrell
3:31
Label: Chelsea Records – BCL1-0198
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Philly
The 1973 debut album I'm Doin' Fine Now by New York City is a well-regarded example of early 70s Philly soul, praised for its mix of ballads and uptempo tunes produced by the notable Thom Bell. It is often compared favorably to other soul groups of the era like The Spinners, The Stylistics, and the Chi-Lites.
The lead vocalist, Tim McQueen, is commended for his "great, haunting voice" and perfect phrasing, particularly on the title track. Reviewers consistently describe the album as a prime example of the "Philly sound". One reviewer on Rate Your Music notes it has a sound "veering between The Spinners, Stylistics & Chi-lites," recommending it to fans of those groups.
The production work by the "genius" Thom Bell (known for his work with the Detroit Spinners) and writer Linda Creed is highly praised. The use of rich string arrangements and a tight band (which included future Chic founders Nile Rodgers and Bernard Edwards on tour, though potentially not in the studio) is highlighted as a key strength.
Beyond the hit title track, the album contains "hidden gems" and a strong mix of songs. Highlights include:- "Uncle James": Cited by some as one of the best "smooth soul" ballads of the early 70s;m"Quick, Fast, In A Hurry": Another charting single, noted as an uptempo favorite; "Set The Record Straight": A jazz-funk track with "cleverly refined strings" and a "hard grooving" feel.
The album's title song was a significant success, reaching No. 17 on the U.S. Billboard Hot 100, No. 14 on the Hot Soul Singles, and No. 8 on the Adult Contemporary chart. The album itself reached the Top 50 on the Black Albums chart.
A recurring complaint among user reviews on Amazon is the poor audio quality of certain CD releases, with some tracks reportedly sounding muffled or like they were recorded directly from vinyl, lacking proper digital mastering. Reviewers advise seeking out releases with better sound quality, such as the "Best of New York City" compilation, for a better listening experience.
A common sentiment is regret that the collaboration between the group and producer Thom Bell was abrupt, leading to the group being relatively short-lived with only two albums released.
Im Doin Fine Now I m Doin' Fine Now
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 Love
Written-By – Bobby Womack, King Curtis
2:47
A2 Stagger Lee
Written-By – Harold Logan, Lloyd Price
2:19
A3 That Kind Of Love
Written-By – Don Covay
2:09
A4 I'm In Love
Written-By – Bobby Womack
2:30
A5 Hello Sunshine
Written-By – Curtis, Miller
2:31
B1 Don't Cry No More
Written-By – Deadric Malone
2:14
B2 We've Got To Have Love
Written-By – Bobby Womack, Wilson Pickett
2:05
B3 Bring It On Home To Me
Written-By – Sam Cooke
3:05
B4 She's Looking Good
Written-By – Roger Collins
2:21
B5 I've Come A Long Way
Written-By – Bobby Womack
3:10
Label: Atlantic – SD 8175
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
I'm In Love (1967) is a standout, high-energy Southern soul album featuring Wilson Pickett at his vocal peak, heavily influenced by collaborations with songwriter/guitarist Bobby Womack and saxophonist King Curtis. The 25-minute album blends gospel-influenced, upbeat tracks with deep, moody ballads and strong, tight performances.
The album is noted for its "rough-and-ready" soul shouting,, with intense vocals over polished Memphis-style backing.
Notable Tracks:-
"I'm In Love": A smooth, sweet ballad written by Bobby Womack that remains one of Pickett’s most beloved hits.
"Stagger Lee": A properly intense, high-energy "rip" through the classic tune.
"Jealous Love": Described as a brooding, haunting opener with a "spooky groove" and dark undertones.
"Bring It On Home to Me": A mesmerizing, bluesy homage to Sam Cooke that showcases Pickett's soulful depth.
"She's Lookin' Good": A ferocious, high-octane cover that became a staple of his live performances. .
Bobby Womack's influence is significant, particularly in the songwriting, contributing to a "deep" and "haunting" feel on several tracks.
While short, it is considered a essential 1960s soul record with little to no filler, showcasing a mix of raw emotion and high-quality studio production.
It is often described as a, passionate, and energetic record that showcases Pickett’s ability to handle both frantic up-tempo numbers and emotional ballads with equal skill.
I’m In Love Again
Arranged By – John R. Faith
Written-By – James Sigler
Written-By, Producer – Walter "Bunny" Sigler
5:38
A2 Lover Man (Oh, Where Can You Be?)
Arranged By – John R. Faith
Producer – James Sigler, Kenneth Gamble
Written-By – Davis, Sherman, Ramirez
4:05
A3 Love, Need And Want You
Arranged By – James Sigler
Written-By, Producer – Walter "Bunny" Sigler, Kenneth Gamble
4:58
A4 If Only You Knew
Arranged By – John R. Faith
Written-By – Cynthia Biggs
Written-By, Producer – Dexter Wansel, Kenneth Gamble
4:45
B1 Body Language
Producer – Kenneth Gamble
Producer, Arranged By – James R. Ellison
Written-By – Harold Payne, Pat Luboff, Pete Luboff
4:45
B2 I'll Never, Never Give Up
Arranged By – Giggs Chase
Written-By – Stephanie Huff
Written-By, Producer, Arranged By – Leon A. Huff
5:20
B3 Love Bankrupt
Written-By – Linda Womack
Written-By, Producer, Arranged By – Cecil Womack
4:32
B4 When Am I Gonna Find True Love
Written-By – Charles B. Simmons, Richard Roebuck
Written-By, Producer, Arranged By – Joseph B. Jefferson
4:24
Label: Philadelphia International Records – FZ 38539
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre:R&B Soul
Style: Eighties Soul, Disco
Patti LaBelle's I'm In Love Again (1983) was a breakthrough album, praised for its lush Philadelphia soul, orchestration, and powerful ballads like the hit "If Only You Knew," showcasing her signature voice blending with Gamble & Huff's classic sound.
While critics found some dance tracks filler, the album was celebrated for its strong material, especially the soulful "Love, Need and Want You," cementing her solo success with hits and classic tracks that still resonate today, despite some unevenness in the disco-influenced numbers.
The album features the lush, orchestral soul sound of Philadelphia International Records, fitting LaBelle's powerful vocals perfectly.
It launched two major hits, the heartfelt ballad "If Only You Knew" and the soulful "Love, Need and Want You," which became staples.
Reviewers noted LaBelle's enthusiastic and clear voice, particularly in the despairing beauty of "If Only You Knew," which became a significant R&B chart success.
While the ballads were top-tier, some reviewers felt the disco/dance tracks were less essential or filler, detracting slightly from the overall album.
Despite some weaker dance cuts, the album is praised for strong songwriting, especially in its soulful ballads, with tracks like "Lover Man (Oh Where Can You Be?)" also highlighted.
I'm In Love Again marked LaBelle's significant commercial success, becoming her first breakthrough solo album with top ten hits.
Many consider it a classic and one of her best albums, a return to form with impeccable Philly soul and powerful ballads. Some critics found the mix of lush soul and slicker dance tracks uneven, but acknowledged the brilliance of its strongest moments.
Contemporary listeners often view the album more favorably, frequently rating it 5 stars on platforms like Amazon and Discogs for its classic Gamble & Huff production and LaBelle’s powerhouse vocals.
I m in love again
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 Just A Prisoner
Written-By – Carter, Inglese, Mann, Stough
2:32
A2 I'd Rather Be An Old Man's Sweetheart (Than A Young Man's Fool)
Written-By – Carter, Jackson, Moore
2:05
A3 You Don't Love Me No More
Written-By – Candi Staton, Clarence Carter
2:19
A4 Evidence
Written-By – George Jackson, Raymond Moore
2:35
A5 Sweet Feeling
Written-By – Staton, Carter, Daniel, Hall
2:45
B1 Do Your Duty
Written-By – Ronnie Shannon
2:32
B2 That's How Strong My Love Is
Written-By – Roosevelt Jamison
3:25
B3 I'm Just A Prisoner (Of Your Good Lovin')
Written-By – Eddie Harris, George Jackson
3:09
B4 Another Man's Woman, Another Woman's Man
Written-By – Penn, Jackson, Green
2:30
B5 Get It When I Want It
Written-By – George Jackson, Raymond Moore
2:25
Label: Fame – ST-4201
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Southern Soul
Candi Staton's 1970 album, I'm Just a Prisoner, is widely praised as a definitive, raw, and essential slice of Southern Soul, showcasing her powerful, emotive voice over deep grooves and bluesy storytelling, capturing the essence of Muscle Shoals soul with its blend of country, R&B, and gospel, despite some generic lyrical moments. Reviewers highlight tracks like the titular "I'm Just a Prisoner (Of Your Good Lovin')" and "Someone You Use," noting its consistent quality and emotional depth, making it a standout in her FAME Records era.
The album embodies the gritty, "Bama-drenched" sound of Southern Soul, a fusion of country, R&B, and blues, recorded at FAME Studios.
Staton's raw, scratchy, yet vital vocals convey deep feelings of love, longing, and despair, making listeners feel the complex emotions of being tied to an unfaithful partner.
It features the tight, funky sound of the Muscle Shoals session band, with Joe South on guitar, creating infectious grooves.
Considered a classic, especially among soul fans, with some calling it brilliant from start to finish. While some say individual songs don't always "stick," reviewers emphasize the album's overall, consistent goodness and emotional impact.
Timelessness: Even decades later, tracks sound fresh and exciting, with the album praised for its enduring quality.
Standout Tracks:- "I'm Just a Prisoner (Of Your Good Lovin')": A soulful, desperate plea showcasing Staton's full power; "Someone You Use": A bluesy, country-tinged tale of heartbreak; "I'd Rather Be An Old Man's Sweetheart (Than A Young Man's Fool)": A standout track of devotion and pain.
Overall, I'm Just a Prisoner is a deeply felt, authentically Southern Soul record, marked by Candi Staton's unparalleled vocal talent and the legendary FAME production, making it essential listening for soul music enthusiasts
I’m Still In Love With You
Written-By – A. Green, A. Jackson, W. Mitchell
3:12
A2 I'm Glad You're Mine
Written-By – A. Green
2:54
A3 Love And Happiness
Written-By – A. Green, M. Hodges
5:00
A4 What A Wonderful Thing Love Is
Written-By – A. Green
3:37
A5 Simply Beautiful
Written-By – A. Green
4:08
B1 Oh, Pretty Woman
Written-By – B. Dees, R. Orbison
3:22
B2 For The Good Times
Written-By – K. Kristofferson
6:27
B3 Look What You Done For Me
Written-By – A. Green, A. Jackson, W. Mitchell
3:04
B4 One Of These Good Old Days
Written-By – A. Green
3:15
Label: Hi Records – XSHL 32074
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Released in 1972, Al Green’s I'm Still in Love With You is a masterpiece of soul music, widely considered the pinnacle of his collaboration with producer Willie Mitchell. Known for its smooth, romantic tone, the album features iconic hits like "Love and Happiness" and the title track, showcasing refined, intimate vocals, sophisticated horn/string arrangements, and a tight Memphis rhythm section.
The album is a premier example of the "Memphis Sound," featuring, warm, intimate, and often minimalist arrangements that highlight Green's vocals, such as on the stripped-down "Simply Beautiful".
Beyond the hits, the album includes a soulful cover of "Oh, Pretty Woman" and the melancholic, heartfelt "For the Good Times".
Green displays a highly developed range, moving seamlessly between passionate belting and his signature, delicate falsetto.
As the follow-up to Let's Stay Together, it cemented Green's status in the early 1970s as a dominant force in soul, delivering a consistent, moody, and deeply romantic listening experience.
Critics frequently praise the album for having no wasted tracks and for perfectly capturing a sophisticated, mellow, yet funky vibe. It is often regarded as essential listening for fans of 70s soul and R&B.
The album peaked at #4 on the US Billboard 200 and #1 on the Top R&B/Hip-Hop Albums chart. It has consistently appeared on the Rolling Stone 500 Greatest Albums of All Time list, most recently at #306 in the 2020.
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.
Ice Pickin’
Written-By – Washington, Fulson
4:28
A2 When The Welfare Turns Its Back On You
Written-By – Weaver, Thompson
5:26
A3 Ice Pick
Written-By – Albert Collins
3:08
A4 Cold, Cold Feeling
Written-By – J. Robinson
5:19
B1 Too Tired
Written-By – Watson, Davis, Ling
3:00
B2 Master Charge
Written-By – Gwendolyn Collins
5:12
B3 Conversation With Collins
Written-By – Collins
8:52
B4 Avalanche
Written-By – Albert Collins
2:39
Label: Alligator Records – AL 4713
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Blues
Style: Texas Blues, Electric Blues
Released in 1978 on Alligator Records, Albert Collins’ Ice Pickin’ is a definitive, critically acclaimed masterpiece of modern electric blues that showcases his signature "icy," razor-sharp guitar tone and humorous storytelling. Featuring a tight band, it blends raw Chicago blues with funkier, uptempo Texas blues.
The album highlights Collins' unique, biting guitar style, characterized by his use of a Fender Telecaster, minor keys, and intense, stinging vibrato.
Key tracks include the humorous "Master Charge," the emotional "Cold, Cold Feeling," and the funk-infused "Honey Hush".
It was widely recognized as one of the best blues albums of the 1970s, winning the Montreaux Jazz Festival best blues album of 1978 and establishing him as a major blues star.
While hailed as a classic, some critics in retrospect note it is a very structured, studio-polished representation compared to his frenetic live performances.
Ice Pickin’ is generally considered essential listening for blues enthusiasts, perfectly capturing the "Master of the Telecaster" at a creative peak.
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 A Mellow Mood
Written-By – O. Hammerstein II, R. Rodgers 2:57
A2 A Taste Of Honey
Written-By – B. Scott, R. Marlow 2:04
A3 For Once In My Life
Written-By – Orlando Murden, Ron Miller 3:04
A4 Somewhere
Written-By – Bernstein, Sondheim 4:11
A5 Ol' Man River
Written-By – O. Hammerstein II, J. Kern 4:24
A6 I'm Ready For Love
Written-By – Holland, Dozier, Holland 2:20
B1 Try To Remember
Written-By – H. Schmidt, T. Jones 3:01
B2 Who Can I Turn To (When Nobody Needs Me)
Written-By – A. Newley, L. Bricusse 3:22
B3 What Now My Love
Written-By – Carl Sigman, G. Becaud, P. Delanoe 3:35
B4 That's Life
Written-By – D. Kay, K. Gordon 2:57
B5 With These Hands
Written-By – A. Silver, B. Davis 3:37
B6 The Impossible Dream
Written-By – J. Darion, M. Leigh 3:21
Label: Gordy – GS 924
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Pop
The Temptations in a Mellow Mood (1967) is a polarizing but significant album, a Motown crossover attempt featuring the classic lineup covering standards with orchestral backing, showcasing individual talents like Paul Williams ("For Once in My Life") and David Ruffin ("Somewhere"), though some find its polished, less gritty sound dull compared to their R&B hits, while others praise it as a showcase for their vocal skills and a successful venture into pop/jazz standards.
For this album Berry Gordy wanted to cross the group over to white supper club/pop audiences, moving away from their raw R&B sound.
The album highlights the distinct voices of the original members (Williams, Ruffin, Eddie Kendricks, Otis Williams, Melvin Franklin), demanding tight harmonies and challenging them with Broadway-style songs.
It features lush, jazzy arrangements and orchestral backing, contrasting with their earlier Motown hits, with some critics finding it too tame or "Four Freshman-style".
Some fans disliked the departure from soul/funk, while others appreciated the vocal brilliance, and it did help them reach broader audiences.
The Temptations in a Mellow Mood is praised for its vocal performances and ambitious crossover attempt but criticized for sacrificing the gritty soul of their earlier work for pop accessibility, making it a divisive but essential album for understanding their career evolution.
In A Silent Way
Written-By – M. Davis
B1 In A Silent Way
Written-By – J. Zawinul
B2 It's About That Time
Written-By – M. Davis
Label: Columbia – CS 9875
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: Jazz
Style: Post Bop, Fusion, Modal
In a Silent Way is Miles Davis's groundbreaking 1969 album, marking his full embrace of jazz fusion with a hypnotic, atmospheric sound, pioneering studio techniques like tape loops and overdubbing, and blending electric pianos, guitar, and organ with bass and drums for a tranquil yet complex soundscape, creating a controversial but immensely influential work that bridged jazz, rock, and electronic music.
Considered his first true fusion record, it moved decisively from acoustic jazz into electric experimentation, incorporating elements of rock and psychedelia.
Known for its tranquil, meditative, and spacious feel, described as "quiet sensuality" and "laid-back episodes," contrasting with typical jazz intensity.
Producer Teo Macero famously edited and spliced recordings, looping passages to create continuous, cyclical structures, a radical departure for jazz at the time.
Featured electric keyboards (Fender Rhodes, organ) alongside electric guitar, creating shimmering textures and new sonic palettes.
Utilized a sparse, understated approach, encouraging musicians to explore ambient textures rather than structured solos, with John McLaughlin's guitar and Joe Zawinul/Chick Corea's keyboards defining much of the mood.
Core Tracks:- "Shhh/Peaceful": A cornerstone track showcasing the layered, looping, and atmospheric style with organ and electric piano dominating; "In a Silent Way": The title track offers a sultry, groove-oriented feel with understated melodies.
Initially divided critics but became a landmark, influencing electronic music, ambient, and future jazz-rock.
This album set the stage for Davis's subsequent electric explorations, culminating in albums like Bitches Brew. Miles Davis (Trumpet); Wayne Shorter (Soprano Saxophone); John McLaughlin (Guitar); Chick Corea (Electric Piano); Herbie Hancock (Electric Piano); Joe Zawinul (Electric Piano, Organ); Dave Holland (Bass); Tony Williams (Drums).
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 Effect Mode
Al B Sure
A1 Nite And Day
Composed By, Arranged By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
Engineer, Mixed By – Al B. Sure!, Roey Shamir
Guitar – Les Davis
Written-By, Arranged By, Horns, Drum Programming, Lead Vocals, Backing Vocals [Background Vocals] – Al B. Sure!
4:00
A2 Oooh This Love Is So
Backing Vocals [Background Vocals] – Al B. Sure!, Sharon Harris, Tabitha Brace, Terri Robinson
Engineer, Mixed By – Al B. Sure!, Ken Collins
Lyrics By, Written-By, Finger Snaps [Fingersnaps], Lead Vocals – Al B. Sure!
Music By, Composed By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
Recorded By [Original Recording] – Edward Ferrell III
Recorded By [Re-Recorded] – Ken Collins
Transferred By – Roey Shamir
Voice [French Words Spoken By] – Michelle Amar
4:36
A3 Killing Me Softly
Engineer, Mixed By – Al B. Sure!, Ken Collins
Recorded By – Ken Collins
Written-By – Charles Fox, Norman Gimble
4:47
A4 Naturally Mine
Backing Vocals [Background Vocals] – Al B. Sure!, Todd Auston
Engineer, Mixed By – Al B. Sure!, Ken Collins
Guitar – Teddy Riley
Lyrics By, Written-By, Lead Vocals – Al B. Sure!
Music By, Composed By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
Recorded By – Ken Collins
4:11
B1 Rescue Me
Engineer, Recorded By, Mixed By – Al B. Sure!, Ken Collins
Lyrics By, Written-By, Drum Programming, Lead Vocals, Backing Vocals [Background Vocals] – Al B. Sure!
Music By, Composed By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
3:55
B2 Off On Your Own (Girl)
Guitar – Les Davis
Music By, Composed By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
Recorded By, Engineer, Mixed By – Al B. Sure!, Ken Collins
Written-By, Lead Vocals, Backing Vocals [Background Vocals] – Al B. Sure!
4:05
B3 If I'm Not Your Lover
Arranged By – Teddy Riley
Keyboards [All], Programmed By [Keyboard Programming] – Rodney Grant
Recorded By, Engineer, Mixed By – Ken Collins
Written-By – Timothy Gatling
Written-By, Producer, Lead Vocals, Backing Vocals [Background Vocals], Drum Programming – Al B. Sure!
4:00
B4 Just A Taste Of Lovin'
Arranged By, Composed By, Keyboards [All], Programmed By [Keyboard Programming] – Kyle West
Backing Vocals [Background Vocals] – Al B. Sure!, Terri Robinson
Lyrics By, Written-By, Drum Programming, Lead Vocals – Al B. Sure!
Recorded By, Mixed By – Al B. Sure!, Ken Collins
Label: Warner Bros. Records – WX 173
Format: Vinyl, LP, Album
Country: Europe
Released: 1988
Genre: R&B Funk, Soul
Style: Contemporary R&B, New Jack Swing
Al B. Sure!'s 1988 debut, In Effect Mode, is widely praised as a classic of New Jack Swing, blending smooth R&B with hip-hop, defined by its romantic feel, production by his cousin Kyle West, and major hits like "Nite and Day" and "If I'm Not Your Lover," solidifying its place as a must-have for '80s soul fans despite some critics finding it slightly less perfect than some later R&B gems but still a strong, concise, and influential record.
A cornerstone of the New Jack Swing sound, mixing contemporary R&B with hip-hop beats and production, featuring iconic singles, including the massive debut hit "Nite and Day," "If I'm Not Your Lover," "Rescue Me," and a popular remake of "Killing Me Softly."
Produced with cousin Kyle West, it's noted for its smooth, orchestrated, and layered sound, with a distinct romantic, classy, but streetwise vibe. At just eight tracks, it's praised for being concise and filler-free, a model for other artists.
A solid debut that's highly recommended for '80s R&B fans, with many considering it a strong, great-sounding, and vibe-filled album.
While some reviews note it's not absolutely flawless, it's generally seen as a very well-done, impactful album that ushered in a new sound.
A major commercial success, hitting #1 on the R&B charts and proving Al B. Sure! as a key figure in New Jack Swing.
In Heat
Written-By – A. Schroeder, Jerry Ragavoy
3:50
A2 Share A Little Love In Your Heart
Written-By – Barry White
6:05
A3 Oh I Should Say, It's Such A Beautiful Day
Written-By – Barry White
3:32
B1 I Needed Love - You Were There
Written-By – Barry White
3:39
B2 I Belong To You
Written-By – Barry White
5:06
B3 I Love You So, Never Gonna Let You Go
Written-By – Barry White
3:11
B4 Love's Theme
Written-By – A. Schroeder, Barry White
3:44
Label: 20th Century Records – T-443
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Disco
Love Unlimited In Heat, Love Unlimited's 1974 album, is lauded as a lush, faultless showcase of "orchestral soul" produced by Barry White, featuring irresistible grooves, sensual arrangements, and standout tracks like the #1 hit "I Belong to You," a "magical" vocal version of "Love's Theme," and "Move Me No Mountain," cementing its status as a "classic" with "no filler" and "sterling" production.
Masterfully produced by Barry White, with rich, "sugary strings" and a "unique sophisticated lush orchestral soul" sound, blending smoothly with the burgeoning disco era. Described as "magical, lush, and appetising," it's a "sonic treat" with "no filler" and "enticing," "seductive" songs, featuring top-tier session players including bassist Wilton Felder, drummer Ed Greene, guitarist Melvin (Wah-Wah) Ragin, and saxophonist Ernie Watts.
The album’s sound is characterized as "Smooth Soul" and "Quiet Storm," heavily influenced by the Motown aesthetic. At roughly 30 minutes with only seven tracks, it is often criticized for being too short, leaving listeners "wanting more."
Standout Tracks:- "I Belong to You": A cornerstone track and a #1 R&B hit single; "Love's Theme (Vocal Version)": A powerful vocal take on the iconic instrumental, showcasing its song potential; "Move Me No Mountain": A "gorgeous sensual off beat dance track" that sets a great tone; "Put a Little Love in Your Heart": A beautiful soul ballad.
The album is highly praised for its quality, with reviewers calling it a "genius second outing," a "classic," and a "slice of brilliance," often compared favorably to its predecessor, Under the Influence of Love. Considered an important album in the "symphonic soul" genre, bridging instrumental hits with strong vocal performances, and remains a beloved work from Barry White's production empire.
Overall, In Heat is considered a triumph, capturing the essence of Love Unlimited's appeal with lush arrangements, memorable melodies, and essential tracks that define the era's sophisticated soul sound.
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.
In Orbit
Written-By – David Clowney, Henry Glover, Morris Levy
1:59
A2 Belly Rub Part II
Written-By – Henry Glover, Julia Clowney, Morris Levy
2:20
A3 Do Any Dance
Written-By – Henry Glover, Julia Clowney, Morris Levy
2:30
A4 Peg Leg
Written-By – David Clowney, Don Covay, Henry Glover, Morris Levy
2:13
A5 Sticks & Stones
Written-By – Henry Glover, Morris Levy, Titus Turner
2:29
A6 My Sweet Baby Part I
Written-By – Robert Spencer
2:37
B1 In Orbit
Written-By – David Clowney, Henry Glover, Morris Levy
2:30
B2 Summertime
Written-By – George Gershwin
1:58
B3 Belly Rub Part I
Written-By – David Clowney, Henry Glover, Morris Levy
2:56
B4 You Talk Too Much
Written-By – Joe Jones (2), Reginald Hall
2:22
B5 Count Down Part II
Written-By – David Clowney, Henry Glover, Morris Levy
2:20
B6 My Sweet Baby Part II
Written-By – Robert Spencer
2:07
Label: Roulette – R 25328
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Instrumental
Dave "Baby" Cortez's In Orbit (1966) is a soulful, grittier Hammond B3 organ album for Roulette Records, moving from his earlier pop sound to a more mature soul-jazz vibe with tight backing, featuring tracks like "Belly Rub" and "Countdown," showcasing his signature organ riffs alongside horns, understated guitar, and female vocals, marking his final release for Roulette and a deep dive into instrumental soul.
A departure from his pop hits, this album leans into soul-jazz, sounding closer to artists like Jimmy McGriff, notes Dusty Groove.
Features strong Hammond B3 work, tasty comping lines, flavorful riffs, brass sections, and cool female backing vocals. Produced by Henry Grover, the arrangements are tight and soulful, contrasting with earlier pop combos.
Notable Tracks: Includes popular two-part songs like "Belly Rub" and "Countdown," plus "Sticks & Stones" and his take on "Summertime".
Known for his dynamic stage presence, Cortez's style on this record is described as standing and spinning at the organ while maintaining total control of the groove. It was his third and final album for Roulette Records and featured more original material than his previous efforts.
Dave Cortez
In Session
Written-By – Holland-Dozier
3:34
A2 Everything's Tuesday
Written-By – D. Dumas, E. Wayne, R. Dunbar
2:48
A3 Pay To The Piper
Written-By – Angelo Bond, G. Johnson, G. Perry, R. Dunbar
3:05
A4 Twelfth Of Never
Written-By – Jerry Livingston, Paul Francis Webster
3:13
A5 All We Need Is Understanding
Written-By – E. Wayne, R. Dunbar
2:55
A6 Patches
Written-By – G. Johnson, R. Dunbar
3:22
B1 It Was Almost Something
Written-By – Raynard Miner, William Witherspoon
2:41
B2 Bridge Over Troubled Water
Written-By – Paul Simon
5:19
B3 Hanging On To A Memory
Written-By – D. Dumas, E. Wayne, R. Dunbar
4:13
B4 I Can't Find Myself
Written-By – G. Johnson, G. Perry, R. Dunbar
2:33
B5 When Will She Tell Me She Needs Me
Written-By – E. Wayne, G. Johnson, R. Dunbar
3:06
B6 Children Of Today
Written-By – William Witherspoon
3:17
Label: Invictus – SKAO-7304
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Funk
Chairmen of the Board's In Session (1970) is praised as a transitional Soul/Funk album, blending classic Motown vibes with emerging psychedelic funk, featuring hits like "Pay to the Piper" and "All We Need Is Understanding," showcasing General Johnson's unique vocals and production by Holland-Dozier-Holland, offering a rich, nostalgic, and often overlooked gem from the era.
The album benefits from HDH's signature sound, giving it that strong Motown flavor, even for this Detroit-based group, according to this Facebook post. It includes their popular track "Pay to the Piper," featuring Danny Woods on lead vocals, and other fan favorites like "All We Need Is Understanding".
The album captures the shift from 60s soul to 70s funk, with standout tracks like the psychedelic "Hanging Onto a Memory," noted for its fuzz guitar and potential P-Funk involvement. Lead singer General Johnson's distinctive, hiccup-laden voice shines, though Danny Woods also takes the lead on "Pay to the Piper," making it a varied vocal experience.
It's considered a "killer" album by fans, described as a unique blend of funk, soul, and beach music, with many appreciating its deep cuts beyond the big hits.
Overall Vibe: In Session is seen as a strong, enjoyable listen, offering both the catchy appeal of mainstream soul and deeper, funkier cuts that highlight the band's versatility, making it a favorite for those into vintage soul and the birth of funk.
In The Bottle
Written-By – G. Heron
3:10
A2 Hey, What's That You Say
Written-By – Ineffie Woods
3:04
A3 Big Brother
Written-By – M. Burton, S. Robinson
3:31
A4 I Wish It Would Rain
Written-By – B. Strong, N. Whitfield
6:24
A5 Junkie
Written-By – M. Burton, S. Robinson
2:19
B1 Trespassing
Written-By – Ineffie Woods
3:37
B2 A Love Of My Own
Written-By – W.B.S.
3:38
B3 Mother Earth
Written-By – M. Burton, S. Robinson
4:50
B4 If He Can Do It (You Can Do It)
Written-By – W.B.S.
3:22
Label: Turbo Records – TU-7013
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Brother to Brother's 1974 album, In The Bottle, is a highly-regarded soul/funk gem, celebrated for its killer cover of Gil Scott-Heron's "The Bottle," featuring jazzy arrangements, funky grooves, and rich instrumentation by Wood Brass & Steel, making it a standout in the rare groove scene despite its simple look. Critics praise its full, soulful sound, excellent musicianship, and depth, with tracks like "Mother Earth" and the hit cover establishing the group as a major force in '70s R&B.
Their version of Gil Scott-Heron's "The Bottle" became an R&B hit, praised for its flanged vocals, electric piano, and flute, capturing the original's essence with a unique groove.
The album blends ensemble funk with jazz changes, reminiscent of contemporary groups but with a distinct, deep soul feel, featuring deep, anguished vocals from Michael Burton. A full sound is delivered by a 13-piece band, including Wood Brass & Steel, providing lush arrangements.
Considered their best work, it's seen as a classic of the era, with many tracks considered winners beyond the famous single. Though they had further success, this debut album remains their most iconic, praised for its enduring quality and rare groove status.
Overall Vibe: In The Bottle offers a complete, satisfying listen, with reviewers calling it "a monster record" and a "great lp front to back". It's a must-listen for fans of '70s funk, soul, and jazz fusion.
In The Mood
Written-By – D. Ellis, P. Richmond, R. Locke, Jr.
4:09
A2 You Know What To Do
Written-By – L. Graham
5:48
A3 I Can't Wait
Written-By – L. Graham
3:52
A4 Keep On Dancin'
Written-By – L. Graham, P. Richmond
3:37
B1 I Don't Think You Heard Me
Written-By – E. Fisher, L. Graham
3:59
B2 Ain't Nothing I Can Do
Written-By – L. Graham, P. Richmond
4:44
B3 All The Love I Need
Written-By – L. Graham, P. Richmond
3:40
B4 We Were In Love Then
Written-By – W. Hatchet
3:58
Label: Columbia – JC 35723
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
In The Mood With Tyrone Davis (1979) is a highly regarded, polished soul-funk album produced by Leo Graham and Paul Richmond, featuring the Billboard R&B top 10 title track. It successfully blends lush, modern Philly-influenced arrangements with Southern soul roots, showcasing Davis’s smooth, honeyed vocals across romantic ballads and dance-oriented tracks like "You Know What to Do".
The album is noted for its tight, high-quality production, balancing orchestrated ballads with funky mid-tempo tracks. Reviews praise the "tight and warm" production, featuring lush strings, blazing horns, and funky bass lines that complement Davis's soulful, sometimes raspy vocals.
The title track, "In the Mood" (Billboard Soul #6), and "Ain't Nothing I Can Do" (Soul #72) are highlights. Other tracks include the funky "You Know What to Do" and the light shuffle "Keep on Dancin'".
Critics and listeners generally find the album to be an enjoyable, consistent listening experience. Later reissues have added bonus tracks, including single mixes of the main hits. Tyrone Davis is described as being in top form, delivering his signature, soulful vocal style.
It is often cited as a strong, underrated, or at least very solid entry in his late-70s Columbia catalog. Critics often highlight it as a "must-have" for fans of romantic soul ballads, noted for holding its own against the disco craze of the late '70s. The album holds a high user rating of approximately 4.5 out of 5 stars across platforms like Discogs and Musicboard.
In The Purest Form
Lead Vocals – Ricardo "Ricky" Williams
Written-By – R. Williams
6:13
A1.b Love You
Written-By – R. Williams
6:43
A2 With Pleasure
Written-By – G. McCoy, J. Drumgole, L. Bryant, A. Kelly
4:33
A3 Our Thoughts (Purity)
Written-By – R. Phelps
2:27
B1 Can't You See I'm Fired Up
Percussion [Percussion Ensemble], Handclaps – The Bookalaca Brothers
Written-By – G. McCoy, J. Drumgole
6:46
B2 Eyeballin'
Written-By – E. Redding, G. McCoy, J. Drumgole, L. Marshall
5:16
B3 Next Year
Written-By – J. Drumgole, K. Douglas, R. Phelps
3:45
B4 Strollin'
Written-By – T. Williams
4:11
Label: Cotillion – SD 5211
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco, Funk
Mass Production's 1979 album, "In The Purest Form," is a celebrated funk, soul, and jazz-funk record known for its tight grooves, powerful horns, prominent basslines, and diverse mix of danceable tracks and smooth ballads, featuring hits like "Firecracker," "Can't You See I'm Fired Up," and jazzy instrumentals such as "Our Thought (Purity)". The album showcases the Virginia-based ten-piece band's strong musicianship and energetic delivery, solidifying their place as a key modern funk ensemble of the late '70s.
The album seamlessly blends uptempo funk, disco-funk, soulful ballads, and jazzy instrumentals, with a powerful horn section, driving bass, and tight rhythms, creating a rich, full sound with excellent vocals, primarily by Agnes Kelly and Ricardo Williams, perfectly match the varied material.
It includes the stomping "Firecracker," the energetic "Can't You See I'm Fired Up," the soulful "Next Year," and the cool, jazzy "Strollin'". Expanded CD reissues (often paired with their album Massterpiece) include bonus tracks like 12" single versions, highlighting its enduring appeal. This opening cut became the band's first Top 5 R&B single in the U.S. and remains their most famous track. It was notably sampled by 2 Live Crew for their 1989 hit "Me So Horny".
In essence, "In The Purest Form" captures Mass Production at their peak, delivering a dynamic and diverse funk experience.
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.
Independence
Written-By – Anwar Richard
A2 Good Good Understanding
Written-By – Anwar Richard
A3 Gettin' Together
Written-By – Anwar Richard
A4 I Believed Her
Written-By – Anwar Richard
A5 Good Samaritan
Written-By – Anwar Richard
A6 I Feel Funky
Written-By – Anwar Richard
B1 I Don't Have To Worry
Written-By – Anwar Richard
B2 Something In Mind
Written-By – Anwar Richard
B3 I Want You
Written-By – Anwar Richard
B4 Love Is The Only Way
Written-By – Sammy Kagenda
B5 Gimme Some Lovin'
Written-By – Anwar Richard
B6 Talkin' Talkin'
Written-By – Anwar Richard
Label: President Records – PTLS 1057
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul, Funk
Style: Afrobeat, Afro-Funk
Matata's Independence (1974) is a landmark Afro-funk album, praised for its deep, danceable grooves, tight horn arrangements, and strong James Brown influence, showcasing a shift towards American funk while retaining African roots, with standout tracks like "Return To You" and "I Feel Funky," but its heavy funk style also marked a change from their earlier sound, leading to disillusionment despite critical acclaim for its raw energy and enduring appeal to funk/Afrobeat fans.
The album blends Afrobeat rhythms with straight-ahead American funk, creating infectious, high-energy dance tracks. It heavily channels James Brown, featuring call-and-response vocals, punchy horn lines, and intense grooves, especially on tracks like "I Feel Funky" and "Return To You". Described as a record full of "butt-shaking, finger-popping club hits" that still work today.
It features more English lyrics and a stronger focus on American funk tropes, a contrast to their earlier work. Known for its powerful, intricate rhythms and interlocking percussion and guitar work, making it a favorite for DJs and collectors. It Marked a transformation for Matata, incorporating South African musicians like saxophonist Dudu Pukwana and featuring vocalist Anwar Richard more prominently.
While powerful, some reviewers felt the heavy funk imitation was a slight departure from the unique African warmth of their debut, though its quality is undeniable.
In essence, Independence is a crucial document in African funk, celebrated for its sheer energy, tight musicianship, and enduring grooves, making it a must-have for fans of 70s funk and Afro-funk. Original vinyl copies command high prices, and reissues are sought after by serious collectors.
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)
Inseparable
Composed By – C. Jackson, M. Yancy
2:45
A2 Joey
Composed By – C. Jackson, M. Yancy
2:57
A3 Inseparable
Composed By – C. Jackson, M. Yancy
2:26
A4 I Can't Say No
Composed By – C. Jackson, M. Yancy
3:30
A5 This Will Be
Composed By – C. Jackson, M. Yancy
2:50
B1 Something For Nothing
Composed By – C. Jackson, M. Yancy
2:57
B2 I Love Him So Much
Composed By – C. Jackson, M. Yancy
3:24
B3 How Come You Won't Stay Here
Composed By – C. Jackson, M. Yancy
3:03
B4 Your Face Stays In My Mind
Composed By – C. Jackson, M. Yancy
2:45
B5 You
Composed By – Jackson, Butler, Yancy
3:30
Label: Capitol Records – ST-11429
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Natalie Cole's debut album Inseparable (1975) was a critically acclaimed, commercially successful R&B smash that launched her career, proving her own talent separate from her famous father, Nat King Cole, with hits like "This Will Be (An Everlasting Love)" and the title track, earning her Grammys for Best New Artist and Best Female R&B Vocal Performance for its polished, soulful blend of funk, pop, and gospel. Reviews highlight its vibrant energy, strong vocal command, and versatile mix of uptempo soul and ballads, establishing Cole as a major force in 70s R&B despite some critics finding it slightly formulaic at times.
The album was an impressive start, showcasing Cole's undeniable voice and command, surprising many who expected her to follow her father's jazz path. Produced by Charles "Chuck" Jackson and Marvin Yancy, it blended upbeat soul, funk, gospel influences, and smooth ballads, establishing a distinct R&B identity.
Hit Singles: "This Will Be (An Everlasting Love)" became a signature song, bursting with joyful energy, while the ballad "Inseparable" also topped charts and showed her emotional depth.
The album received positive reviews and multiple Grammy wins (Best New Artist, Best Female R&B), cementing her status and leading to comparisons with Aretha Franklin. It's seen as a timeless classic that launched a phenomenal career, showcasing her versatility and power, and remains essential listening for 70s R&B fans.
Overall, Inseparable is celebrated as a powerful debut that perfectly captured the sound of mid-70s soul, featuring unforgettable hits and establishing Natalie Cole as a superstar in her own right, full of the vocal fire and personality that would define her career.
Intensive Heat
Written-By – R. Rock
6:08
A2 Your Love Is The Real Deal
Written-By – A. Wilson, R. Rock, W. Anderson
5:56
A3 You Take Me Higher
Written-By – D. Backus, T. Backus
6:08
A4 I Know Now
Written-By – A. Wilson, J. Lindsey
3:00
B1 Goodshot
Written-By – M. Brown
5:56
B2 Be My Lady
Written-By – R. Reid, W. Anderson
5:20
B3 Freestyle
Written-By – B. Lindsey, J. Lindsey, W. Lindsey
4:40
B4 Come With Me
Written-By – R. Rock, W. Anderson
5:25
Label: My Disc Records – FZ 38281
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Funk, Soul, Disco, Boogie
The 1982 album "Intensive Heat" by the R&B trio Intensive Heat, comprised of brothers Bernard, John, and Walter Lindsey, showcases a blend of electronic, funk, soul, and disco elements, characteristic of early '80s music. The album has received a favorable average rating of 4.42 out of 5 on various platforms, reflecting its positive reception among listeners.
Musically, "Intensive Heat" features a distinctive sound that captures the vibrant energy of its era. It includes a collection of tracks that not only highlight the trio's vocal abilities but also their skill in immersing listeners in the lively rhythms of funk and soul. The production is noted for its atmospheric quality, effectively blending different genres while maintaining a cohesive sound throughout the album.
It's an early '80s gem blending Synth Funk, Boogie, and some subtle rock/smooth grooves, known for its polished sound, strong keyboards, and melodic hooks, appealing to fans of smooth, sophisticated R&B and Yacht Rock with its laid-back but technically proficient feel. Reviews highlight its mix of funky energy and gentler, cooler tracks, with a sound reminiscent of Yacht Rock's sophisticated instrumentation and catchy melodies.
Overall, "Intensive Heat" stands out as a notable work from the 1980s, resonating with fans of the genre and contributing to the musical landscape of its time. In essence, it's a well-regarded, smooth funk/boogie record from 1982 that offers both danceable tracks and mellower, sophisticated jams.
Intervention
Producer – Nicholas Brown
Written-By – Lavine Hudson
4:37
A2 Flesh Of My Flesh (What I Want The World To Know)
Producer – Wayne Wilson
Saxophone, Soloist – Gary Barnacle
Written-By – Lavine Hudson, Leon Patillo
4:52
A3 Celebrate Salvation
Producer – Kelvin Broughton, Wayne Wilson
Written-By – Lavine Hudson
3:24
A4 Create In Me
Producer – Elbernita Clark Terrell
Written-By – Lavine Hudson, Nicholas Brown
4:49
A5 Can't You See
Producer – Nicholas Brown
Vocals [Duet With] – Derrick Brinkley
Written-By – Lavine Hudson, Nicholas Brown
5:14
B1 Material World
Producer – Lavine Hudson, Nicholas Brown
Written-By – Lavine Hudson
4:08
B2 Learning How To Love
Producer – Nicholas Brown
Written-By – Lavine Hudson
5:39
B3 Prodigal Boy
Producer – Nicholas Brown
Written-By – Lavine Hudson, Nicholas Brown
4:19
B4 Home
Producer – Marvin Winans
Saxophone, Soloist – Skip Pruitt
Written-By – Lavine Hudson
4:36
B5 Does Jesus Care
Producer – Kelvin Broughton
Written-By – Lavine Hudson
4:01
Label: Virgin – 7 90944-1
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Gospel-Soul
Lavine Hudson's 1988 debut album, Intervention, is widely regarded as a seminal work in British gospel music, blending soulful R&B sensibilities with deep spiritual themes.
udson was frequently compared to Whitney Houston due to her pure tone, incredible range, and soulful delivery. Critics and fans often highlight her "great elasticity" and ability to communicate raw emotion, drawing comparisons to Aretha Franklin.
Track Highlights:-
"Intervention": The title track is praised for its strong production and establishing the album's polished sound.
"Does Jesus Care": Noted for its "old school" gospel flavor, this track serves as a powerful closing to the album.
"Create In Me" & "Home": Both are cited as standout songs that showcase her unique artistry and sophisticated songwriting.
The album features high-profile production from industry veterans like Nicky Brown, Karl Edwards, and Twinkie Clark.
While her voice is universally acclaimed, some retrospective reviews on Amazon UK have noted that certain tracks may suffer from slightly "flat" late-80s production.
At the time of its release, it was seen as the bridge between traditional gospel and the pop/R&B charts, a feat rarely achieved by British gospel artists.
Intervention remains a cherished collection for soul and gospel enthusiasts, holding average user ratings between 3.8 and 4.5/5 on Discogs.
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.
Intuition
Handclaps – Mikkie Harvey, Simon Hanhart
Written-By – D. Grant, P. Martin
5:27
A2 I Won't Forget
Backing Vocals – Maurice Michael
Written-By – C. Edwards, D. Grant, P. Martin
4:17
A3 Intuition
Soloist, Saxophone – Chris Hunter
Written-By – D. Grant, P. Martin
4:01
A4 There's Love
Bass [All Basses] – Sketch
Vocals – Dave
Written-By – D. Grant, P. Martin
3:55
A5 Rise And Shine
Handclaps, Backing Vocals – The Intercacaphonous Corridor Choir
Written-By – D. Grant, P. Martin
3:44
B1 Throw Away The Key
Backing Vocals – Chris Porter, Dave, Simon Hanhart
Written-By – D. Grant, P. Martin
5:13
B2 Together We Can Shine
Written-By – D. Grant, P. Martin
3:59
B3 Count On Me
Horns – The Gosport Horns
Saxophone – Andy Hamilton
Soloist, Saxophone – Chris Hunter
Trombone – Spike Edney
Written-By – D. Grant, P. Martin
3:35
B4 You're Lying
Handclaps, Backing Vocals – Chris Porter
Written-By – B. Salvary, D. Grant, P. Martin
4:45
B5 Don't Get In My Way
Soloist, Saxophone – Chris Hunter
Trombone – Spike Edney
Written-By – D. Grant, P. Martin
5:17
Label: Chrysalis – CHR 1332
Format: Vinyl, LP, Album
Country: UK
Released: 1981
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco
Linx's 1981 album Intuition was a significant Brit-funk release, praised for blending funk with pop, jazz, and disco, creating a uniquely British sound, though some found it uneven; highlights included the hit title track and songs like "Wonder What You're Doing Now," showing their versatile, sometimes Police-like, approach to catchy, intelligent dance-pop that helped define early 80s UK black music.
A pivotal Brit-funk album, moving beyond pure funk to incorporate pop, jazz, disco, and even calypso. Described as sharp, intelligent, and lively, with a strong British flavour distinct from American jazz-funk.
Often compared to contemporary acts like Level 42 and Heaven 17, and noted for its varied influences, from Kool & The Gang to The Police.
The title track "Intuition" was a major hit and standout, alongside tracks like the funky "Rise and Shine" and the ballad "There's Love".
Critical Reception: Generally positive, highlighting its pop sensibilities and contribution to UK inner-city music, though some reviewers felt it could have been more consistent.
Intuition is remembered as a successful early 80s British pop-funk record, showcasing Linx's ability to craft catchy, radio-friendly tunes with depth, making it a landmark in the development of Brit-funk.
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.
Is This The Future?
Written-By – Gerry Thomas
6:12
A2 Double Love Affair
Backing Vocals – Linda Blakely, Robin Dunn
Written-By – Johnny Flippin, Michael Walker
4:58
A3 Spread Love
Written-By – Evelyn Thomas, Gerry Thomas
6:32
A4 Funky Aerobics (Body Movement)
Backing Vocals – Carole Sylvan
Written-By – Bill Curtis
3:57
B1 Up Against The Wall
Written-By – Bill Curtis, Maureen Reid
5:20
B2 Finger Lickin' Good
Written-By – Gerry Thomas, Linda Blakely
5:14
B3 Sunshine Lady
Guitar – Deborah Knapp
Written-By – Johnny Flippin, Michael Walker
4:54
B4 The Girl Is Fine (So Fine)
Written-By – Bill Curtis, Gerry Thomas
5:52
Label: Spring Records – SP-1-6738
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Funk, Soul
Style: Electro, Disco, Funk
Fatback 's 1983 album, Is This The Future?, is a seminal Electro-Funk/Disco record known for its futuristic sound, blending live instruments with drum machines and synthesizers (Moog, Roland), featuring rap verses (Gerry Bledsoe), powerful percussion, and catchy tracks like the title track and "Funky Aerobics," exploring themes of modern life and societal shifts through danceable, electronic grooves.
The album is characterized as a mix of Electronic, Funk, and Soul, featuring prominent use of drum machines and synthesizers. It was produced by band leader Bill Curtis and keyboardist Gerry Thomas, the latter of whom is noted for his influential "Moog stylings" throughout the record.
The title track is known for its socially conscious lyrics, addressing economic hardships of the Reagan era, such as rising interest rates and unemployment, with lines like "used to eat steaks and caviar, now it's peanut butter in a candy bar".
The album features a mix of singing and early hip-hop influences, including a rap by Bledsoe that helped align the band with the burgeoning rap scene.
Is This The Future? solidified Fatback's role in the emerging electronic dance music scene, showcasing their ability to innovate within funk while embracing new technologies.
It Ain’t Where You Been
It Must Be Magic
Written-By – Teena Marie
6:03
A2 Revolution
Written-By – Teena Marie
4:27
A3 Where's California
Written-By – Teena Marie
5:24
A4 365
Written-By – Teena Marie
4:10
A5 Opus III (Does Anybody Care)
Written-By – Teena Marie
1:27
B1 Square Biz
Written-By – Allen McGrier
6:13
B2 The Ballad Of Cradle Rob And Me
Written-By – Jill D. Jones
3:42
B3 Portuguese Love
Written-By – Teena Marie
7:47
B4 Yes Indeed
Written-By – Teena Marie
4:57
Label: Gordy – G8-1004M1
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk, Disco
Teena Marie's It Must Be Magic (1981) is widely hailed as a funk/soul masterpiece, showcasing her distinct voice and vision with hits like "Square Biz," blending infectious funk with deep ballads, earning it critical acclaim (AllMusic 5/5, Robert Christgau A-) and significant commercial success as her Motown peak, solidifying her unique artistry.
Reviewers praise its rich arrangements, powerful vocals, and mature songwriting, establishing her as a vital, independent voice in R&B despite its youthful energy.
The album received perfect or near-perfect scores from major reviewers, recognizing its quality and impact. Desctibed as a "symphonic tsunami" of funk, soul, and rock, featuring lush strings, horns, and intricate rhythms.
Standout Tracks: "Square Biz," featuring a groundbreaking rap, became a major hit; other highlights include "Portuguese Love," "Revolution," and "It Must Be Magic".
Marie wrote, arranged, and produced most of the album, showcasing her burgeoning talent and independence from Motown. The songs explore personal themes, social commentary (like "Revolution"), and celebrated Black culture, with nods to Minnie Riperton and Nikki Giovanni.
It was her last album for Motown, yet it became her highest-selling for the label, earning her a gold record. The album's success, coupled with Motown's refusal to release her follow-up, led to her landmark lawsuit that created the "Brockert Initiative," benefiting many artists.
In essence, It Must Be Magic is celebrated as a definitive work, showcasing Teena Marie's powerful voice, songwriting, and undeniable funk/soul mastery at the dawn of the 1980s.
It’s A Man’s Man’s Man's World
Written-By – James Alston
A2 It's A Man's Man's Man's World
Written-By – Burt Jones, James Brown
A3 Bewildered
Written-By – Whitcup, Powell
A4 Is It Yes Or Is It No?
Written-By – Burt Jones, James Brown
A5 Ain't That A Groove Part 1
Written-By – James Brown, Nat Jones
A6 The Bells
Written-By – Billy Ward
B1 Ain't That A Groove Part 2
Written-By – James Brown, Nat Jones
B2 Come Over Here
Written-By – James Brown
B3 In The Wee Wee Hours (Of The Nite)
Written-By – James Brown
B4 I Don't Mind
Written-By – James Brown
B5 Just You And Me
Written-By – James Brown
B6 I Love You, Yes I Do
Written-By – H. Glover, S. Nix
Label: King Records – 985
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Funk
James Brown's 1966 It's a Man's Man's Man's World album, driven by its iconic title track, is a pivotal, yet uneven, release showcasing Brown's evolving sound, blending classic soul ballads with early funk, but critics note its reliance on hit singles, filler tracks, and repetition, marking a point where his album formula needed evolution, despite containing one of his greatest, emotionally-charged vocal performances.
The title track, "It's a Man's Man's Man's World" is the undisputed classic, a powerful, melancholic ballad featuring memorable strings and Brown's masterful vocal delivery, often considered one of his finest.
The album includes early funk numbers like "Ain't It a Groove" (Parts 1 & 2), showing Brown's signature infectious grooves and potent energy.
Typical for the era, it was assembled from singles rather than conceived as a cohesive album, leading to filler ballads and recycled material, a strategy to capitalize on hit singles.
While the title track and some funk cuts shine, many of the ballads are considered dull or anodyne, with the album's formula showing signs of fatigue.
In summary, it's a commercially successful album built around a masterpiece of a song, but as a complete listening experience, it's often seen as inconsistent, with the strong material overshadowed by less essential tracks, a common trait of mid-60s soul LPs.
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 Magic
Written-By – Jule Styne & Sammy Cahn 2:35
A2 The Shadow Of Your Smile
Written-By – Johnny Mandel, Paul Francis Webster 2:57
A3 Let It Be Me
Written-By – Gilbert Bécaud, Mann Curtis, Pierre Delanoë 3:21
A4 Quiet Nights
Written-By – Antonio Carlos Jobim, Gene Lees 2:41
A5 Since I Fell For You
Written-By – Buddy Johnson 3:18
A6 Don't Forget About Me
Written-By – Carole King & Jerry Goffin 2:30
B1 I Only Miss Him When I Think Of Him
Written-By – Sammy Cahn & Jimmy Van Heusen 2:50
B2 Yesterday
Written-By – John Lennon & Paul McCartney 2:31
B3 He's So Bad
Written-By – Bert Berns, Wes Farrell 2:15
B4 A Tast Of Honey
Written-By – Bobby Scott, Ric Marlow 2:14
B5 Sorrow
Written-By – Robert Feldman, Jerry Goldstein, Richard Gottehrer 2:55
B6 Who Can I Turn To (When Nobody Needs Me)
Written-By – Anthony Newley, Leslie Bricusse 2:54
Label: Atlantic – 8118
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Pop
Barbara Lewis's 1966 album It's Magic is a well-regarded collection that successfully moves the soul singer toward a jazz and nightclub blues style, featuring strong interpretations of pop standards and show tunes. It is praised for showcasing her impressive versatility and beautiful, passionate vocals across a variety of genres.
Reviewers note Lewis is equally at home with R&B hits, bossa nova, and classic pop standards, scoring with every genre she attempts. The album was a conscious effort to broaden her appeal beyond her established soul/pop sound.
Lewis's vocals are frequently described as "haunting" and "beautifully sung". One review in Americana Highways suggests her version of "Let It Be Me" is "as good as or better than any of the many other versions of this song".
The album features a variety of nice arrangements, including bossa nova influences on tracks like "Quiet Nights (Corcovado)", contributing to a cohesive and classy feel.
Specific tracks highlighted for their quality include the title track "It's Magic," the "appealing exotica" of "The Shadow of Your Smile," and a "real heartbreaker" cover of "Sorrow". Her take on the Beatles' "Yesterday" is also mentioned as an "actually good" cover. The song "Don't Forget About Me" was later made famous by Dusty Springfield.
The album is considered a "first class soul longplayer" and a "great release from this largely forgotten soulful diva who remains one of the finest from the '60s".
Beyond original vinyl pressings, many tracks from this album have been re-released on Barbara Lewis compilations or are available for streaming on platforms like Spotify and Apple Music.
It’s My Thing
Written-By – Isley Bros. 2:50
A2 It's My Thing (Part 2)
Written-By – Isley Bros. 2:02
A3 Things Got To Get Better (Get Together)
Written-By – J. Brown, A. Ellis 2:55
A4 What Kind Of Man
Written-By – B. Hobgood, F. Setser, J. Brown 2:10
A5 If You Love Me
Written-By – B. Hobgood, J. Brown, J. Campbell 2:40
A6 In The Middle
Written-By – B. Hobgood, A. Ellis 2:45
B1 Unwind Yourself
Written-By – C. Spurling, H. Ballard 2:45
B2 You Got To Have A Job
Written-By – J. Brown, W. Reed 4:15
B3 I'll Work It Out
Written-By – B. Hobgood, J. Brown, J. Crawford 2:58
B4 Get Out Of My Life
Written-By – A. Ellis, W. Lynn 2:55
B5 I'm Tired, I'm Tired, I'm Tired
Written-By – James Brown 2:30
B6 Shades Of Brown
Written-By – B. Hobgood 2:30
Label:
King Records – KSD 1062
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Funk, Soul
Marva Whitney’s It's My Thing, released in 1969 under King Records, is widely regarded as a pinnacle of deep funk and a showcase of James Brown’s production at its peak. The album serves as a collection of singles recorded over 20 months with the legendary J.B.'s backing band.
Critics frequently describe Whitney as the "female James Brown" due to her aggressive, "spunky" vocals and high-energy delivery. While most praise her "charisma to burn," some dissenters find her vocal style "loud and plärrig" (blaring), lacking the subtle phrasing of her contemporaries.
roduced by James Brown, the album features his "tightest" band, including legends like Maceo Parker and Clyde Stubblefield. Reviewers often note that the album feels like a "lost James Brown record" because of his heavy influence on the songwriting and arrangements.
Primarily Deep Funk and Soul, the album balances blistering funk tracks with occasional soulful ballads.
Track Highlights:
"It's My Thing" (Parts 1 & 2): A high-octane response to The Isley Brothers’ "It’s Your Thing".
"Unwind Yourself": Noted for its "blistering funk" and fervent delivery; it is one of the most recognizable tracks on the album due to its extensive use in hip-hop sampling.
"Things Got To Get Better (Get Together)": Described as "tight, punchy, and greasy R&B".
"Sunny": A duet with James Brown that showcases Whitney’s ability to handle jazz-inflected material.
"I'm Tired, I'm Tired, I'm Tired": A moving soul track and condemnation of racism.
The album is a "must-own" for DJs and hip-hop producers. Tracks from this record have been sampled by iconic artists including Public Enemy, N.W.A, and the Wu-Tang Clan.
Although it saw limited mainstream success upon its initial release on the King Records label, the album is now highly revered by collectors, DJs, and "crate diggers" for its uncompromising sound. It has been frequently reissued on 180g vinyl and expanded CD editions. Original pressings are highly sought after by collectors and often fetch high prices.
It’s Rough Out Here
Arranged By – Vincent Montana
Written By, Producer – R. Brown, T. Lester, W. Lester
Written-By, Producer – B. Curington 4:46
A2 Head On Collision With Heartbreak
Arranged By – Vince Montana
Written By, Producer – B. Curington, R. Brown, T. Lester, W. Lester 3:15
A3 Love At Last
Arranged By – Vince Montana
Written By, Producer – T. Lester, W. Lester
Written-By, Producer – B. Curington 5:05
A4 I'll Always Love You
Arranged By – Norman Harris
Producer – B. Curington
Written By, Producer – R. Brown 3:47
B1 I'm Hopelessly In Love
Arranged By – Ronald Baker
Written By, Producer – J. Blunt, R. Brown, T. Lester, W. Lester
Written-By, Producer – B. Curington 3:18
B2 I Can't Fight Your Love
Arranged By – Vince Montana
Written By, Producer – R. Brown
Written-By, Producer – B. Curington 3:59
B3 Worth Your Weight In Gold
Arranged By – Vince Montana
Written By, Producer – T. Lester, W. Lester
Written-By, Producer – B. Curington 4:57
B4 Those Were The Best Days Of My Life
Arranged By – Ronald Baker
Written By, Producer – R. Brown
Written-By, Producer – B. Curington 3:13
B5 Share What You Got Keep What You Need
Arranged By – Vince Montana
Written By, Producer – J. Blunt, R. Brown, T. Lester, W. Lester
Written-By, Producer – B. Curington 4:00
Label: Buddah Records – BDS 5638
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Philly
The Modulations' "It's Rough Out Here" (1975) is a highly-regarded, if somewhat overlooked, Philly Soul gem, praised for its smooth orchestration, heartfelt vocals, and standout tracks like the funky title cut and mid-tempo "I'm Hopelessly In Love," blending classic Philadelphia sound with universal themes of struggle and resilience, making it a must-have for 70s soul fans.
The album heavily features the iconic instrumentation (strings, horns, MFSB members) and arrangements characteristic of the Philadelphia International Records sound, similar to The Stylistics or O'Jays.
Standout Tracks: "Rough Out Here" (a funky stepper), "I'm Hopelessly In Love" (beautiful mid-tempo), "I Can't Fight Your Love," and "Love At Last" are frequently highlighted. Lyrically, the album explores everyday life, featuring heartfelt themes of struggle, resilience, and romance.
While not a massive commercial hit, it's considered a cult classic and a gem among soul enthusiasts, often praised for its quality despite the era's competition, says Amazon UK and Amazon.com.au.
Modern reissues (like from Funkytown Grooves) offer improved sound and bonus tracks, making it more accessible, note Amazon.com.
In essence: It's a strong, authentic 1975 Philly Soul record that rewards listeners with depth beyond initial impressions, a solid addition for fans of classic soulful grooves.
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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It’s Your Night
Arranged By – Quincy Jones
Backing Vocals – Zane Giles, August Johnson, Bunny Hull, Howard Hewitt, James Gilstrap, Luther Vandross, Ollie Brown, Phillip Ingram, Scherrie Payne, Susaye Green, Valerie Johnson
Bass – Louis Johnson
Drums – Harvey Mason
Guitar – Paul Jackson Jr.
Keyboards, Synthesizer – Greg Phillinganes
Lead Vocals, Synthesizer, Synthesizer [Bass], Arranged By – James Ingram
Programmed By – Craig Hundley
Synthesizer – Michael Boddicker
Synthesizer, Arranged By – Mark Vieha
Written-By – James Ingram, Mark Vieha, Richard Page
4:55
A2 Yah Mo Be There
Drums – John Robinson
Percussion – Paulinho Da Costa
Synthesizer – Michael Boddicker
Synthesizer, Arranged By – Rod Temperton
Vocals, Synthesizer, Arranged By – James Ingram, Michael McDonald
Voice [African Voices], Arranged By – Quincy Jones
Written-By – James Ingram, Michael McDonald, Quincy Jones, Rod Temperton
4:40
A3 She Loves Me (The Best That I Can Be)
Drums – Raymond Calhoun
Electric Piano, Arranged By – Quincy Jones
Guitar – Larry Carlton
Lead Vocals – James Ingram
Synthesizer – David Paich, Don Dorsey, Michael Boddicker
Synthesizer, Keyboards, Arranged By – Robbie Buchanan
Written-By – Brian Neary, James Photoglo
3:40
A4 Try Your Love Again
Drums – John Robinson
Guitar – Paul Jackson Jr.
Keyboards, Synthesizer – Greg Phillinganes
Lead Vocals – James Ingram
Percussion – Paulinho Da Costa
Saxophone – Larry Williams
Soloist, Tenor Saxophone – Ernie Watts
Synthesizer, Programmed By – Craig Hundley
Trombone, Brass – Bill Reichenbach
Trumpet, Flugelhorn – Gary Grant, Jerry Hey
Written-By – Brock Walsh, Glen Ballard
4:25
B1 Whatever We Imagine
Drums – John Robinson
Keyboards, Synthesizer – David Foster
Lead Vocals – James Ingram
Lyricon – Tom Scott
Percussion – Paulinho Da Costa
Programmed By – Craig Hundley, Ian Underground
Written-By – David Foster, Jeremy Lubbock, Paul Gordon (3)
3:56
B2 One More Rhythm
Backing Vocals – Edie Lehman, Howard Hewitt, Linda Harmon, Tom Bahler
Lead Vocals – James Ingram
Organ, Synthesizer – Jimmy Smith
Percussion [Fingerpopper] – Steven Ray
Piano [Acoustic], Synthesizer – Greg Phillinganes
Programmed By – Craig Hundley, Michael Boddicker
Saxophone – Larry Williams, Tom Scott
Synthesizer – Rod Temperton
Trombone – Bill Reichenbach
Trumpet – Gary Grant, Jerry Hey
Written-By – Rod Temperton
4:05
B3 There's No Easy Way
Arranged By – Quincy Jones
Bass – Abraham Laboriel
Drums – John Robinson
Lead Vocals – James Ingram
Programmed By – Steve Porcaro
Synthesizer, Arranged By – David Paich
Written-By – Barry Mann
3:51
B4 It's Your Night
Backing Vocals – Bunny Hull, Carmen Twillie, James Ingram, Maxine Waters, Paulette McWilliams
Bass – Louis Johnson
Drums – John Robinson
Guitar – Paul Jackson Jr.
Lead Vocals, Keyboards, Synthesizer – James Ingram
Lyricon, Soloist – Tom Scott
Percussion – Paulinho Da Costa
Percussion [Fingerpopper] – Steven Ray
Synthesizer – Michael Boddicker, Robbie Buchanan
Written-By – Barry Mann, Cynthia Weil, James Ingram
3:37
B5 How Do You Keep The Music Playing? (Theme From Best Friends)
Arranged By – Quincy Jones
Bass – Nathan East
Co-producer, Arranged By – Johnny Mandel
Drums – Leon Ndugu Chancler
Guitar – George Doering, Paul Jackson Jr.
Lead Vocals – James Ingram
Piano [Acoustic], Arranged By – David Foster
Programmed By – Steve Porcaro
Synthesizer – David Paich
Vocals – Patti Austin
Written-By – Alan Bergman, Marilyn Bergman, Michel Legrand
4:16
Label: Qwest Records – 92-3970-1
Format: Vinyl, LP, Album
Country: UK
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
James Ingram's debut album, It's Your Night (1983), produced by Quincy Jones, blends soulful ballads and upbeat pop/R&B, featuring major hits like "Yah Mo B There," "Party Animal," and the duet with Patti Austin, "How Do You Keep the Music Playing," becoming a successful album with Grammy nominations and Gold certification, showcasing Ingram's distinctive voice across diverse tracks like "There's No Easy Way" and "Whatever We Imagine".
It was Ingram's first solo album after his breakthrough with Patti Austin, quickly becoming a commercial success, reaching #46 on the Billboard 200 and earning Gold status. The album explores themes of love, relationships, and perseverance, with songs like "There's No Easy Way" and the title track.
The legendary Quincy Jones produced the album, guiding Ingram's crossover appeal with a polished sound. It balances emotional, orchestral ballads with danceable, uptempo tracks, showcasing Ingram's powerful, husky vocals.
Hit Singles: Key tracks include the Grammy-nominated "Party Animal," the Grammy-winning "Yah Mo B There" (with Michael McDonald), "She Loves Me (The Best That I Can Be)," and the classic duet "How Do You Keep the Music Playing?".
It was Ingram's highest-charting album, peaking at number 10 on the Top R&B/Hip Hop Albums chart and receiving Gold certification by the RIAA in 1984. The album and its singles received a total of four Grammy nominations across 1984 and 1985.
Its Your Night It s Your Night
Jaco Pastorius
Bass – Jaco Pastorius
Congas – Don Alias
Written-By – C. Parker
2:24
A2 Come On, Come Over
Alto Saxophone [Alto Sax Solo], Soloist [Alto Sax] – David Sanborn
Arranged By [Horns] – Jaco Pastorius
Baritone Saxophone [Baritone Sax] – Howard Johnson
Bass – Jaco Pastorius
Bass Trombone – Peter Graves
Congas – Don Alias
Drums – Narada Michael Walden
Keyboards – Herbie Hancock
Tenor Saxophone [Tenor Sax] – Michael Brecker
Trumpet – Randy Brecker, Ron Tooley
Vocals – Sam & Dave
Written-By – B. Herzog, J. Pastorius
3:53
A3 Continuum
Bass – Jaco Pastorius
Bells – Don Alias
Drums – Lenny White
Electric Piano [Fender Rhodes] – Alex Darqui, Herbie Hancock
Written-By – J. Pastorius
4:32
A4 Kuru / Speak Like A Child
Arranged By [Strings] – Jaco Pastorius
Bass – Jaco Pastorius
Bongos, Congas – Don Alias
Cello – Beverly Lauridsen, Charles McCracken, Kermit Moore
Concertmaster [String Section] – David Nadien
Conductor [Conducted By] – Michael Gibbs
Drums – Bobby Economou
Piano – Herbie Hancock
Viola – Manny Vardi, Julian Barber, Selwart Clarke
Violin – David Nadien, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Paul Gershman
Written-By [Kuru] – J. Pastorius
Written-By [Speak Like A Child] – H. Hancock
7:38
A5 Portrait Of Tracy
Bass – Jaco Pastorius
Written-By – J. Pastorius
2:19
B1 Opus Pocus
Bass – Jaco Pastorius
Drums – Lenny White
Electric Piano [Fender Rhodes] – Herbie Hancock
Percussion – Don Alias
Soprano Saxophone [Soprano Sax] – Wayne Shorter
Steel Drums [Alto Pans] – Othello Molineaux
Steel Drums [Tenor Pans] – Leroy Williams
Written-By – J. Pastorius
5:24
B2 Okonkolé Y Trompa
Bass – Jaco Pastorius
Drums [Okonkolo Y Iya], Congas, Afoxé [Afuche] – Don Alias
French Horn – Peter Gordon (8)
Written-By – D. Alias, J. Pastorius
4:20
B3 (Used To Be A) Cha-Cha
Bass – Jaco Pastorius
Congas – Don Alias
Drums – Lenny White
Piano – Herbie Hancock
Piccolo Flute [Piccolo] – Hubert Laws
Written-By – J. Pastorius
8:53
B4 Forgotten Love
Arranged By [String Accompaniment Arranged], Conductor [Conducted By] – Michael Gibbs
Cello – Alan Shulman, Beverly Lauridsen, Charles McCracken, Kermit Moore
Concertmaster [String Section] – David Nadien
Double Bass – Homer Mensch, Richard Davis
Piano – Herbie Hancock
Viola – Al Brown, Manny Vardi, Julian Barber, Selwart Clarke
Violin – Arnold Black, David Nadien, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Matthew Raimondi, Max Pollikoff, Paul Gershman
Written-By – J. Pastorius
2:11
Label: Epic – PE 33949
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz, Funk
Style: Fusion, Jazz-Funk
Jaco Pastorius's 1976 self-titled debut album is a revolutionary landmark, showcasing his groundbreaking fretless electric bass as a lead instrument, blending bebop virtuosity ("Donna Lee"), soulful funk ("Come On, Come Over"), and ethereal fusion ("Continuum").
Critics praise its unmatched innovation, melodic depth, and emotional range, though some find moments of overplaying or dated production, ultimately cementing its status as a pivotal work that redefined bass playing and influenced generations, making it essential listening for bassists and jazz fans alike.
The album firmly established the electric bass as a solo voice, capable of speed, intricate harmonics, and profound emotion, not just a background rhythm tool.
Pastorius effortlessly moves from blistering jazz standards to deep funk grooves (featuring Sam & Dave) and dreamy, Weather Report-esque fusion, reflecting his diverse vision.
Tracks like "Portrait of Tracy" and the solo bass piece "Continuum" highlight his unparalleled technical skill, harmonic beauty, and melodic phrasing, notes JazzTimes.
While a solo project, it features legends like Herbie Hancock and Wayne Shorter, showcasing his ability to elevate any musical setting, notes All About Jazz.
Widely lauded as a masterpiece, a "bass revolution," and a new benchmark for the instrument.
Some reviewers note that while brilliant, certain arrangements could feel repetitive or that Pastorius sometimes overshadowed his bandmates, writes Sputnikmusic.
Jaco Pastorius's debut is essential listening, not just for bassists but for anyone interested in progressive music, fusion, or groundbreaking artistry, notes Prog Archives. It's a powerful statement of intent from a visionary musician at the peak of his creative powers, notes JazzTimes.
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.
Jamerican Man
Written-By – David Oliver, Wayne Henderson 4:59
A2 Love So Strong
Written-By – David Oliver, Ruth Robinson 3:31
A3 Ms.
Written-By – David Oliver, Ruth Robinson 5:20
A4 Friends & Strangers
Written-By – David Oliver, Ruth Robinson, William Jeffreys 4:59
B1 Let's Make Happiness
Written-By – David Oliver, Ruth Robinson, Wayne Henderson 4:37
B2 Munchies
Written-By – David Oliver, Lawrence Smith 5:08
B3 You And I
Written-By – Donny Beck 5:00
B4 Playin' At Bein' A Winner
Written-By – David Oliver, Ruth Robinson 4:35
Label: Mercury – SRM-1-1183
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Soul, Jazz-Funk
David Oliver’s 1977 debut, Jamerican Man (later self-titled as David Oliver), is widely regarded by soul and jazz-funk enthusiasts as a "forgotten classic" and an "undiscovered masterpiece". Produced by Wayne Henderson of The Crusaders, the album features a sophisticated blend of jazzy soul, heavy funk, and subtle reggae influences.
Oliver is frequently compared to Eddie Kendricks for his high, reedy falsetto. Critics describe his performance as having more "fire and passion" than contemporary soul singers, balancing seductive harmonies with powerful delivery.
The production by Wayne Henderson is a highlight, creating a "smooth as silk" sound reminiscent of Earth, Wind & Fire or Ramsey Lewis. It features tight musicianship, including intricate "bluesy and melodic" guitar work and a "breathtaking" jazz-funk rhythm section.
Key Tracks:-
"Ms.": The album's standout single, which reached #13 on the Billboard Soul Singles chart in 1978.
"Friends & Strangers": This is the original version of the track later made famous by saxophonist Ronnie Laws.
"What Kind Of Woman": A strong reggae-funk hybrid that opens the album.
"Munchies" and "Playin’ At Bein’ A Winner": Described as "strong funk stomps" that showcase the album's uptempo energy.
"You And I": A "swinging, jazzy soul ballad" that highlights Oliver's vocal versatility.
The album maintains high community ratings, averaging 4.21 to 4.36 out of 5 on platforms like Discogs. It peaked at #18 on the Billboard Top Soul LPs chart.
Despite its quality, many reviewers consider it "criminally underrated". Oliver’s early death at age 40 is often cited as the reason he did not achieve the widespread fame his "immense talent" warranted.
The album remains a staple for collectors, with original vinyl pressings often considered "killer" examples of late-70s sophistifunk.
Jammed Together
Lead Vocals – Albert King
Producer – Al Bell, Al Jackson, Isaac Hayes
Written-By – Ray Charles 5:30
A2 Tupelo
Lead Vocals – Pop Staples
Producer – Al Bell, Al Jackson, Isaac Hayes
Written-By – John Lee Hooker 6:00
A3 Opus De Soul
Producer – Al Bell, Al Jackson, M. Thomas
Written-By – Alvertis Isbell, M. Thomas 5:30
A4 Baby, What You Want Me To Do
Producer – Al Bell, Al Jackson, B.T. Jones
Written-By – Jimmy Reed 3:30
B1 Big Bird
Producer – Al Bell, Al Jackson
Written By, Producer – B.T. Jones, E. Floyd 3:05
B2 Homer's Theme
Producer – Al Bell, Al Jackson, Homer Banks, Raymond Jackson
Written-By – H. Banks, R. Jackson 2:10
B3 Trashy Dog
Producer – Al Bell, Al Jackson
Written-By, Producer – Terry Manning 2:45
B4 Don't Turn Your Heater Down
Producer – Al Bell, Al Jackson, D. Porter, I. Hayes
Written-By – A. Isbell, S. Cropper 3:45
B5 Water
Producer – Al Bell, Al Jackson
Producer, Lead Vocals – Steve Cropper
Written-By – E. Floyd, S. Cropper 2:45
B6 Knock On Wood
Producer – Al Bell, Al Jackson, Albert King
Written-By – E. Floyd, S. Cropper 5:00
Label: Stax – STS 2020
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Funk, Soul, Blues
Style: Rhythm & Blues, Soul
Jammed Together, the 1969 Stax album by Albert King, Steve Cropper, and Pops Staples, is a legendary, loose, and spirited collaboration showcasing three iconic guitarists with distinct styles (King's searing blues, Cropper's soulful R&B, Staples' tremolo gospel) jamming on originals and covers, creating a unique blend of blues, soul, and funk that's a must-have for guitar and soul fans, despite its occasional wandering feel. It's praised for its incredible guitar work, classic Stax production (Isaac Hayes/Al Jackson), and the rare chance to hear these legends interact live in the studio.
The album's core is the interplay between Albert King's aggressive bends, Steve Cropper's clean Telecaster funk, and Pops Staples' unique, shimmering tremolo picking. It seamlessly mixes blues standards (like Howlin' Wolf/Jimmy Reed covers) with Cropper's originals and gospel-infused soul, offering a dynamic mix.
The recording captures a "live in the studio" vibe, feeling loose and spontaneous, with plenty of room for solos, even if it occasionally feels like they're soloing in their own worlds. It features classic Stax personnel like Isaac Hayes and Al Jackson Jr., ensuring a soulful sound. Features vocals from each guitarist, with Cropper tackling his own classic-in-the-making, "Knock on Wood".
A favorite for serious R&B/soul connoisseurs and guitar enthusiasts. Considered a unique and essential Stax release, bridging different guitar styles. A celebrated session where three legends shared a stage, creating something special, even with its occasional directionless moments,
Jan Jan
Written-By – Betty Jean Newsom, James Brown 3:59
A2 Simple Song
Written-By – Sylvester Stewart 3:00
A3 Hey Jude
Written-By – John Lennon-Paul McCartney 3:35
A4 The Bite
Written-By – King Floyd 2:47
A5 Soulful Strut
Written-By – Eugene Record, William Sanders 2:28
B1 Dirty Red
Written-By – Leroy Emmanuel 2:17
B2 Who's Making Love
Written-By – Betty Crutcher, Donald Davis, Homer Banks, Raymond Jackson 2:20
B3 Scrambled Eggs
Written-By – Mose Davis 2:31
B4 The Other Thing
Written-By – Mose Davis 2:39
B5 Girl From Kenya
Written-By – Popcorn Wylie, Tony Hester 2:57
B6 Jan Jan
Written-By – Mose Davis 2:15
Label: Cotillion – SD 9011
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Funk
The Fabulous Counts' Jan Jan album (1969) is a highly-regarded, gritty instrumental funk/soul record praised for its raw, dirty, yet slick Motor City sound, blending tight grooves with jazz/soul influences (Booker T., early Funk Brothers) and strong covers (James Brown, Sly Stone, Beatles) with solid originals, featuring prominent organ and horns, foreshadowing their later funk success as The Counts.
It's considered a classic of early funk, capturing a specific, soulful Detroit sound before the band went fully funky.
Influences: Strong nods to Booker T. & the M.G.'s, early Bar-Kays, James Brown, Sly & the Family Stone, and jazz-funk.
Instrumentation: Features tight organ (Mose Davis), crisp sax, and a solid rhythm section, with the organ often carrying the melody.
Content: A mix of sharp, short tracks (2-3 mins) and covers of contemporary hits alongside originals.
Standout Tracks: The title track "Jan Jan" (a hit), "The Bite," "Dirty Red," and covers like "It's a Man's World" and "Hey Jude".
Critical Reception:
"Delicious Funky Detroit Soul": Praised for its irresistible grooves and tight musicianship, serving up "a fat slice of funky Detroit soul".
"Low down gritty, sweaty, dirty but slick": Described as a perfect blend of raw energy and polished musicianship.
"A Funk Classic": Considered a strong debut and a definitive moment in early funk.
In essence, Jan Jan captures a specific, soulful moment in Detroit music history, showcasing The Fabulous Counts' talent for crafting infectious, instrumentally rich funk that was both gritty and sophisticated.
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.
Jealousy
Arranged By – Norman Harris
Producer – Major Harris, Ron "Have Mercy" Kersey
8:48
A2 I Got Over Love
Arranged By – Talmadge Conway
Producer – Alan Rubens, Major Harris, Steve Bernstein
4:48
A3 Walkin' In The Footsteps
Producer, Arranged By – Bobby Eli
Synthesizer [Moog] – Dexter Wansel
3:40
A4 Tynisa (Goddess Of Love)
Arranged By – Ron "Have Mercy" Kersey
Producer – Major Harris, Ron "Have Mercy" Kersey
3:32
B1 It's Got To Be Magic
Producer, Arranged By – Bobby Eli
5:11
B2 Ruby Lee
Producer, Arranged By – Norman Harris
4:37
B3 Talking To Myself
Producer, Arranged By – Bobby Eli
5:20
B4 What's The Use In The Truth
Arranged By – Ron "Have Mercy" Kersey
Producer – Major Harris, Ron "Have Mercy" Kersey
6:38
Label: Atlantic – SD 18160
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Philly
Released in 1976 on Atlantic Records, Major Harris's Jealousy is a highly regarded, smooth Philly soul album produced by legends like Norman Harris and Ron Kersey at Sigma Sound. The album showcases Harris’s emotive vocals across ballads and mid-tempo grooves, featuring standout tracks like "I Got Over Love," "What's the Use in the Truth," and the title track, cementing his reputation as a solo artist post-Delfonics.
The album features classic Philadelphia soul arrangements, described as lush, polished, and, at times, dramatic. It is considered a strong entry in the "Quiet Storm" radio format. A mix of heartfelt ballads and "groovers" that define the mid-70s Philly soul sound.
Standout Tracks:
"Jealousy": The title track, featuring emotional, deliberate vocals.
"I Got Over Love": A popular, high-charting track from the album.
"What's the Use in the Truth": Noted for its dramatic slow-tempo melancholic feel.
"Tynisa": Described as a, funkier, "foot-stomper" track.
"Talking to Myself": A well-regarded remake of a Blue Magic song.
While not a massive pop hit, the album is highly regarded by soul collectors with some reviewers rating it as a superior follow-up to his debut, My Way. It features backing from The Sweethearts of Sigma, adding to the rich, Philly sound.
Jealousy is considered an essential listen for, fans of, 1970s, Philly, soul, and, romantic, balladry. While it didn't achieve the massive crossover success of his debut, Jealousy performed well within its genre: US R&B Charts: Peaked at #33; US Billboard 200: Peaked at #153;
Community Rating: Maintains a solid reputation with an average rating of 3.9 to 4.6 stars across platforms like Discogs.
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.
Johnnie B. Bad
Written-By – Keith Richards, Johnnie Johnson
4:51
2 Hush Oh Hush
Vocals – Al Anderson
Written-By – Pearl King, Roosevelt Sykes
3:19
3 Johnnie B. Bad
Written-By – Steve Ferguson, Terry Adams
2:32
4 Creek Mud
Written-By – Johnnie Johnson, Tom Ardolino
5:24
5 Fault Line Tremor
Written-By – Steve Ferguson
3:40
6 Stepped In What!?
Vocals – Johnnie Johnson
Written-By – Steve Ferguson
4:08
7 Can You Stand It
Written-By, Vocals – Steve Ferguson
2:42
8 Key To The Highway
Vocals – Keith Richards
Written-By – McKinley Morganfield
3:19
9 Blues #572
Written-By – Johnnie Johnson
3:28
10 Baby What's Wrong
Vocals – Steve Ferguson
Written-By – Jimmie Reed
3:35
11 Cow Cow Blues
Written-By – Charles Davenport
3:12
12 Movin' Out
Written-By – Johnnie Johnson
3:51
Label: Elektra Nonesuch – 9 61149-2
Format: CD, Album
Country: US
Released: 1991
Genre: R&B Blues
Style: Blues
Johnnie Johnson 's Johnnie B. Bad album, a significant post-Chuck Berry work, is widely praised as a joyful, foot-stomping collection of blues, R&B, and boogie-woogie, highlighting Johnson's masterful, rolling piano and "father of rock & roll" status, featuring guest spots from Eric Clapton and Keith Richards, though some noted it's more a tribute to his piano skills than stellar vocals, with tracks like "Tanqueray" and "Key to the Highway" standing out.
Critics consistently rave about Johnson's "ivory tickling," praising its lively, rolling feel, and connections to boogie-woogie and New Orleans R&B.
The album is described as "infectious and joyous," with music that "stomps and boogies from first to last". It's seen as a landmark album, finally showcasing Johnson as a leader and a crucial, unsung hero of rock & roll.
The presence of Eric Clapton and Keith Richards adds significant appeal, though some felt their contributions, or the music-only tracks, could have been more vocal-focused.
Johnson's vocals are noted as earthy and relaxed, suiting the music, but not always the main draw compared to his instrumental prowess.
Overall Impression: Johnnie B. Bad is considered a "landmark album" and a "must-buy" for blues and rock fans, offering a fun, high-energy listen that solidifies Johnnie Johnson's legacy beyond his famous sideman role, even if some wished for more of his voice alongside his legendary piano.
Johnny Gill
Producer – Jimmy Jam & Terry Lewis
5:29
2 Fairweather Friend
Co-producer – Daryl Simmons, Kayo
Producer – L.A. & Babyface
4:35
3 Wrap My Body Tight
Producer – Jimmy Jam & Terry Lewis
4:38
4 Feels So Much Better
Producer – L.A. & Babyface
4:36
5 Never Know Love
Producer – L.A. & Babyface
4:27
6 My, My, My
Co-producer – Daryl Simmons, Kayo
Producer – L.A. & Babyface
5:21
7 Lady Dujour
Producer – Jimmy Jam & Terry Lewis, Randy Ran
4:57
8 Just Another Lonely Night
Producer – Nat Adderley Jr.
Producer [Additional Production] – Girocco, Zack Vaz
4:12
9 Giving My All To You
Co-producer – Jimmy Jam & Terry Lewis
Producer – Randy Ran
5:19
10 Let's Spend The Night
Producer – Jimmy Jam & Terry Lewis, Randy Ran
3:55
11 My, My, My (Reprise) 1:11
Label: Motown – MOTD-6283
Format: CD, Album
Country: US
Released: 1990
Genre: R&B Soul, Funk
Style: Contemporary R&B, New Jack Swing
Johnny Gill's 1990 self-titled album was a multi-platinum R&B/New Jack Swing sensation for Motown, blending sensual ballads with energetic club tracks, featuring massive hits like "My, My, My," "Rub You the Right Way," and "Fairweather Friend," solidifying his solo stardom with production from industry heavyweights Jimmy Jam & Terry Lewis and LA Reid & Babyface.
A definitive mix of Contemporary R&B, New Jack Swing, and Quiet Storm.
The production High-tech yet sensual, leaving space for Gill's powerful vocals, with production by top teams like Jimmy Jam & Terry Lewis and L.A. Reid & Babyface.
Major Hits:- My, My, My": A quintessential sensual ballad that topped R&B charts and hit the Top 10 on the Hot 100; "Rub You the Right Way": An aggressive, synth-driven New Jack Swing track that also topped R&B charts; "Fairweather Friend": Another popular hit from the album; "Wrap My Body Tight": Another chart-topping single.
The album was Gill's most commercially successful, selling over 4 million copies worldwide and making him a household name. It's considered a high point in R&B, expertly blending current trends with enduring vocal performance.
Johnny Johnson and The Bandwagon
Written-By – E. Lilljequist
A2 Stoned Soul Picnic
Written-By – L. Nyro
A3 Breakin' Down The Walls Of Heartache
Written-By – D. Randell, S. Linzer
A4 I Wish It Would Rain
Written-By – S. Strong, N. Whitfield, R. Penzabene
A5 You Blew Your Cool And Lost Your Fool
Written-By – A. Fullilove
A6 You
Written-By – D. Randell
B1 People Got To Be Free
Written-By – E. Bragati Jr., F. Cavaliere
B2 Girl From Harlem
Written-By – D. Randell, S. Linzer
B3 Are You Ready For This?
Written-By – J. Ross, M. Barkan, R. Adams
B4 I Ain't Lyin'
Written-By – J. Johnson
B5 Don't Let It In
Written-By – A. Fullilove
B6 Baby Make Your Own Sweet Music
Written-By – D. Randell, S. Linzer
Label: Direction – 8-63500
Format: Vinyl, LP, Album
Country: UK
Released: 1968
Genre: R&B Soul, Pop
Style: Sixties Soul, Pop-Soul
Johnny Johnson and The Bandwagon's self-titled debut album (1968) is a notable example of late-1960s pop-soul, praised for its high production quality and catchy songs, though some critics have viewed it as an American act specifically tailored for the British market. The group's sound has been compared favorably to early Motown.
Music critics often describe the group as a dynamic and underappreciated R&B act, especially in their home country. Their relative lack of success in the US compared to the UK is a frequent point of discussion.
Johnny Johnson's lead vocals are noted for their "gospel fire," which brings passion and energy to the material, regardless of how commercial it is. The group's strong harmonies and fine arrangements are also considered staples of their work.
The album features an upbeat, commercial pop-soul style that proved very popular in the UK, where they had several Top 40 hits. This style, however, was sometimes seen as predictable and less fashionable compared to contemporaries exploring funkier sounds like Sly & the Family Stone.
The record, produced by Denny Randell with arrangements by Artie Schroeck, is generally well-produced, with critics noting its vibrant and fresh sound that has held up over time.
In summary, the album is a well-regarded slice of classic soul music that features powerful vocals and expertly crafted pop songs, even if critical acclaim at the time was perhaps overshadowed by the dominance of other soul acts.
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.
Joy Ride
Producer – Tony Hester
Written-By – T. Hester
3:05
A2 Richest Man Alive
Guitar – Dennis Coffey
Written-By – E. Robinson
2:50
A3 Stand Up And Move
Arranged By, Bass, Producer – L.J. Reynolds
Congas – Donnie Lewis, Lorenzo "Bag-Of-Tricks" Brown
Written-By – L. Reynolds
4:03
A4 Sing And Dance Your Troubles Away
Arranged By, Producer – Ron Banks
Electric Piano [Fender Rhodes], Piano – William Wooten
Written-By – G. Glenn
3:15
A5 I Get Carried Away
Bass – Roderick "Peanut" Chandler
Producer – Jimmy Roach
Written-By – J. Roach
4:19
B1 Be My Girl
Electric Piano [Fender Rhodes], Piano – Rod Lumpkin
Guitar – Ralph Armstrong
Producer – Michael Henderson
Written-By – M. Henderson
3:53
B2 After This Dance
Drums – Jerry Jones, Leslie Daniels
Electric Piano [Fender Rhodes], Piano – Lester William, Rod Lumpkin
Guitar – Ralph Armstrong
Producer – Michael Henderson
Written-By – M. Henderson
4:20
B3 Say The Word
Drums – Jerry Jones, Leslie Daniels
Producer – Tony Hester
Written-By – T. Hester
4:08
B4 I Can't Get Over You
Alto Saxophone, Soloist [Saxophone] – Eli Fountaine
Written-By – E. McGhee, F. Fleshman, J. Brinson
3:48
B5 Sundown Is Coming (Hold Back The Night)
Arranged By – Don Davis
Bass – David Hood
Drums – Roger Hawkins
Electric Guitar – Jimmy Johnson
Electric Piano [Fender Rhodes], Piano – Barry Beckett
Written-By – N. Toney
4:18
Label: ABC Records – ABCD-955
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
The Dramatics' 1976 album Joy Ride is a strong R&B/Soul effort, praised for its signature smooth vocals, tight harmonies, and blend of upbeat grooves with heartfelt ballads, featuring major hits like "Be My Girl," "Finger Fever," and the soulful ballad "I Can't Get Over You," though some reviewers note it leaned slightly more disco/funk and lacked the consistent standout magic of their earlier classics like "In the Rain". Expanded editions are highly valued for restoring the original tracklist, with fans loving tracks like "Shopping" and "Life of the Party," making it a beloved part of their extensive discography.
The album delivered three successful singles: the danceable "Finger Fever," the iconic "Be My Girl," and the powerful ballad "I Can't Get Over You". It continues the group's tradition of flawless lead vocals (Ron Banks, L.J. Reynolds) and layered background harmonies, and balances dance-floor-ready tracks with soulful, melancholic ballads, showing versatility.
L.J. Reynolds delivers breathtaking lead vocals, especially on the ballads, while the group's sleek harmonies are consistent throughout. Side one leans towards upbeat, dance-focused songs, while side two offers more ballad-heavy, mellow tracks.
Critical Reception: Generally positive, seen as a solid album, though some critics felt it was a step towards disco and less iconic than their 70s peaks.
Standout Tracks: "Be My Girl": A signature soulful ballad, produced by Michael Henderson; "Finger Fever": A gritty, multi-directional dance track; "I Can't Get Over You": A show-stopping ballad with an explosive performance from L.J. Reynolds; "Sundown Is Coming (Hold Back The Night)": A rock-influenced, memorable closer.
In essence, Joy Ride is a key album in The Dramatics' catalog, solidifying their R&B legacy with big hits and consistent quality, even as they navigated mid-70s musical trends. Reissues are popular, correcting original CD tracklist changes and adding bonus cuts, pleasing longtime fans.
Juicy Fruit (Disco Freak)
A2 Let's Don't Ever Blow Our Thing 6:04
A3 The Storm Is Over 4:41
B1 Music To Make Love By 6:23
B2 Thank You Love 4:45
B3 Lady Of The Night 4:04
B4 Love Me Or Lose Me 5:31
Written by Isaac Hayes
Label: HBS – ABCD-953
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
Juicy Fruit (Disco Freak) is the tenth studio album by Isaac Hayes, released in 1976, which sees the soul pioneer incorporating the then-trendy disco elements into his signature sound. The album blends upbeat funk and disco tracks with his characteristic soulful, cinematic ballads.
The album is a blend of dance-oriented funk/soul and classic Isaac Hayes ballads, showcasing his ability to adapt to contemporary music trends while maintaining his unique style.
It's primarily a funk and soul album with a strong disco sensibility, featuring hook-filled, sophisticated dance grooves and lush string arrangements.
Hayes produced and wrote the entire album himself, which was recorded at his Hot Buttered Soul Recording Studios in Memphis, Tennessee.
While some reviewers considered it less essential than earlier masterpieces like Hot Buttered Soul or Black Moses, many found it a worthwhile and enjoyable album, praising strong tracks and depth.
The album contains several standout songs, including the funky title track which features an extended "night club conversation" intro, the jubilant "The Storm Is Over", the sensual "Music to Make Love By", and the lyrically deep ballad "Lady of the Night".
While not considered his deepest or most profound work compared to classics like Black Moses or Shaft, Juicy Fruit (Disco Freak) is an "underrated gem" that offers a solid collection of soulful, funky, and danceable tracks. It is particularly recommended for Isaac Hayes fans and those who enjoy 1970s soul and funk with a strong disco influence.
Just A Touch Of Love
Written-By – Danny Webster, Mark Adams, Mark Hicks, Raye Turner, Starlena Young, Steve Arrington
6:24
A2 Are You Ready For Love?
Written-By – Curt Jones, Danny Webster, Floyd Miller, Mark Adams, Mark Hicks, Raye Turner, Starlena Young, Steve Arrington
5:58
A3 Funky Lady (Foxy Lady)
Written-By – James R. Wilson
4:33
B1 Roots
Written-By – Curt Jones, Mark Adams, Starlena Young, Steve Arrington
5:00
B2 Painted Pictures
Recorded By – Charlie Conrad, Jeffrey M. Kawalek, Jim Bonefond
0:26
B3 Thank You
Written-By – Floyd Miller, Kipper Jones, Mark Adams, Steve Arrington
5:35
B4 Shine
Written-By – Curt Jones, Danny Webster, Mark Adams, Mark Hicks, Starlena Young, Steve Arrington
4:58
B5 Warning
Written-By – Mark Adams, Starlena Young, Steve Arrington
Label: Cotillion – SD 5217
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Funk
Style: Deventies Soul, Disco, Funk
Released in 1979, Just A Touch Of Love by Slave is a critically acclaimed, bass-heavy funk album that signals a shift toward a smoother, more polished 80s club sound while retaining the band's trademark gritty, high-energy rhythm. Featuring Steve Arrington, the album offers standout funk-soul tracks, including the Top 10 R&B hit title song, "Roots," and "Warning".
The album represents a maturation from their 1977 debut, blending intense, compressed funk with a more refined, vocal-heavy approach. It is characterized by strong, intricate, and often experimental basslines and sharp, rhythmic drumming.
Key Tracks:-
"Just A Touch Of Love" (Title Track): A Top 10 R&B hit, regarded as a quintessential 70s funk track.
"Roots": A standout, soul-infused track with strong vocals.
"Warning": Known for its "space boogie" sound and infectious groove.
"Funky Lady (Foxy Lady)": Features prominent vocals and high-energy funk.
Steve Arrington’s role in the band expanded significantly on this album, contributing to a more melodic, vocal-driven sound. The production is often described as lush yet tight, with excellent, punchy bass and sharp, clean arrangements.
Considered a high point in Slave's discography, the album is highly regarded for its blend of danceable, funk-oriented tracks and soulful vocals. It is often described as a quintessential example of 70s Ohio funk, maintaining high demand among collectors and funk enthusiasts.
Just A Touch Of Love is highly recommended for fans of late 70s funk, boogie, and soul, often cited as a crucial record for understanding the transition into 1980s funk.
Just As I Am
Other [Male Back-ups] – Me, Myself and I Singers
Vocals [Guest Vocals] – Suzi Lane
Written-By – Keith Barrow 7:00
A2 Running On Empty (Well Travelled Man)
Other [Special Thanks To] – Bob Duffy
Written-By – Keith Barrow 3:39
A3 Coming On To You
Performer – Tip Wirrick
Tenor Saxophone – Artie Kaplan
Written-By – Keith Barrow
Written-By [Bridge By] – Tip Wirrick 5:14
A4 Just As I Am
Other [Thanks To] – Bob Duffy
Written-By – Keith Barrow 4:52
B1 Why Love Half The World (When You Can Love The Whole World)
Other [Special Thanks To] – Debbie Backus
Performer – Tip Wirrick
Written-By – Keith Barrow
Written-By [Bridge By] – Tip Wirrick 7:20
B2 Tell Me This Ain't Heaven
Alto Saxophone – David Tofani
Piano [Solo] – Leon Pendarvis
Written-By – Jim Lang 5:14
B3 Move A Little Closer
Written-By – C. Portnoy, J. Napoli 3:38
B4 Foolish Hearts
Written-By – D. Child, D. P. Yowell 3:44
B5 It's Real
Written-By – E. Gay, H. E. Cox 1:06
Label: Capitol Records – ST-12112
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul, Jazz, Funk
Style: Funk, Soul, Disco, Jazz-Funk, Gospel
Keith Barrow's 1978 album, Just As I Am, is a highly recommended and well-regarded piece of 70s Philly soul, often praised for its solid production and Keith Barrow's exceptional vocal talent.
Reviews for the album are generally very positive, especially among soul and funk collectors. Barrow is consistently lauded for his "amazing range" and emotional delivery. He had a "lilting voice" that allowed him to "caress each note," making each song his own. Many listeners consider his ballads to be where he truly shines.
The album is a strong representation of 70s Philly soul at its peak. It features elements of soul, funk, R&B, and disco. The album was produced by Bobby Eli, and re-releases (like those by BBR) are noted for being beautifully remastered, preserving the quality of the original sound.
Due to Barrow's untimely death at age 29, the album stands as a testament to his potential and existing talent, leaving a lasting impact on fans of the genre.
Several tracks on the album have been specifically highlighted by reviewers:
"Teach Me (It's Something About Love)": A standout, Barrow-penned ballad that showcases his emotional range.
"Mr. Magic Man": An excellent example of the Philly disco sound, penned by producer Bobby Eli.
"A World of Lonely People" and "You Don't Know How Hard It Is To Make It": Solid urban R&B jams with a strong message.
"Precious" and "Questions": More ballads that highlight his vocal abilities.
In summary, for fans of 70s soul and funk, Just As I Am is considered a must-have album that is solid from beginning to end. The general consensus is that "it really grows on you" and is a great piece of musical art.
The album is available for purchase on various platforms, including Amazon and Discogs, where you can find different release details.
Just Being Myself
Written-By – Holland-Dozier-Holland
4:20
A2 I Think You Need Love
Written-By – Holland-Dozier-Holland
3:37
A3 You Are The Heart Of Me
Written-By – Michael Smith, Ronald Dunbar
4:14
A4 I Always Get Caught In The Rain
Written-By – Michael Smith, Ronald Dunbar
3:42
B1 Don't Let My Teardrops Bother You
Written-By – Holland-Dozier-Holland
4:00
B2 (I'm) Just Being Myself
Written-By – Holland-Dozier-Holland
4:31
B3 Come Back
Written-By – Holland-Dozier-Holland
4:30
B4 Don't Burn The Bridge (That Took You Across)
Written-By – Holland-Dozier-Holland
4:24
Label: Warner Bros. Records – BS 2658
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Pop
Dionne Warwick's Just Being Myself (1973) is a solid, often overlooked soul/pop album produced by Holland-Dozier-Holland (HDH) after her split with Bacharach/David, featuring her powerful vocals on lush ballads and some funky grooves, with standout tracks like the classic "You're Gonna Need Me," but it was a chart underperformer despite its artistic strengths and later became a crate-digger's favorite for its samples. Critics note its cohesive '70s sound, strong performances, and ironic title as Warwick was pushed into a new creative direction, making it a worthwhile listen for fans of her Warner Bros. era.
The album marked a significant change, moving away from Bacharach & David to the Motown team of Holland-Dozier-Holland (HDH). HDH delivered classic '70s soul arrangements, blending sophisticated pop with more rhythmic, soulful tracks, even using some older backing tracks.
Reviewers praise Warwick's raw, emotional delivery, showing she could convincingly handle soul music, with powerful performances on ballads like "You Are the Heart of Me".
Standout Tracks:
"You're Gonna Need Me": A signature song, a heartbreaking classic sampled heavily by hip-hop artists like J Dilla and Just Blaze.
"(I'm) Just Being Myself": A title track that stands out with jazz flute, percussion, and humble lyrics, according to one reviewer.
"I Think You Need Love": A strong, soulful ballad.
While musically strong and artistically successful in showing Warwick's versatility, it was her lowest-charting studio album at the time, beginning a difficult chart period for her.
Overall, Just Being Myself is considered a solid, emotionally rich album from Warwick's often-overlooked Warner Bros. period, showcasing her adaptability and delivering soulful gems, even if it wasn't a major commercial hit initially. Today, it's celebrated by collectors for its breaks and soulful depth, especially for hip-hop producers.
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.
Just What I Like
Keyboards [Additional Keyboards] – Michael Cooper
Mixed By – Brian Malouf
Producer [Produced By] – Michael Cooper
Recorded By – Darrin Harris, Steve Counter
Written-By – Michael Cooper, Tony Shockency
4:07
A2 Turn The Lights Out
Co-producer [Co-produced By] – Kirk Crumpler
Horns – Maliscio Madayulo, Wayne Wallace
Keyboards [Additional Keyboards] – Michael Cooper
Keyboards, Programmed By [Programming] – Kirk Crumpler
Mixed By – Brian Malouf
Producer [Produced By] – Michael Cooper
Rap – Tony "OH"
Recorded By – Darrin Harris, Steve Counter
Scratches [All Scratches By] – DJ Darryl
Written-By – Kirk Crumpler, Michael Cooper
4:20
A3 Girl's Got It Goin' On
Backing Vocals [Background Vocals] – Larry White, Lee Peters
Drums, Synth [Bass Synth], Keyboards, Percussion, Horns – Kirk Crumpler
Keyboards [Additional Keyboards], Percussion, Horns – Larry White
Mixed By – Brian Malouf
Producer [Produced By] – Larry White
Recorded By – Howard Johnston
Recorded By [Additional Recorded By] – Joel Jaffe
Written By – Kirk Crumpler, Lee Peters And Larry White
4:17
A4 My Baby's House
Backing Vocals [Background Vocals] – Michael Cooper, Roniece Lavias, Rosie Gaines
Guitar, Keyboards [Additional Keyboards] – Michael Cooper
Keyboards, Programmed By [Programming] – Tony Shockency
Mixed By – Conley Abrams, Michael Cooper
Performer [Baby] – Roniece Lavias
Performer [Sexy Hype] – Renée Young
Producer [Produced By] – Michael Cooper
Recorded By – Darrin Harris, Steve Counter
Written-By – Michael Cooper, Tony Shockency
5:48
B1 The Best
Co-producer [Co-Produced By] – Michael Cooper
Mixed By – Conley Abrams, Cornelius Mims, Michael Cooper
Producer [Produced], Written-By – Cornelius Mims
Recorded By – Conley Abrams
6:18
B2 Over And Over
Backing Vocals [Background Vocals] – Keith John, Marva King
Drums [Drum Overdubs] – Rayford Griffin
Mixed By – Brian Malouf
Producer [Produced By] – Robert Brookins
Programmed By [Programming], Keyboards – Robert Brookins
Recorded By – Mitch Gibson
Written-By – Michael Cooper, Robert Brookins
6:00
B3 Should Have Been You
Co-producer [Co-Produced By] – Kirk Crumpler
Guitar – Michael Cooper
Mixed By – Brian Malouf
Producer [Produced By] – Michael Cooper
Programmed By [Keyboard Programming] – Kirk Crumpler
Recorded By – Darrin Harris, Steve Counter
Written-By – Kirk Crumpler, Michael Cooper
4:25
B4 Wild Side
Co-producer [Co-Produced By] – Michael Cooper
Keyboards, Programmed By [Programming] – Skylark
Mixed By – Conley Abrams, Michael Cooper, Skylark
Percussion [Additional Percussion] – Michael Cooper
Producer [Produced], Written-By – Skylark
Recorded By – Conley Abrams
4:05
B5 Do You Love Me Baby
Backing Vocals [Background Vocals] – Les Edwards, Michael Cooper, Myron Edwards
Co-producer [Co-Produced By] – Michael Cooper, Tony Valera
Keyboards, Programmed By [Programming\] – Les Edwards
Mixed By – Brian Malouf
Producer [Produced], Written-By – Les Edwards
Recorded By – Darrin Harris
3:50
Label: Reprise Records – 1-25923
Format: Vinyl, LP, Album
Country: US
Released: 1989
Genre: R&B Hip Hop, Funk, Soul
Style: Soul, New Jack Swing, Contemporary R&B
Michael Cooper's 1989 album "Just What I Like" is a definitive example of the New Jack Swing and contemporary R&B era. Released through Reprise Records, it solidified Cooper's transition from his work with the funk band Con Funk Shun into a successful solo career.
The album maintains a strong reputation among soul and funk enthusiasts, with users on Discogs giving it average ratings between 4.39 and 4.78 out of 5.
Modern retrospective reviews often cite it as a "masterpiece" of the genre, praising its "funky sound," "brass/horns," and "groove".
The album's polished sound was achieved through collaboration with notable producers of the late 80s R&B scene, including Robert Brookins, Larry White, Cornelius Mims, and Jay King.
In 2026, it remains a sought-after title for vinyl collectors, sometimes fetching high prices (up to $66 for specific releases) due to its status as a high-quality production of its time.
Karyn White
Written-By – D. Simmons, Babyface - L.A. Reid
4:56
A2 Secret Rendezvous
Written-By – D. Simmons, Babyface - L.A. Reid
5:38
A3 Slow Down
Written-By – D. Simmons, Karyn White, Steve Harvey
4:35
A4 Superwoman
Written-By – D. Simmons, Babyface - L.A. Reid
5:49
B1 Family Man
Written-By – D. Simmons, Babyface - L.A. Reid
4:07
B2 Love Saw It
Written-By – D. Simmons, Babyface - L.A. Reid
5:21
B3 Don't Mess With Me
Written-By – D. Simmons, Babyface - L.A. Reid
4:53
B4 Tell Me Tomorrow
Written-By – Arnie Roman, Evan Rogers, Karyn White
4:54
B5 One Wish
Written-By – Ian Prince, Jimmy Scott
Label: Warner Bros. Records – 1-25637
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Soul, New Jack Swing
Karyn White’s self-titled 1988 debut album is a landmark New Jack Swing and R&B classic, reaching #1 on the Billboard Top R&B/Hip-Hop Albums chart. Produced heavily by L.A. and Babyface, it features iconic hits like "The Way You Love Me," "Superwoman," and "Secret Rendezvous," balancing dance-pop with soulful, emotional ballads.
The album is split between high-energy New Jack Swing (produced by LA & Babyface) and smooth, soulful tracks.
Key Tracks: "Superwoman": A signature ballad that has become an enduring anthem for female strength; "The Way You Love Me": A top-10 pop hit that established her mainstream appeal; "Secret Rendezvous": A high-energy, dance-oriented track; "Love Saw It": A notable duet with Babyface.
The album is regarded as an essential, high-quality 80s R&B release that showcases both vocal power and strong songwriting.
The 1988 debut solidified White as a top-tier R&B artist, with the album later receiving a deluxe remaster with numerous bonus tracks.
A deluxe, remastered edition exists, featuring 19 bonus tracks, including 12-inch remixes, instrumentals, and B-sides like "Love on the Line" and "The Language of Love".
Overall, the 1988 Karyn White album is considered a "must-have" for fans of 80s pop and R&B, delivering a cohesive blend of danceable hits and emotional ballads.
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".
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
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.
Keith Sweat
Rap – "Pretty Russ"
Written-By – Athena Cage, Eric McCaine, Keith Sweat, Lavonn Battle, Tabitha Duncan 4:30
2 Funky Dope Lovin'
Vocals – Aaron Hall, Buddy Banks, Gerald Levert, Keith Sweat
Written-By – William "Billy Bad" Ward 4:51
3 Yumi
Written-By – Eric McCaine, Keith Sweat 4:21
4 Whatever You Want
Written-By – Fitzgerald Scott, Keith Sweat 4:18
5 Just A Touch
Written-By – Webster, Hicks, Turner, Young, Arrington 5:03
6 Freak With Me
Written-By – Donald Parks, Emanuel Officer, John Howcott, Keith Sweat 4:44
7 Nature's Rising (Interlude) 0:55
8 Come With Me
Vocals – Keith Sweat, Ronald Isley
Written-By – Fitzgerald Scott, Keith Sweat 3:56
9 In The Mood
Written-By – Eric McCaine, Keith Sweat 3:45
10 Show Me The Way (Interlude)
Written-By – Allan "Grip" Smith, Keith Sweat 2:50
11 Nobody
Vocals – Athena Cage, Keith Sweat
Written-By – Fitzgerald Scott, Keith Sweat 4:24
12 Chocolate Girl
Written-By – Alphonso "Doc" Walker, Antonio Street, Keith Sweat 4:45
Label: Elektra – 61707-2
Format: CD, Album
Country: US
Released: 1996
Genre:R&B Soul, Funk
Style: Contemporary R&B, New Jack Swing
Released on June 25, 1996, Keith Sweat is the self-titled fifth studio album by American R&B singer Keith Sweat. It is widely considered his most commercially successful work, achieving quadruple platinum status in the U.S. and featuring two of his biggest career hits, "Twisted" and "Nobody".
The album is a quintessential example of mid-90s contemporary R&B, blending smooth "boudoir" ballads with upbeat New Jack Swing and urban soul influences.
It showcases Sweat’s signature "pleading" or whining vocal style, which became a defining element of romantic R&B during this era.
The album was executive produced by Keith Sweat, with additional production from Eric McCaine, Fitzgerald Scott, The D.O.C., and William "Billy Bad" Ward.
Features prominent guest appearances from R&B royalty: Gerald Levert, Aaron Hall, Ronald Isley, and Athena Cage.
Considered a staple of '90s R&B, with fans praising its "awesome tunes," "classic" feel, and "babymaker" quality.
The album was seen as a testament to Keith Sweat's consistent ability to deliver hit after hit, showcasing confident songwriting, powerful vocals, and production that defined mid-90s urban contemporary music, making it a must-have for fans of the genre.
Kemistry
4:41
2 Miss You
4:27
3 Say
5:41
4 Inside
4:49
5 I'm Missin' Your Love
4:14
6 Love Calls
5:12
7 Brotha Man
3:58
8 Cherish This Moment
4:13
9 This Place (Church Of Today)
4:07
10 You Are 5:51
All Songs Composed, Arranged and Produced By Kem
Label: Motown – 440 067 516-2
Format: CD, Album
Country: US
Released: 2003
Genre: R&B Soul
Style: Neo Soul, Contemporary R&B
Kemistry (2002/2003) is the acclaimed debut studio album by R&B singer-songwriter Kem, featuring the hit single "Love Calls". It is characterized as a "modern gem" of Neo-Soul/Quiet Storm, celebrated for its smooth, intimate, and soul-stirring melodies that evoke a vintage, laid-back vibe. The album is highly regarded for its romantic themes, making it a standout, timeless R&B, "make love to" record.
The album features a "pre-hip-hop" sound, influenced by artists like Donny Hathaway and Stevie Wonder. Critics describe the album as "quiet background music" that features sparse, elegant arrangements with starlit keyboards and subtle guitar. It has been compared to the early works of Al Jarreau for its sophisticated, high-quality fusion of R&B and contemporary jazz.
Alongside the breakout hit "Love Calls," standout songs include "You Are" and "Share My Life," which are noted for their emotional, soulful, and romantic depth.
The album features sparse, elegant arrangements that prioritize, in a "bedroom whisper" style, Kem's smooth vocal delivery and piano playing.
Kemistry received high praise, with some reviews giving it a 5-star rating. It was initially released independently in 2002 before being re-released by Motown Records in 2003, later earning gold certification.
Overall, the album is described as a "masterpiece" for lovers of quiet, heartfelt soul music, offering a consistent and soothing listening experience from start to finish.
Kenny Lattimore
Arranged By [Vocal] – Kipper Jones
Producer, Keyboards – Dave "Jam" Hall
Written-By – D. Hall, K. Jones
5:31
2 Just What It Takes
Guitar – Glenn McKinney
Producer, Instruments, Arranged By [Vocal] – Keith Crouch
Written-By – K. Crouch, K. Jones
5:04
3 I Won't Let You Down
Arranged By [Vocal] – Kipper Jones
Producer, Keyboards – Dave "Jam" Hall
Written-By – C. Womack, D. Hall, G. Noble, Jr., K. Lattimore, K. Jones, L. Womack
4:59
4 All I Want
Producer, Instruments – Herb Middleton
Written-By – H. Middleton, K. Lattimore
4:53
5 Forever
Producer, Instruments – Herb Middleton
Written-By – H. Middleton, K. Lattimore
4:48
6 For You
Acoustic Guitar – Georg Wadenius
Concertmaster – Richard Henrickson
Contractor – Al Brown
Keyboards, Drum Programming – Kenny Lerum
Producer, Keyboards, Drum Programming – Barry J. Eastmond
Strings – Al Brown, Charles Libove, Harry Zaratzian, Jesse Levy, John Pinta Valle, Karen S. Dreyfus, Max Ellen, Olivia Koppell, Regis Landioris, Richard Henrickson, Richard Locker, W. Sanford Allen, Winteron Garvey
Written-By – K. Lerum
3:57
7 Joy
Producer, Instruments, Programmed By – J. Dibbs
Written-By – D. Jenkins, K. Lattimore
4:36
8 Where Did Love Go
Guitar [Additional] – Raymond Jenkins
Producer, Instruments, Programmed By – J. Dibbs
Written-By – D. Jenkins, K. Lattimore, S. Kendrick
4:13
9 Forgiveness
Backing Vocals – Kenny Lattimore
Cello – Cameron Stone
Guitar – Glenn Arthur
Producer, Backing Vocals – Kipper Jones
Producer, Programmed By, Sequenced By, Instruments – Kenneth Crouch
Violin – Lili Haydn
Written-By – K. Crouch, K. Jones
4:09
10 Always Remember
Producer – Kipper Jones, Oji Pierce
Written-By – K. Lattimore, K. Jones, O. Pierce
5:42
11 Climb The Mountain
Producer, Instruments – James Abney
Saxophone – Derrick Edmonson
Written-By – J. Abney
5:49
12 I Won't Forget (Whose I Am)
Congas – Jimmy Abney
Producer – Kenny Lattimore
Producer, Instruments – Sam Kendrick
Written-By – K. Lattimore
4:05
Label: Columbia – COL 483747 2
Format: CD, Album
Country: Europe
Released: 1996
Genre: R&B Soul
Style: Contemporary R&B, Soul
Kenny Lattimore's 1996 self-titled debut album received generally positive reviews, praised for his smooth, classic-soul voice reminiscent of Donny Hathaway and Marvin Gaye, showcasing his talent with polished production, though some critics noted inconsistent songwriting that occasionally dragged, but ultimately established him as a mature, soulful voice in R&B with hits like "Never Too Busy" and the Grammy-nominated "For You".
Lattimore's smooth, controlled tenor was a highlight, with reviewers noting his ability to convey emotion and deliver sophisticated vocal performances, especially on stronger tracks.
The album went Gold, hit the R&B Top 20, and earned Lattimore a Grammy nomination for "For You," solidifying his place in the music scene.
Critics loved that the album brought back a soulful, less-processed R&B sound, standing apart from contemporary trends. The slick production enhances his voice, making even weaker songs enjoyable. Some reviewers found the song selection uneven, with tracks like "Never Too Busy" being enjoyable but perhaps too laid-back or repetitive, while others lacked punch.
Overall Impression: A promising debut that highlighted Lattimore's natural talent as a sophisticated soul singer. It Offeres a mature, relaxing vibe for listeners seeking hip yet smooth R&B, and is considered a necessary addition to R&B, establishing his unique sound distinct from contemporaries like D'Angelo and Maxwell.
Kicking Back
A2 T-Bone Disco 3:42
A3 Mr. Big "H" 4:55
A4 Baby What You Want Me To Do 3:57
B1 Trippin' In 5:31
B2 Why Don't You Rock Me 3:03
B3 Kicking Back - Part 1 4:37
B4 Kicking Back - Part 2 3:08
Written by – Houston, Taub
Label: Big Town – BT-1004
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Rhythm & Blues, Funk
Joe Houston's Kicking Back (1978) is an underappreciated funk/blaxploitation-influenced album, praised for its raw, energetic saxophone work, deep grooves, and dynamic blend of blues, funk, and R&B, despite being overlooked upon release due to poor promotion, now rediscovered as a gem for funk enthusiasts. Reviewers highlight tracks like "Mr. Big 'H'" and "Kicking Back" for their thrilling funk, while noting its sound could fit a blaxploitation soundtrack, showcasing Houston's versatile talent beyond his R&B roots.
Blends blues, R&B, disco, and funk, often within the same track, leaning heavily into a 70s blaxploitation soundtrack vibe.
Features Joe Houston's signature "honking" and wailing tenor sax, described as energetic, powerful, and electrifying.
Standout Tracks: "Mr. Big 'H'," "Kicking Back Part One & Two," and "Trippin' In" are cited as thrilling deep funk cuts.
Released on Big Town Records (Modern's subsidiary) but largely ignored at the time, it's now gaining appreciation through reissues by labels like Ace Records.
Seen as a testament to Houston's versatile talent, a "blaxploitation score without a movie," and a valuable piece of his extensive catalogue.
What Critics Say:
"The grooves are no longer rocking R&B but instead resemble a blaxploitation soundtrack... The music sounds brilliant".
"This underappreciated work, a blaxploitation score without a movie, certainly deserves the treatment" (referring to vinyl reissue).
"Free and exhilarating, these funk cuts and 'Trippin' In' are worth the price of this album alone".
In essence, Kicking Back is considered a fantastic funk record, showcasing Joe Houston's enduring talent in a grittier, more contemporary (for the time) sound that's perfect for deep funk fans.
Kim Kim Kim
Written-By – C. Pauling, M. Tynes, W. Stevenson, W. Hutchison 3:33
A2 The Love I've Been Looking For
Written-By – Clarence Pauling, Willie Cooper, Ernest Shelby 3:39
A3 What Could Be Better
Written-By – Leon Ware, Victoria Basemore 2:47
A4 When Something Is Wrong With My Baby
Written-By – David Porter, Isaac Hayes 3:59
A5 Love Vibrations
Written-By – C. Colbert, W. Stevenson 2:50
B1 Buy Myself A Man
Written-By – Marvell Thomas 3:11
B2 Got To Get You Off My Mind
Written-By – Delores Burke, J. B. Moore, Solomon Burke 2:46
B3 Soul On Fire
Written-By – K. Weston, W. Stevenson 2:33
B4 Brothers & Sisters (Get Together)
Written-By – K. Weston, W. Stevenson 2:46
B5 Penny Blues
Written-By – Toby Ben 3:38
B6 The Choice Is Up To You (Walk With Me Jesus)
Written-By – Marvell Thomas, W. Stevenson 3:17
Label: Volt – VOS 6014
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
Kim Weston's Kim Kim Kim album is praised as a showcase for her powerful, soulful voice, featuring lush arrangements from Stax's Al Bell, Isaac Hayes, and Clarence Paul, blending warm ballads like "You Just Don't Know" with funkier tracks like "Soul on Fire," but its rich soul sound, though brilliant, was perhaps not commercial enough for major pop crossover, making it a must-have for soul fans but a harder find.
Production: Stellar work by Al Bell (Stax) and Clarence Paul (key to Stevie Wonder), with Isaac Hayes also involved, creating a lush, gospel-infused soul sound.
The album truly highlights Weston's strong, versatile vocals, which critics often felt were underrated, capable of delivering both heartfelt ballads and upbeat funk.
Standout Tracks:
"You Just Don't Know": A majestic opener that immediately showcases her talent.
"Love Vibrations": An excellent, groovy, up-tempo track with rumbling bass.
"Soul on Fire": A psychedelic, groovy soulful number with Isaac Hayes's stamp, featuring chicken scratch guitar and congas.
"Brothers & Sisters (Get Together)": A conscious, peace-loving funk track.
The album offers pure, heartfelt soul music that captures the essence of Motown's depth, featuring tracks rarely found on compilations, making it essential for serious fans.
While perhaps not a massive commercial hit due to its deep soul nature, Kim Kim Kim is a highly regarded album for its pure musical quality, excellent arrangements, and Kim Weston's flawless, powerful vocals, making it a treasured piece for soul music aficionados.
Kisses
A2 Say Sumpin' Nice 4:02
A3 Primavera 6:33
A4 Night Fantasies 3:54
B1 Pocket Change 8:18
B2 Nasty 7:31
B3 Tunisian Affair 7:30
Label: Sugar Hill Records – SH 247
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk
Jack McDuff's 1980 album Kisses is a soulful, funky jazz-funk record featuring his "Heatin' System" ensemble with Joe Farrell on sax and Phil Upchurch on guitar, offering smooth, crossover soul with spacey fusion arrangements and sensual analog sounds, a departure from his earlier funk, showcasing McDuff's versatile keyboards in a slick late-70s style akin to smooth jazz, with tracks like "Say Sumpin' Nice" and "Night Fantasies".
The album was produced, arranged, and written by Jack McDuff. Some sources also associate George Benson with the production or songwriting on specific tracks like "Say Sumpin' Nice". It features McDuff's signature organ/keyboards, Phil Upchurch's guitar, and Joe Farrell's sax, bass, drums, percussion. It is smooth, soulful, funky, groovy, with slick fusion elements.
It is often cited as a hidden or marvelous "unknown" record from an era when jazz musicians were experimenting with more commercial, danceable soul sounds. While original vinyl pressings remain the primary format, Japanese paper sleeve CD editions have also been released for collectors.
The album represents McDuff's move into a more polished, fusion-oriented sound, fitting the evolving jazz-funk landscape of the time - smooth, soulful, funky, groovy, with slick fusion elements.
La La Peace Song
Written-By – L. Martin, J. Bristol 3:27
A2 Don't Misunderstand
Written-By – G. Parks 3:05
A3 When Morning Comes
Written-By – L. Martin, J. Bristol 3:01
A4 Friend, Lover, Woman, Wife
Written-By – M. Davis 3:08
A5 My Cherie Amour
Written-By – H. Cosby, S. Wonder, S. Moy 3:08
B1 Wish You Were Here With Me, Mary
Written-By – J. Bristol 3:23
B2 I Think I'll Tell Her
Written-By – L. Creed, T. Bell 3:41
B3 Daddy's Little Man
Written-By – M. Davis 4:05
B4 Baby, I Need Your Loving
Written-By – E. Holland - L. Dozier - B. Holland 2:55
B5 The Son Of Hickory Holler's Tramp
Written-By – D. Frazier 3:50
Label: Columbia – KC 33247
Format: Vinyl, LP, Stereo
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
O.C. Smith's La La Peace Song album (1974) showcased his versatile, storytelling baritone voice across soul, pop, and country, noted by Billboard for potential hits like the title track, "Passport," and "I'm a Weak Man," featuring strong production from Johnny Bristol, Jerry Fuller, and Steve Cropper, though it's often seen as an extension of his earlier work, delivering his signature blend of smooth vocals and heartfelt narratives for fans.
Smith was lauded for his ability to tell stories through song, a characteristic evident on this album as well as hits like "Son of Hickory Holler's Tramp".
While rooted in soul and jazz, the album touched on pop and country, highlighting Smith's adaptable style. Produced by notable figures like Johnny Bristol, Jerry Fuller, and Steve Cropper, the album featured solid instrumental backing.
Billboard praised the record for having several strong singles, including the title track, "Passport," "I'm a Weak Man," and "The Longer We Stay Together".
Fans appreciated the album's familiar warm, deep voice and storytelling, even if some tracks drew from previous releases.
The album offered more of the classy, engaging music O.C. Smith was known for, blending his jazz roots with accessible soul and pop, making it a solid, enjoyable listen for his established fanbase and those discovering his rich catalog.
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 The One
Producer – Skip Scarborough, Webster Lewis
Written-By – E. Straughter, R. Taylor, S. Scarborough
3:48
A2 Open Up Your Eyes
Producer – Skip Scarborough, Webster Lewis
Written-By – R. Taylor, S. Scarborough
3:43
A3 You Are My Life
Producer – Charles Veal, Jr., Webster Lewis
Written-By – C. Veal, Jr., M. Dean, W. Lewis
3:36
A4 Dancer
Producer – Skip Scarborough, Webster Lewis
Written-By – J. Rowin, S. Scarborough
3:41
A5 Let Me Be The One
Producer – Charles Veal, Jr., Webster Lewis
Written-By – C. Fearing, C. Veal, Jr., M. Dean
3:47
B1 Love Won't Harm No One
Producer – Skip Scarborough, Webster Lewis
Written-By – B. Ighner
4:39
B2 El Bobo
Producer – Skip Scarborough, Webster Lewis
Written-By – W. Lewis
4:08
B3 Kemo-Kimo
Producer – Webster Lewis
Written-By – J. Gadson, W. Lewis
4:36
B4 Flying High
Producer – Charles Veal, Jr., Webster Lewis
Written-By – C. Veal, Jr., W. Lewis
3:22
B5 A Quiet Thing
Producer – Skip Scarborough, Webster Lewis
Written-By – F. Ebb - J. Kander
Label: Epic – FE 36878
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Jazz, Funk, Soul
Style: Eighties Soul, Jazz-Funk, Disco
Released in 1981 on Epic Records, Let Me Be The One is the fifth and final solo studio album by jazz-trained keyboardist Webster Lewis. The album is considered a "jazzy soul masterpiece" that balances smooth West Coast textures with contemporary jazz-funk and disco-soul.
Co-produced by Lewis alongside Skip Scarborough and Charles Veal Jr., featuring polished arrangements with lush strings and mellow Rhodes piano.
The album features a "stellar cast" including keyboardist Herbie Hancock, guitarist David T. Walker, and percussionist Willie Bobo.
Notable Tracks:-
"Let Me Be The One" & "You Are My Life": Up-tempo dance tracks noted for their "Rod Temperton quality," drawing comparisons to George Benson’s early 80s work.
"El Bobo": A classic jazz-funk-Latin instrumental featuring Willie Bobo on percussion.
"Open Up Your Eyes" & "Love Won't Harm No One": Standout ballads praised for their mellow, atmospheric "chill-out" feel.
"Dancer": A mid-tempo anthem described as having a Ramsey Lewis-styled groove.
The album reached #22 on the U.S. Jazz charts and #49 on the U.S. R&B charts. While originally an Epic release, it was later reissued on CD by Expansion Records in 2008, often including bonus tracks like "Reach Out" and "Boston".
Let Me Be Your Lover
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.
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 Clean Up The Ghetto
Arranged By, Producer – Bobby Martin
Written-By – R. MacDonald, W. Salter
3:48
A2 The Philadelphia International All-Stars– Let's Clean Up The Ghetto
Arranged By – Dexter Wansel
Producer – Kenneth Gamble & Leon Huff
Written-By – C. Gilbert, K. Gamble, L. Huff
8:42
A3 Dee Dee Sharp Gamble– Ooh Child
Arranged By, Producer – Bobby Martin
Written-By – S. Vincent
3:32
A4 Teddy Pendergrass– Now Is The Time To Do It
Arranged By – Bobby Martin
Producer – John Whitehead, Gene McFadden, Victor Carstarphen
Written-By – G. McFadden, J. Whitehead, V. Carstarphen
3:42
A5 The Three Degrees– Year Of Decision
Arranged By – Norman Harris
Producer – Kenneth Gamble & Leon Huff
Written-By – K. Gamble, L. Huff
2:34
B1 The O'Jays– The Big Gangster
Arranged By – Bobby Martin
Producer – Kenneth Gamble & Leon Huff
Written-By – K. Gamble, L. Huff
3:50
B2 Billy Paul– New Day, New World Comin'
Arranged By – Ron Kersey
Producer – Kenneth Gamble & Leon Huff
Written-By – K. Gamble, L. Huff
4:30
B3 Archie Bell & The Drells– Old People
Arranged By – Dexter Wansel
Producer – Bunny Sigler
Written-By – B. Sigler, D. Wansel
3:45
B4 Intruders– Save The Children
Arranged By – Lenny Pakula
Producer – Kenneth Gamble & Leon Huff
Written-By – G.S. Heron
4:12
B5 Harold Melvin & The Blue Notes– Everybody's Talkin'
Arranged By – Jack Faith
Producer – Kenneth Gamble, Leon Huff, Harold Melvin
Written-By – F. Neil
3:51
Label: Philadelphia International Records – JZ 34659
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Soul, Funk, Disco, Philly
Released in 1977, Let's Clean Up the Ghetto is a socially conscious charity album featuring the premier roster of Kenneth Gamble and Leon Huff’s Philadelphia International Records.
The album is regarded as one of the most "righteous" and socially aware sets from the label's golden era. Critics praise it for balancing high-quality Philly Soul and Funk with a direct call for urban rejuvenation.
Handled by the legendary MFSB (Mother Father Sister Brother) backing band, the music is characterized by heavy basslines and lush harmonic arrangements.
It remains a cult favorite among soul purists, holding high user ratings across collector platforms (averaging 4.0 to 4.6/5 as of early 2026).
Notable Tracks
"Let's Clean Up the Ghetto" (Title Track): An eight-minute "posse cut" featuring Lou Rawls, Teddy Pendergrass, The O'Jays, Billy Paul, Dee Dee Sharp Gamble, and Archie Bell. It begins with a spoken monologue by Rawls addressing city neglect.
"Trade Winds": Performed by Lou Rawls, this track is frequently cited as a melodic highlight.
"Ooh Child": A darker, more pessimistic arrangement of the classic Five Stairsteps hit, performed by Dee Dee Sharp Gamble.
"Save the Children": A remake of the Gil Scott-Heron piece by The Intruders, emphasizing generational struggles.
The project was a fundraising effort where all profits were donated to community development programs in blighted inner-city areas. The "Clean Up the Ghetto" campaign eventually expanded from Philadelphia to major hubs like Los Angeles, Atlanta, and Chicago.
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.
Let’s Get It On
Written-By – Wilson, Sawyer
A2 Leaving Me
Written By – Copyright Control
A3 My Love
Written-By – P. McCartney
A4 Come Back Baby
Written By – Copyright Control
A5 Playground Of My Mind
Written-By – Lee Pockriss, P. Vance
A6 Let's Get It On
Written-By – Townsend, Gaye
B1 African Lady
Written-By – B. Marley
B2 Is It Because I'm Black
Written-By – S. Johnson
B3 Down By The River
Written-By – Brown, Seaton, Boothe, Charmers
B4 Dum Dum
Written-By – Lloyd Charmers
B5 Whole World's Down On Me
Written-By – Brown, Seaton, Boothe, Charmers
B6 That's The Way Nature Planned It - Pt. 2
Written-By – Wilson, Sawyer
Label: Trojan Records – TRLS 83
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Reggae, Funk, Soul
Style: Reggae-Pop, Rocksteady, Lovers Rock
Ken Boothe's 1974 album Let's Get It On, produced by Lloyd Charmers, is a highly-regarded reggae classic known for Boothe's signature smooth, soulful vocals covering both romantic tunes and social commentary, featuring iconic tracks like his rendition of Marvin Gaye's "Let's Get It On" and Syl Johnson's "Is It Because I'm Black", showcasing his versatility and appeal across reggae, soul, and rocksteady, making it a superb, essential listen.
Reviewers praise Boothe's charismatic, smooth voice, perfect for the era's soulful reggae and rocksteady.
The album features strong interpretations of well-known songs, including the title track and Syl Johnson's powerful "Is It Because I'm Black".
It balances romantic themes with social consciousness, demonstrating Boothe's broad appeal. Lloyd Charmers' production provides a rich backdrop, enhancing Boothe's unique vocal style.
Considered a standout in Boothe's discography, it's a testament to his influential role in reggae music, available in modern reissues.
It's a definitive album from Boothe's prolific period with Lloyd Charmers, blending classic reggae vibes with soulful depth, and is a superb example of Jamaican music's ability to deliver both heartfelt romance and powerful social statements
The album was a major success for Trojan Records, released during what is considered Boothe's "finest" creative period.
It maintains a high standing among fans, with average user ratings of 4.43/5 on Discogs and positive contemporary reviews on platforms like Amazon.
In October 2024, a 50th Anniversary Edition was released on limited 180-gram orange vinyl, further cementing its status as a "deserving classic" in the reggae canon.
Let’s Get Serious
Arranged By, Backing Vocals, Celesta, Drums, Electric Piano [Fender Rhodes], Finger Snaps, Guitar, Piano, Producer, Synthesizer, Written-By – Stevie Wonder
Backing Vocals – Alexandra Brown, Angela Winbush, Marva Holcolm
Bass, Handclaps – Nathan Watts
Clavinet – Isaiah Sanders
Congas, Handclaps – Earl DeRouen
Drums – Dennis Davis
Finger Snaps – Jermaine Jackson
Guitar – Ben Bridges, Rick Zunigar
Handclaps – Abdoulaye Soumare, Keith Harris, Reggie Wiggins, Dick Rudolph
Trumpet – Larry Gittens
Written-By – Lee Garrett
8:05
A2 Where Are You Now
Arranged By, Backing Vocals, Celesta, Drums, Electric Piano [Fender Rhodes], Finger Snaps, Guitar, Piano, Producer, Synthesizer, Written-By – Stevie Wonder
Backing Vocals – Alexandra Brown, Angela Winbush, Marva Holcolm
Bass, Handclaps – Nathan Watts
Clavinet – Isaiah Sanders
Congas, Handclaps – Earl DeRouen
Drums – Dennis Davis
Finger Snaps – Jermaine Jackson
Guitar – Ben Bridges, Rick Zunigar
Handclaps – Abdoulaye Soumare, Keith Harris, Reggie Wiggins, Dick Rudolph
Trumpet – Larry Gittens
Written-By – Renee Hardaway
3:53
A3 You Got To Hurry Girl
Arranged By [Horns, Rhythm, Strings], Bass, Bass [Fender], Keyboards, Percussion, Written-By – Jermaine Jackson
Arranged By [Horns, Strings] – Don Peake
Arranged By [Rhythm], Guitar, Percussion, Written-By – Paul Jackson
Backing Vocals – Carolyn Cook, Danny Smith, Hazel G. Jackson, Suzee Ikeda, T.K. Carter, Tina Madison
Bass – Eddie Watkins, Jr., Scott Edwards
Drums – Ed Greene, Ollie E. Brown
Guitar – Tim May
Keyboards – Greg Phillinganes, Joe Sample, Kevin Bassinson
Percussion – Emil Radocchia, Gary Coleman, Gene Estes
Synthesizer [Bass] – Gary Scott
Written-By – Maureen Bailey
4:34
A4 We Can Put It Back Together
Arranged By [Horns, Rhythm, Strings] – Don Peake
Arranged By [Horns, Rhythm, Strings], Bass, Bass [Fender], Keyboards, Percussion, Written-By – Jermaine Jackson
Backing Vocals – Carolyn Cook, Danny Smith, Suzee Ikeda, T.K. Carter, Tina Madison
Backing Vocals, Written-By – Hazel G. Jackson
Bass – Eddie Watkins, Jr., Scott Edwards
Drums – Ed Greene, Ollie E. Brown
Guitar – Tim May
Guitar, Percussion – Paul Jackson
Keyboards – Greg Phillinganes, Joe Sample, Kevin Bassinson
Percussion – Emil Radocchia, Gary Coleman, Gene Estes
Synthesizer [Bass] – Gary Scott
Written-By – Maureen Bailey
5:05
B1 Burnin' Hot
Arranged By [Horns, Rhythm, Strings] – Don Peake
Arranged By [Horns, Rhythm, Strings], Bass, Bass [Fender], Keyboards, Percussion, Written-By – Jermaine Jackson
Backing Vocals – Carolyn Cook, Danny Smith, Hazel G. Jackson, Suzee Ikeda, T.K. Carter
Bass – Eddie Watkins, Jr., Scott Edwards
Drums – Ed Greene, Ollie E. Brown
Guitar – Tim May
Guitar, Percussion – Paul Jackson
Keyboards – Greg Phillinganes, Joe Sample, Kevin Bassinson
Percussion – Emil Radocchia, Gary Coleman, Gene Estes
Synthesizer [Bass] – Gary Scott
Written-By – Jim Foelber, Phyllis Molinary
7:52
B2 You're Supposed To Keep Your Love For Me
Arranged By, Backing Vocals, Celesta, Drums, Electric Piano [Fender Rhodes], Finger Snaps, Guitar, Piano, Producer, Synthesizer, Written-By – Stevie Wonder
Backing Vocals – Alexandra Brown, Angela Winbush, Marva Holcolm
Bass, Handclaps – Nathan Watts
Clavinet – Isaiah Sanders
Congas, Handclaps – Earl DeRouen
Drums – Dennis Davis
Finger Snaps – Jermaine Jackson
Guitar – Ben Bridges, Rick Zunigar
Handclaps – Abdoulaye Soumare, Keith Harris, Reggie Wiggins, Dick Rudolph
Trumpet – Larry Gittens
5:35
B3 Feelin' Free
Arranged By [Horns, Rhythm, Strings] – Don Peake
Arranged By [Horns, Rhythm, Strings], Bass, Bass [Fender], Keyboards, Percussion, Written-By – Jermaine Jackson
Bass – Eddie Watkins, Jr., Scott Edwards
Drums – Ed Greene, Ollie E. Brown
Guitar – Tim May
Guitar, Percussion – Paul Jackson
Keyboards – Greg Phillinganes, Joe Sample, Kevin Bassinson
Percussion – Emil Radocchia, Gary Coleman, Gene Estes
Synthesizer [Bass] – Gary Scott
Written-By – Hazel G. Jackson, Maureen Bailey
7:38
Label: Motown – M7-928R1
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Jermaine Jackson's 1980 album Let's Get Serious, heavily influenced by Stevie Wonder's production and songwriting, was a major solo breakthrough, blending funk, disco, and soulful ballads, featuring hits like the iconic title track and "You're Supposed to Keep Your Love for Me," solidifying his place as a solo star with gold status and a Grammy nod.
Critics praise its infectious grooves, strong basslines (Nathan Watts!), and polished sound, calling it a high point in his Motown career, a worthy response to his brother Michael's Off the Wall, and an all-killer-no-filler funk/soul masterpiece.
Stevie Wonder produced much of the album, co-writing hits like the title track and "Where Are You Now," bringing his signature funky, intricate style.
Genre Blend: Seamless mix of danceable funk, smooth R&B, and heartfelt ballads, appealing to both pop and soul audiences.
Hit Singles: The energetic title track became a #1 R&B and Top 10 Pop hit; "You're Supposed to Keep Your Love for Me" also charted well.
Critical Acclaim: Seen as Jermaine's best Motown album, showcasing his talent and standing as a strong solo effort.
Standout Tracks: Besides the hits, tracks like "Feelin' Free," "Burnin' Hot," and "You've Got to Hurry Girl" are noted for their catchy, funky energy.
Fans and critics widely regard Let's Get Serious as a classic, a successful commercial effort that proved Jermaine's capabilities beyond The Jacksons, featuring incredible production and rhythms that still hold up. It's considered essential listening for 80s R&B/funk fans.
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, Love And Living
Written-By – C. Donida, Jerry Leiber & Mike Stoller, Mogol
3:29
A2 Honey, I Don't Mind
Written-By – Randy Cone
3:11
A3 Forced To Fight (This Losing Battle)
Written-By – D. Porter, R. Williams
3:07
A4 The Key To My Life
Written By – John G. Williams
Written-By – Joe Shamwell
4:02
A5 Thats, That
Written-By – D. Porter, R. Williams
3:24
A6 Sister Rose 3:00
B1 You, Trouble And Me
Written-By – Chuck Brooks, James Banks
6:19
B2 (You've Got) My Mind Working Overtime
Written-By – D. Porter, R. Williams
4:44
B3 Baby, Hold On To Me
Written-By – D. Porter, R. Williams
4:53
B4 Nobody, But You
Written-By – Barry Mann & Cynthia Weil
4:07
Label: Cotillion – SD 9909
Format: Vinyl, LP, Album
Country:US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
John Edwards' second solo album, Life, Love And Living (1976), is widely regarded as a stellar example of mid-70s southern soul and a key bridge between different soul scenes of the era. Released on Cotillion Records and produced by David Porter, the album features Edwards' remarkable vocal range shortly before he joined The Spinners as their lead singer.
Reviewers frequently highlight Edwards' "top-notch" vocals, noting a Sam Cooke-influenced tone blended with powerful falsetto and gritty musical screams. Critics describe him as a "singer's singer" with a voice that has grown even more appreciated over time.
The album was recorded across three iconic southern studios—Malaco, Muscle Shoals, and Ardent. It is noted for a "unique vibe" that includes slight tropical touches and a "deep soul component" reminiscent of artists like Al Green or Sam Dees but with a tighter, more modern approach.
The LP is uniquely divided into two conceptual halves:- ide A ("The Meat Side"): Features more direct, harder-hitting tracks; Side B ("The Sweet Side"): Focuses on deeper ballads and smoother arrangements.
The album produced two charted R&B singles: "Baby, Hold On To Me" – A pleading, standout performance, and "Nobody, But You" – A deep soul track that achieved chart success in 1977. Other Notable Tracks: "You, Trouble, & Me," "The Key To My Life," "That's That," and a soul-infused cover of "(I) Who Have Nothing".
The album maintains a steady reputation among soul collectors, with average ratings typically around 3.8 out of 5 stars on enthusiast platforms like Discogs. While it was unissued on CD for many years, it was later re-released by Kent Records, which fans consider an "essential buy" for 70s soul enthusiasts.
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.
Lightnin’ Slim
2 My Baby Left Me This Morning 3:52
3 It's Mighty Crazy 3:15
4 Caress Me Baby 5:16
5 I Love You Baby 3:10
6 The Sky Is Crying 6:26
7 G.I. Slim 3:15
8 Help Me Spend My Gold 3:04
9 My Little Angel Chile 4:19
10 Too Close Blues 4:03
11 I Want You To Love Me 6:42
12 Bed Bug Blues 4:03
13 I'm Tired Waitin' Baby 3:51
14 Ah'w Baby 4:48
Label: Indigo Recordings – IGOCD 2002
Format: CD
Country: UK
Released: 1992
Genre: R&B Blues
Style: Louisiana Blues
Lightnin' Slim's Blue Lightning (1992) is a key Swamp Blues compilation on Indigo Records, showcasing his raw, hypnotic Louisiana sound with tracks like "It's Mighty Crazy" & "Sky Is Crying," featuring Lazy Lester's harmonica, capturing his authentic, juke-joint-ready blues from the golden era of J.D. Miller recordings, offering fans a definitive taste of his essential swampy, guitar-driven style.
Blue Lightning isn't an original 1950s album but a 1992 compilation by the UK label Indigo, collecting his best tracks from the 1950s and 60s sessions.
Lightnin' Slim (Otis Hicks) was a major figure in Louisiana blues, known for his distinct guitar and vocal style, honed in Baton Rouge juke joints before his career-defining recordings.
In essence, Blue Lightning serves as an excellent introduction and collection of Lightnin' Slim's defining work, capturing the essence of Louisiana Swamp Blues.
Lightnin Slim Lightnin Slim
Listen
4:40
A2 You've Got A Hard Head
4:29
A3 Lovin' You
4:15
A4 It's All About You
3:59
B1 You're The Sweetest Thing I've Ever Had
3:57
B2 I Get A Feeling
3:40
B3 Why Don't You Treat Me Like I'm Your Man
2:55
B4 You Bring Love
3:49
B5 You Stole My Heart
3:28
Written, Produced and Arranged by Johnny "Guitar" Watson
Label: Fantasy – F-9437
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Funk
Style: Rhythm & Blues, Soul, Funk
Released in 1973 on Fantasy Records, Listen captures Johnny "Guitar" Watson in a pivotal transition from his 1950s/60s blues roots to the flamboyant soul-funk persona that would later define his career.
Unlike his strictly blues early output, this album leans heavily into early 70s soul with moderate hints of funk. Watson took full creative control, serving as both producer and arranger.
Critics praise his "stinging guitar licks" and his use of George Benson-style octaves on tracks like "It's All About You".
Track Highlights:-
"You've Got a Hard Head": Cited as a standout for its sharp guitar work.
"Why Don't You Treat Me Like Your Man": A slow-burn funk track with engaging lyrics that foreshadowed his later witty style.
"You’re the Sweetest Thing I’ve Ever Had": A smooth soul item that shows Watson adapting to contemporary R&B radio of the time.
While often called a "gem" by collectors, some reviewers consider it decent but not great compared to his subsequent "breakout" albums like Ain't That a Bitch (1976).
It is viewed as an essential chapter for serious collectors because it establishes the blueprint for the "Gangster of Love" persona. It holds high average ratings on Discogs (ranging from 4.17 to 4.89 out of 5 across various pressings).
Live At Fillmore West
Written-By – Otis Redding
3:56
A2 Love The One You're With
Written-By – Stephen Stills
4:21
A3 Bridge Over Troubled Water
Written-By – Paul Simon
5:49
A4 Eleanor Rigby
Written-By – John Lennon & Paul McCartney
2:33
A5 Make It With You
Arranged By [Horns] – Larry Wilcox
Written-By – David Gates
4:32
A6 Don't Play That Song
Arranged By [Horns] – Tom Dowd
Written-By – Ahmet Ertegun, Betty Nelson
3:17
B1 Dr. Feelgood
Written-By – Aretha Franklin, Ted White
7:02
B2 Spirit In The Dark
Written-By – Aretha Franklin
5:20
B3 Spirit In The Dark (Reprise With Ray Charles)
Written-By – Aretha Franklin
8:38
B4 Reach Out And Touch (Somebody's Hand)
Written-By – Nickolas Ashford & Valerie Simpson
2:39
Label: Atlantic – SD 7205
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre:
R&B Soul
Style: Soul
Aretha Live at Fillmore West (1971) is widely hailed as a landmark live album, capturing The Queen of Soul at her peak, blending soulful funk with the psychedelic rock scene, featuring iconic covers like "Eleanor Rigby" and "Bridge Over Troubled Water," and highlighted by a legendary impromptu duet with Ray Charles, solidifying its status as an essential, powerful document of her artistry.
Reviewers praise her commanding vocals, inventive reinterpretations of contemporary hits (like Stephen Stills' "Love the One You're With"), and the stellar backing band, though some modern audiophile releases offer superior sound quality for the immersive experience.
Franklin seamlessly integrates her gospel roots and R&B power with the hippie San Francisco scene, winning over the crowd with covers of popular rock/pop songs.
The album showcases her raw, unrestrained power, with critics noting moments where her voice cracks, adding to the authenticity and soulful delivery, especially on "Dr. Feelgood" and "Spirit in the Dark".
Her reimagining of "Bridge Over Troubled Water" is frequently called one of the best versions ever, and her take on The Beatles' "Eleanor Rigby" transforms it into a personal anthem.
Backed by King Curtis and the Kingpins, with special appearances by Ray Charles and Billy Preston, the musicality is top-tier.
It's considered a definitive live record, offering an unparalleled glimpse into Franklin's live artistry, making it a must-have for fans.
While the original recordings capture the energy, some reviewers find the sound quality of earlier versions lacking, with later audiophile pressings (like Blu-ray or specific vinyl reissues) offering improved depth and clarity.
Some listeners find the playlist unusual or prefer other live albums like Amazing Grace, but acknowledge its unique appeal.
Aretha Live at Fillmore West is an essential, powerful recording that captures Aretha Franklin at the height of her powers, redefining popular songs and showcasing her undeniable dominance as the Queen of Soul, making it a high point in live music history.
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.
Living To Give
Arranged By – Thom Bell
Songwriter – Gary Geld, Peter Udell
2:58
A2 Time And Love
Songwriter – Laura Nyro
3:10
A3 I Messed Up On A Good Thing
Songwriter – Clint Ballard Jr., Jim Fragale
2:39
A4 Purlie (From The Broadway Musical "Purlie")
Arranged By – Jimmy Wisner
Songwriter – Gary Geld, Peter Udell
2:38
A5 Captain St. Lucifer
Songwriter – Laura Nyro
3:21
A6 I Love Making Love To You
Songwriter – Andy Badale, Jim Fragale
2:53
B1 We're Living To Give (To Give To Each Other)
Songwriter – Andy Badale, Jim Fragale
3:05
B2 Sunny
Songwriter – Bobby Hebb
4:12
B3 The Flesh Failures (Let The Sun Shine In) (From The Broadway Musical "Hair")
Songwriter – Galt MacDermot, Gerome Ragni, James Rado
3:18
B4 Easy To Be Hard (From The Broadway Musical "Hair")
Songwriter – Galt MacDermot, Gerome Ragni, James Rado
3:38
B5 He Comes Down This Morning (From The Broadway Musical Version Of "Raisin In The Sun")
Songwriter – Judd Woldin, Robert Brittan
3:14
B6 The Facade
Songwriter – Jim Fragale, Lou Stallman
3:26
Label: Mercury – SR 61287
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul, Pop
Style: Musical, Soul
Melba Moore's 1970 debut, Living to Give, showcases her powerful voice and versatility, bridging Broadway, R&B, and Soul with potential disco vibes, though it was underpromoted despite her strong vocal talent and early promise as a dance-era star, establishing her as a significant, multifaceted artist early in a long career.
This marked Melba Moore's introduction to the recording world, following her Broadway success. It highlighted her beautiful, four-octave voice, demonstrating her range across genres like R&B, Soul, Jazz, and Pop.
The album hinted at her future as a disco queen, with strong R&B and Soul foundations, showcasing her ability to adapt. Despite its quality, it reportedly suffered from poor marketing, limiting its initial impact.
It laid the groundwork for her enduring career, proving her talent and setting her apart as a unique voice in music.
In essence, Living to Give is a strong, versatile debut from a major talent, offering a blend of soul and early dance potential that defined Moore's early path in music.
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.
Lonely Man
A2 Giving You My Heart
Arranged By, Conductor – Garry Sherman 2:37
A3 Blow Wind
Arranged By, Conductor – Garry Sherman 2:43
A4 My Arms Aren't Strong Enough 2:31
A5 One More Time Before I Go
Arranged By, Conductor – Belford C. Hendricks 2:32
B1 I'm Too Far Gone To Turn Around
Arranged By, Conductor – Belford C. Hendricks 2:44
B2 Just One Love
Arranged By, Conductor – Belford C. Hendricks 2:25
B3 It's Been Like This (All Of My Life) 2:43
B4 Sing, Girl
Arranged By, Conductor – Garry Sherman 2:34
B5 I'll Try Again
Arranged By, Conductor – Garry Sherman 2:26
Label: Columbia – CS 9460
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Freddie Scott's Lonely Man album showcases his versatile, soulful voice across pop, R&B, and even country-tinged tracks, featuring Brill Building songwriting, rich ballads like "Laura," organ-driven soul ("Blow, Wind"), his own "One More Time Before I Go," and a Spanish-flavored title track, highlighting him as a deeply feeling singer capable of making any song matter, even if not a huge commercial hit initially. It's praised by soul fans as a solid, varied LP with great arrangements, a testament to his talent beyond his biggest hits.
Scott could tackle pop standards ("Laura," "Everything I Have Is Yours") with heartfelt delivery, soulful R&B ("Blow, Wind"), and even Nashville sounds ("One More Time Before I Go").
The album features his own compositions, like the country-tinged "One More Time Before I Go," reminding listeners of his Brill Building songwriting roots.
It blends pop-soul with early R&B and Northern Soul vibes, often with lively harmonies and busy, satisfying arrangements, even incorporating elements of Philadelphia soul.
While perhaps not a massive mainstream success, it's considered a valuable "lost nugget" for soul enthusiasts, filled with strong performances.
Highlights often cited include the title track "Lonely Man," "Blow, Wind," "Laura," and the self-penned "One More Time Before I Go".
Lonely Man stands as a strong testament to Freddie Scott's emotive voice and broad musical appeal, proving he was a significant soul singer who could deliver rich, heartfelt performances across various styles.
Lonely People
Written-By – Collins, Noble, Williams
6:32
A2 I Promise You
Written-By – Collins, Noble, Williams
3:00
A3 Angie
Written-By – Collins, Noble, Williams
4:02
A4 I'm Gonna Miss Your Love
Written-By – Collins, Noble, Williams
4:32
B1 Your Love
Written-By – Collins, Noble, Williams
4:41
B2 Keep Me Cryin'
Written-By – Collins, Noble, Williams
4:13
B3 Best Years Of My Life
Written-By – Green, Mitchell
4:19
B4 Shake It Loose
Written-By – Crook
4:36
Label: Timeless Records – TRPL 100
Format: Vinyl, LP, Album
Country: UK
Released: 1987
Genre: R&B Soul, Blues
Style: Rhythm & Blues, Soul
Released in 1987, Lonely People is a soul and funk album by American singer Ike Noble, primarily known for his raw, powerful vocal delivery. The album was issued in Europe (Germany and the UK) by the Timeless Records label.
The album is described as a "solid soul suite" featuring a range of tempos and production styles:
Title Track "Lonely People": Opens the album with a mellow mood, featuring a spoken intro by Noble and warm Fender Rhodes keys before transitioning into an uptempo groove.
Signature Tracks: Includes "Shake It Loose," a "gritty party jam" with a tight rhythm section and prominent synthesizers, and "Angie," which appeared as the title track of an earlier 1984 US release.
Much of the material was recorded in Detroit and Memphis and originated from an earlier 1984 release titled Angie on Connowil Records.
The album is sought after by collectors for its rare white vinyl pressing released in Germany. Produced and arranged by Howard "Skip August" Collins, who also managed Noble and owned the labels where his early work was released.
It maintains a strong reputation among specialized music communities, with average user ratings on Discogs ranging from 4 to 4.5 out of 5 stars across its various formats.
Long As You Love Me
Written-By – Bettye Crutcher, Mack Rice
A2 When We're Together
Written-By – Bettye Crutcher
A3 Passion
Written-By – Arris Wheaton, Bettye Crutcher, Mack Rice
A4 A Little Bit More Won't Hurt
Written-By – Bettye Crutcher, Mack Rice
A5 Sunday Morning's Gonna Find Us In Love
Written-By – Bettye Crutcher, Mack Rice
B1 Sugar Daddy
Written-By – Arris Wheaton, Bettye Crutcher, Mack Rice
B2 Call Me When All Else Fails
Written-By – Bettye Crutcher, David Porter, Ronnie Williams
B3 Up For A Let Down
Written-By – Bettye Crutcher, Mack Rice
B4 So Lonely Without You
Written-By – Bettye Crutcher, Mack Rice
B5 Sleepy People
Written-By – Bettye Crutcher
Label: Enterprise – ENS-7505
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Bettye Crutcher's sole solo album, Long As You Love Me (1974), is widely regarded by soul connoisseurs as a "hidden gem" of the Stax Records catalog. Produced by Crutcher and Mack Rice, it features backing from the Muscle Shoals Rhythm Section and the Memphis Symphony Orchestra.
Contemporary critics often highlight the album's high production values and "first-class" arrangements. It has been described as an "essential" soul package, particularly in its expanded 2013/2014 reissues.
Reviews of her singing are mixed. Some praise her "mellow-voiced" and "sweetly compelling" delivery, while others find her vocals "limited" or "almost timid" compared to the powerhouse soul singers of her era.
Originally released during the final days of Stax, the album lacked promotion and remained obscure until it was rediscovered by hip-hop producers for sampling in the late 1980s.
Standout Tracks... "Sugar Daddy": An up-tempo track featuring flutes and strings, released as a single; "Passion": An atmospheric, slow ballad later covered by Shirley Brown; "Call Me When All Else Fails": A "churchy," slow gospel ballad noted for its emotional depth; "Up For A Let Down": A mid-tempo track with a pop-influenced Bacharach-David feel.
The Ace/Stax 2013 CD reissue includes six bonus tracks, such as "So Glad To Have You" and "Make A Joyful Noise". Ratings on Discogs currently average around 4.4/5.
Look Out For Number 1
Words By, Music By – George Johnson, Louis Johnson, Senora Sam 4:44
A2 Thunder Thumbs And Lightnin' Licks 4:51
A3 Get The Funk Out Ma Face
Words By, Music By – George Johnson, Louis Johnson, Quincy Jones 2:27
A4 Tomorrow 2:58
A5 Free And Single
Words By, Music By – George Johnson And Louis Johnson 4:07
B1 Come Together
Words By, Music By – John Lennon And Paul McCartney 4:12
B2 Land Of Ladies
Guitar – Lee Ritenour
Words By, Music By – George Johnson And Louis Johnson 4:30
B3 Dancin' And Prancin'
Words By, Music By – George Johnson And Louis Johnson 3:01
B4 The Devil
Words By, Music By – George Johnson And Louis Johnson 3:40
Label: A&M Records – SP-4567
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The Brothers Johnson' 1976 debut, Look Out For #1, produced by Quincy Jones, is hailed as a landmark funk/soul album, celebrated for its sophisticated grooves, tight musicianship (especially Louis Johnson's bass), infectious hits like "I'll Be Good to You," and a great blend of instrumentals ("Thunder Thumbs") and covers ("Come Together"), establishing them as funk royalty with timeless appeal.
Quincy Jones's expert touch provided lush, top-notch production, elevating the Brothers' sound and lending credibility. A sophisticated blend of funk and soul, featuring intricate bass lines, sharp guitar work, and smooth harmonies.
Key Tracks:
"I'll Be Good to You": A massive R&B hit, known for its catchy, addictive chorus and soulful groove.
"Thunder Thumbs and Lightnin' Licks": A powerful instrumental showcasing Louis "Thunder Thumbs" Johnson's iconic bass skills.
"Get the Funk Out Ma Face": A gritty, dance-floor-ready funk jam.
"Tomorrow": Another strong instrumental that became a hit for Quincy Jones later.
"Come Together": A soulful, distinctive cover of The Beatles' classic.
Widely considered a classic debut, it played a crucial role in defining 70s funk, influencing many artists, and remains a popular album for its timeless grooves and strong musicianship.
Critics praised the album's energy, musicianship, and its ability to appeal to a broad audience. It's seen as a defining moment for the Brothers Johnson, cementing their status as funk legends.
Overall, Look Out For #1 is a highly recommended album, delivering consistent entertainment and groove from start to finish, proving why The Brothers Johnson became such influential figures in funk music.
Look-Ka Py Py
Written-By – Neville, Porter, Modeliste, Nocentelli
3:15
A2 Rigor Mortis
Written-By – Neville, Porter, Modeliste, Nocentelli
2:35
A3 Pungee
Written-By – Neville, Porter, Modeliste, Nocentelli
2:38
A4 Thinking
Written-By – Neville, Porter, Modeliste, Nocentelli
1:38
A5 This Is My Last Affair
Written-By – Neville, Porter, Modeliste, Nocentelli
2:50
A6 Funky Miracle
Written-By – Neville, Porter, Modeliste, Nocentelli
2:25
B1 Yeah, You're Right
Written-By – Neville, Porter, Modeliste, Nocentelli
2:41
B2 Little Old Money Maker
Written-By – Neville, Porter, Modeliste, Nocentelli
2:38
B3 Oh, Calcutta!
Written-By – Stanley Walden
2:45
B4 The Mob
Written-By – Neville, Porter, Modeliste, Nocentelli
2:44
B5 9 'Til 5
Written-By – Neville, Porter, Modeliste, Nocentelli
2:45
B6 Dry Spell
Written-By – Neville, Porter, Modeliste, Nocentelli
2:27
Label: Josie – JOS 4011
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Bayou Funk, Soul, Funk
The Meters' album “Look-Ka Py Py” is a seminal, effortlessly funky instrumental masterpiece, celebrated for its tight grooves, iconic title track, and deep influence on funk, rock, and hip-hop, showcasing precise musicianship, fat basslines, and dry, upfront drums that perfectly capture New Orleans soul with raw, infectious charm, solidifying the band as legends.
The album flows seamlessly, with songs feeling like natural, unforced jam sessions, highlighting The Meters' chemistry. It's considered a pure, essential slice of early, primitive funk, characterized by sparse arrangements and deep grooves. It's a definitive snapshot of New Orleans music, a sound that became foundational for many genres.
Reviews praise the interplay between Art Neville's organ, Leo Nocentelli's precise guitar, George Porter Jr.'s fat bass, and Zigaboo Modeliste's sharp, upfront drums.
Standout Tracks
"Look-Ka Py Py": The iconic, wordless title track, known for its irresistible hook and deep groove, often highlighted as a pinnacle.
"Funky Miracle": An infectious, hard-stopping jam that showcases the band's tight interplay.
"Oh, Calcutta!": A surprising but perfectly delivered cover that became a staple and was famously sampled.
Its DNA runs through funk, rock, and hip-hop, influencing countless artists and even appearing in soundtracks. Considered vital for understanding funk, this second album builds on their debut with even deeper grooves, making it a classic.
In short, Look-Ka Py Py is a must-have, a masterclass in instrumental funk that's both sophisticated in its simplicity and endlessly danceable, proving The Meters were masters of the groove from the very start.
Looking Back
Written-By – Bradford Craig, H.B. Barnum, Ron Carson 3:38
A2 I Don't Want It To End
Written-By – Sam Dees 2:53
A3 Don't Take Away Your Love
Written-By – Sam Dees 3:01
A4 I Never Meant To Love Her
Written-By – Ron Carson, Terri McFadden 3:38
B1 More Than A Friend Of Mine
Written-By – Sam Dees 3:09
B2 Love Vibes
Written-By – Scales, Griffin 5:07
B3 At Last
Written-By – Warren, Gordon 3:22
B4 You Ought To Be Here With Me
Written-By – James Bluminberg, Lee Charles 3:14
Label: Gunsmoke – SMO-002
Format: Vinyl, LP, Album
Country: US
Released: 1990
Genre: R&B Soul
Style: Southern Soul
Jesse James’ 1990 album Looking Back is a cornerstone of his discography, particularly noted for its contribution to the Southern Soul and R&B genres during the early 1990s.
The album is characterized by a "deep soul" sound, often compared to the work produced by the Malaco Records roster. It features a blend of gritty mid-tempo tracks and heartfelt ballads, often accompanied by classic soul-style monologues.
Standout Tracks:
"I Can Do Bad By Myself": One of James’ most famous hits, which became an anthem in the Southern Soul circuit and was later the inspiration for a Tyler Perry play and film.
"Looking Back": The title track, which sets a nostalgic tone for the record.
"I Got a Problem": A track noted for its emotional depth and traditional R&B arrangements.
Reviews often highlight the album as a defense against the claim that "authentic" Southern soul was dead in the 1990s. It is praised for its "soul as it was and soul as it should be".
James is frequently commended for his "rough-edged yet smooth" vocal delivery, which carries the emotional weight required for his storytelling-heavy songs.
While Jesse James remained a cult figure in mainstream pop, this album solidified his status as a legend in the "Chitlin' Circuit," where he continued to be a top performer for decades.
For those interested in exploring his more recent work, he released "Back On Top Again" in 2024 via Soul Junction Records, which continues his legacy of classic Southern Soul.
Love
Arranged By [Horns] – Jel Jongen, Roger Heijster
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster 3:36
2 We Got Love
Arranged By [Horns] – Hans Van Houdt, Nico Gerarts
Music By, Lyrics By – Roger Heijster 3:05
3 Longing For You
Arranged By [Strings] – Ward Veentra
Lyrics By – George McCray
Music By – Roger Heistjer 2:48
4 Love Me
Arranged By [Horns] – Arjan Muusz, Roger Heijster
Lyrics By – George McCray, Roger Heijster, Roeland Hugen
Music By – Roger Heijster, Roeland Hugen 4:05
5 Call Me
Arranged By [Horns] – Arjan Muusz
Lyrics By – Roger Heijster
Music By – Maarten Helsloot, Roger Heijster 3:25
6 Count On Me
Arranged By [Horns] – Martinus Filemon, Nico Gerarts, Roger Heijster
Synthesizer [Farfisa Synthorchestra] – Lennart Temmink
Written-By – Martinus Filemon, Roger Heijster 3:52
7 Rosanna
Arranged By [Horns] – Arjan Muusz, Jel Jongen, Roger Heijster
Arranged By [Strings] – Ward Veentra
Lyrics By – George McCray
Music By – Roger Heijster 4:04
8 Brand New Man
Arranged By [Horns] – Nico Gerarts, Roger Heijster
Arranged By [Strings] – Ward Veentra
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster 2:51
9 Sexy Woman
Arranged By [Horns] – Arjan Muusz, Jel Jongen, Roger Heijster
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster 3:13
10 Beautiful
Arranged By [Horns] – Arjan Muusz, Roger Heijster
Arranged By [Strings] – Ward Veenstra
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster 3:21
11 Ooh Baby Baby
Arranged By [Horns] – Hans Van Houdt, Nico Gerarts, Roger Heijster
Lyrics By – Roger Heijster
Music By – Roger Heijster, Thomas Dessing 3:16
12 Girl Of My Dreams
Arranged By [Horns] – Jel Jongen, Nico Gerarts, Roger Heijster
Written-By – Roger Heijster 3:11
13 A Taste Of Heaven
Arranged By [Horns] – Nico Gerarts, Roger Heijster
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster
Soloist [Trumpet] – Rik Moi
Whistling – Fred van Straten 3:14
14 Living Out A Dream
Arranged By [Horns] – Roger Heijster
Lyrics By – George McCray, Roger Heijster
Music By – Roger Heijster 3:58
15 A Taste Of Heaven (Reprise) 1:27
Label: PopMi Music – PMICD1601
Format: CD, Album
Country: Europe
Released: 2016
Genre: R&B Soul
Style: Soul, Disco, Funk
George McCrae's 2016 album Love was generally well-received as a welcome return to his soulful roots, praised for its modern production (including immersive Auro-3D audio) that blends classic '70s soul/disco vibes with contemporary polish, featuring McCrae's still-impressive falsetto and energetic performances from his Dutch band, though some reviewers wished for a bit more raw grit like his earlier hits. It was seen as a delightful, easy-listening soul record, perfect for fans of his iconic sound, proving his voice still held its quality after decades.
The album successfully merges vintage soul/disco with modern production, appealing to longtime fans and new listeners. Reviewers consistently highlighted McCrae's voice, noting his falsetto remained strong and pleasant, with impressive range and emotion.
Its state-of-the-art recording, especially the immersive Auro-3D audio, was a major selling point for audiophiles, offering a high-quality listening experience.
His touring band from the Netherlands, The Love Band, provided a lively, horn-enhanced sound. While enjoyable and classic-sounding, some felt it lacked the raw grit of his biggest hits, but remained a solid, fresh addition to his discography.
Love was seen as an enjoyable, polished, and authentic soul album that showcased George McCrae's enduring vocal talent and brought back the feel of '70s T.K. Records soul with updated soundscapes, making it a worthwhile listen for soul and disco fans.
Love Ain’t Nothin’ But A Business Goin’ On
Written-By – Bobby Adams 3:20
A2 The Outside Man
Written-By – Van Leer, Moore, Parker 3:12
A3 Darling Depend On Me
Written-By – D Robey, F Washington 3:43
A4 Taxman
Written-By – George Harrison 3:42
A5 Rivers Invitation
Written-By – Percy Mayfield 2:45
B1 I Wonder Where Our Love Has Gone
Written-By – Buddy Johnson 3:38
B2 Just To Hold My Hand
Written-By – Don Robey 3:51
B3 You Know I Love You
Written-By – R King, J Taub 3:33
B4 Lady Madonna
Written-By – J Lennon-P McCartney 2:12
B5 Tomorrow Never Knows
Written-By – J Lennon-P McCartney 3:25
Label: People – PLEO 18
Format: Vinyl, LP
Country: UK
Released: 1974
Genre: R&B Funk, Soul, Blues
Style: Soul-Blues
Junior Parker's fLove Ain't Nothin' But A Business Goin' On (originally The Outside Man) is a highly-regarded, funky 1970s soul-blues album, celebrated for Parker's smooth vocals, tight rhythms by Horace Ott, heavy basslines, and its surprisingly fresh sound, especially notable for its inventive Beatles covers like a funk "Taxman" and psychedelic "Tomorrow Never Knows," making it a staple for sample-heavy hip-hop and a timeless crossover gem.
Blends deep blues roots with emerging funk and soulful arrangements, avoiding '70s R&B clichés.
It features iconic tracks like "Outside Man" and Beatles covers ("Taxman," "Lady Madonna," "Tomorrow Never Knows") that became legendary samples for artists like Cypress Hill and DJ Shadow.
The album showcases Parker's signature "buttery vocals" and heartfelt delivery, adding depth to both blues standards and unexpected covers with tight rhythms, heavy bass, and sublime arrangements (often by Horace Ott) keep it hip and groovy.
Critical Reception Highlights:
"Timeless Gem": Praised for its enduring quality and influence.
"Seriously Smooth": A superb example of early '70s soul/funk fusion.
"Funky & Hip": A great set proving Parker had more to offer than just traditional blues.
"Must-Hear" Covers: The Beatles covers, especially "Taxman" and "Tomorrow Never Knows," are often highlighted as standout, reimagined tracks.
Overall, it's considered a classic, influential album that successfully modernized Parker's sound for the 70s, appealing to both blues fans and new generations discovering its deep funk and soul grooves.
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.
o-jays ojays o jays the ojays the o jays
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 Approach
Lyrics By – Toni Smith
Written-By – Tom Browne 4:40
A2 Her Silent Smile
Written-By – Tom Browne 5:10
A3 Forever More
Written-By – Donald Blackman 3:20
A4 Dreams Of Lovin' You
Written-By – Omar Hakiim 4:15
B1 Nocturne
Written-By – Tom Browne 5:06
B2 Martha
Lyrics By – Toni Smith
Written-By – Tom Browne 3:38
B3 Moon Rise
Written-By – Lesette Wilson 5:12
B4 Weak In The Knees
Written-By – Viki Sylva 4:39
Label: Arista GRP 5008
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Funk, Disco
Tom Browne's Love Approach (1980) is a seminal jazz-funk album, celebrated for its fusion of soulful R&B grooves with crisp trumpet work, anchored by the iconic, dancefloor-filling hit "Funkin' For Jamaica (N.Y.)". Reviewers praise its smooth, comforting vibes, excellent production (on GRP Records), and timeless sound that helped define the emerging smooth jazz genre, making it a must-listen for funk and jazz fans, even decades later.
The album is a prime example of jazz-funk/crossover jazz, blending jazz instrumentation with funk rhythms, influencing the smooth jazz sound.
The standout track, "Funkin' For Jamaica (N.Y.)," is considered a monumental, timeless classic that remains popular.
THe album features crisp trumpet solos, comfortable beats, and cool, soulful vibes, suitable for background listening or focused enjoyment.
Released on GRP Records, the album is noted for its excellent production quality. Many fans find it remains a favorite, repeatedly purchasing it across different formats, highlighting its lasting impact.
Love Approach is a highly recommended album, praised for its perfect blend of jazz sophistication and funky accessibility, with "Funkin' For Jamaica" serving as its enduring centerpiece. It's considered essential listening for anyone into classic jazz-funk and early smooth jazz.
Love Changes
Backing Vocals [Additional] – Audrey Wheeler, Brenda White, Yogi Lee
Bass – Wayne Braithwaite
Drums – Paul Leim
Engineer [Additional] – Dennis Mitchell
Keyboards – Kashif
Mixed By – Darroll Gustamachio, Michael O'Reilly
Programmed By – Larry Williams
Vocals [Duet] – Meli'sa Morgan
4:51
2 Loving You Only
Backing Vocals – Yogi Lee
Guitar – Ira Siegel
Keyboards, Bass, Drums, Arranged By [Rhythm] – Eric Rehl
Keyboards, Percussion, Synthesizer [Synclavier], Arranged By [Rhythm] – Kashif
Mixed By, Programmed By [Synclavier, Vocals] – Darroll Gustamachio
Percussion – Bashiri Johnson
Rap, Vocals [Vocal Percussion] – Doug E. Fresh
4:35
3 It All Begins Again
Arranged By [Strings, Horns] – Gene Page
Backing Vocals – Johnny Kemp, Yogi Lee
Bass [Bass Guitar] – Nathan East
Drums – Paul Leim
Engineer [Additional] – Russ Terrana
Guitar – Dan Huff
Keyboards – Robbie Buchanan
Keyboards, Percussion, Synthesizer [Synclavier] – Kashif
Mixed By – Darroll Gustamachio, Michael O'Reilly
4:40
4 Love Me All Over
Arranged By [Strings, Horns] – Gene Page
Backing Vocals – Audrey Wheeler, Brenda White, Fonzi Thornton, Greg Phillinganes, Yogi Lee
Drums – Paul Leim
Engineer [Additional] – Russ Terrana
Guitar – Dan Huff
Keyboards, Bass, Drums, Synthesizer, Arranged By [Rhythm Track], Programmed By – Kashif
Mixed By – Darroll Gustamachio
Piano, Electric Piano [Rhodes] – Greg Phillinganes
Synthesizer, Programmed By – Robbie Buchanan
5:18
5 Midnight Mood
Drums, Percussion – Paul Leim
Engineer [Additional] – Russ Terrana
Keyboards – Kashif, Robbie Buchanan
Mixed By – Darroll Gustamachio
Saxophone [Soprane] – Kenny G
2:32
6 Fifty Ways (To Fall In Love)
Backing Vocals – Whitney Houston
Guitar – Ira Siegel
Keyboards, Bass, Drums, Percussion – Kashif
Mixed By – Darroll Gustamachio
Saxophone – Vincent Henry
4:50
7 Somebody
Arranged By [Strings, Horns] – Gene Page
Backing Vocals, Arranged By [Rhythm] – Cliff Dawson
Engineer [Additional] – Russ Terrana
Guitar – Ira Siegel
Keyboards, Synthesizer, Arranged By [Rhythm] – Kashif
Mixed By – Darroll Gustamachio
Saxophone [Alto] – Kenny G
4:32
8 Who's Getting Serious?
Backing Vocals – Exposé
Backing Vocals [Additional] – Debra Byrd, Fonzi Thornton, Michelle Cobbs
Co-producer, Engineer, Keyboards, Programmed By [Percussion] – Lewis A. Martineé
Engineer – Mike Couzzi
Engineer [Additional] – Darroll Gustamachio, John Guess
Guitar – Nestor Gomez
Keyboards, Programmed By [Percussion] – Mike Bakst
Mixed By – Michael O'Reilly
4:36
9 Reservations For Two
Arranged By [Strings, Horns] – Gene Page
Backing Vocals – Yogi Lee
Bass – Nathan East
Drums – Paul Leim
Engineer [Additional] – Calvin Harris, Russ Terrana
Guitar – Dan Huff
Keyboards, Drums, Percussion, Synthesizer, Arranged By [Rhythm] – Kashif
Keyboards, Synthesizer – Greg Phillinganes
Mixed By, Engineer – Darroll Gustamachio
Percussion – Bashiri Johnson
Programmed By [Synthesizer] – Larry Williams
Vocals [Duet] – Dionne Warwick
4:23
10 Vacant Heart
Backing Vocals – Fonzi Thornton, Michelle Cobbs, Phillip Ballou, Suzanne Slaughter, Yogi Lee
Engineer – Dennis Mitchell, Kurt Upper
Guitar – Ira Siegel
Keyboards, Bass, Drums, Percussion – Kashif
Mixed By – Darroll Gustamachio, Michael O'Reilly
3:59
Label: Arista – ARCD-8447
Format: CD, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Eighties Soul, Pop
Kashif's 1987 album Love Changes is a smooth, late-80s R&B/pop record known for its duets, particularly the hit title track with Meli'sa Morgan, and features Whitney Houston on background vocals for "Fifty Ways (To Fall in Love)". Shifting from his earlier funk roots, the album leans into slick, electronic balladry, showcasing Kashif's signature production with guest spots from Dionne Warwick and Doug E. Fresh, delivering polished tracks like "Love Me All Over" and "Who's Getting Serious?".
With this album he moved away from the boogie-funk style of his earlier work towards mainstream R&B/pop. It heavily featured collaborations, most notably with Meli'sa Morgan and Dionne Warwick, and background vocals from Whitney Houston.
It's characterized by slick, electronic arrangements typical of mid-80s R&B, with songs often produced for vocalists.
Notable Tracks: "Love Changes" (with Meli'sa Morgan); "Fifty Ways (To Fall in Love)" (with Whitney Houston on background vocals); "Love Me All Over"; "Loving You Only" (with Doug E. Fresh); "Who's Getting Serious?" (with Exposé).
While praised for its hit singles and star power, some critics noted it marked a departure from Kashif's original innovative funk sound, focusing more on contemporary R&B sounds. It remains a significant album in his catalog, representing a commercially successful phase of his solo career on Arista Records.
The album remains a staple of 80s R&B, with the title track "Love Changes" often being cited as one of the era's definitive duets. A digitally remastered and expanded edition was released in 2012, featuring bonus tracks such as extended remixes and instrumental versions.
Love Child
Written-By – D. Richards, F. Wilson, P. Sawyer, R. D. Taylor 2:55
A2 Keep An Eye
Written-By – N. Ashford, V. Simpson 2:59
A3 How Long Has That Evening Train Been Gone
Written-By – F. Wilson, P. Wilson 2:46
A4 Does Your Mama Know About Me
Written-By – T. Chong, T. Baird 2:52
A5 Honey Bee (Keep On Stinging Me)
Written-By – D. Dean, D. Richards, J. Bradford 2:20
A6 Some Things You Never Get Used To
Written-By – N. Ashford, V. Simpson 2:24
B1 He's My Sunny Boy
Written-By – William Robinson, Jr. 2:18
B2 You've Been So Wonderful To Me
Written-By – A. Story, A. Gaye, H. Gordy 2:31
B3 (Don't Break These) Chains Of Love
Written-By – G. Beauchamp, H. Fuqua, J. Bristol 2:23
B4 You Ain't Livin' Till You're Lovin'
Written-By – N. Ashford, V. Simpson 2:41
B5 I'll Set You Free
Written-By – B. Gordy Jr., G. Fuqua, I. Hunter, R. Tener 2:37
B6 Can't Shake It Loose
Written-By – G. Clinton, J. Jackson, R. M. McCoy, S. Barnes 2:07
Label: Motown – MS 670
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul, Pop
Style: Sixties Soul, Motown
The Love Child album by Diana Ross & The Supremes (1968) marked a significant shift, showcasing a more personal, grittier sound with distinct lyrics, moving away from the classic Holland-Dozier-Holland pop formula, and features the iconic #1 title track alongside other strong cuts like "Some Things You Never Get Used To," offering fans a memorable, emotionally charged experience and a great entry point into their extensive catalog. Reviewers praise its emotional depth, strong songwriting, unique arrangements (like the locomotive piano intro on the title track), and Diana Ross's captivating, energetic vocals, making it a highly recommended, classic album.
It was the first Supremes album without Holland-Dozier-Holland, introducing a different, more mature, and personal sound with deeper lyrical themes. "Love Child" became a massive hit, praised for its distinctive instrumental arrangement, compelling story, and Ross's soulful delivery, says this Stereogum article and this Cryptic Rock article.
Beyond the title track, listeners highlight gems like "Some Things You Never Get Used To," "He's My Sunny Boy," and "How Long Has That Evening Train Been Gone," as noted on Rate Your Music. Diana Ross's clear, emotionally charged vocals are a highlight, driving the songs with energy. The album features inventive arrangements and strong musicality from The Funk Brothers, foreshadowing later disco trends with its dynamic instrumentation.
Highly recommended as a pivotal album, offering both nostalgia and a fresh listen, particularly the high-quality vinyl reissues. Considered one of the Supremes' best releases due to its consistent quality and few filler tracks, making it an excellent starting point for new fans.
Love Deluxe
Music By – Adu, Matthewman
Percussion – Martin Ditcham
7:20
2 Feel No Pain
Music By – Hale, Adu, Matthewman
5:09
3 I Couldn't Love You More
Music By – Hale, Denman, Adu, Matthewman
3:50
4 Like A Tattoo
Music By – Hale, Adu, Matthewman
3:39
5 Kiss Of Life
Arranged By [Strings] – Nick Ingman
Music By – Hale, Denman, Adu, Matthewman
Percussion, Drums – Martin Ditcham
5:51
6 Cherish The Day
Music By – Hale, Adu, Matthewman
5:35
7 Pearls
Arranged By [Strings] – Nick Ingman
Cello [Solo] – Tony Pleeth
Music By – Hale, Adu
4:34
8 Bullet Proof Soul
Music By – Hale, Adu, Matthewman
5:26
9 Mermaid
Engineer, Mixed By – Chris Lord-Alge
Music By – Hale, Denman, Adu, Matthewman
4:24
Label: Epic – EK 53178
Format: CD, Album, Stereo
Country: US
Released: 1992
Genre: R&B Jazz, Funk, Soul, Pop
Style: Smooth Jazz, Soul, Neo Soul
Sade's Love Deluxe (1992) is widely hailed as a masterpiece, praised for its immersive, dreamy atmosphere, exquisite production, and Sade Adu's iconic, velvety voice, blending themes of love, loss, and longing with lush soundscapes, fluid instrumentation (especially guitar, sax, bass, piano), and deep emotional resonance, creating a cohesive, no-filler experience perfect for sophisticated R&B/Sophisti-Pop fans seeking blissful, immersive listening.
Described as an "ocean of feeling," "blissful abstraction," and a "dreamy, atmospheric, and immersive" experience, inviting listeners to float.
Some find the focus purely on romance a potential drawback, or that minimalist tracks can feel slightly sparse, though still beautiful.
Production: Gorgeous, warm, and rich, with subtle layers, perfect soundscapes, and immaculate detail, featuring fluid dynamics from the band.
Vocals: Sade's voice is consistently lauded as one of the best ever – smooth, convincing, emotional, and capable of conveying deep feeling.
Instrumentation: Features iconic saxophone, deep bass, subtle guitar (like Spanish-style on "Like a Tattoo"), and piano, all perfectly arranged.
Themes: Explores deep aspects of love, heartbreak, longing, pleasure, and trauma with poetic, captivating lyrics.
Cohesion: Considered a perfectly focused album with no filler, a strong statement, and an "absolute masterpiece".
Standout Tracks:-
"No Ordinary Love": Iconic, haunting, sensual, and a benchmark for the album's deep bass and atmosphere.
"Kiss of Life": Radiant, uplifting, and a highlight for many.
"Like a Tattoo": A poetic, soulful, and deeply emotional track with subtle guitar work.
"Cherish the Day": Magical and a consistent favorite.
"Pearls": Considered one of the most beautiful and emotional songs ever written, touching on struggle.
Many reviewers call it Sade's masterpiece and one of the greatest R&B/Sophisti-Pop albums ever. The album's sound is so deep it feels like swimming, perfect for sound system showcases.
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 Reality
2 Love Is Reality 4:32
3 Just Can't Let You Go 4:08
4 You Don't Know Me 4:05
5 Again 4:50
6 Positive Attitude 4:30
7 Sure Feels Good 4:26
8 A Long Time 4:00
9 Why 4:11
10 I Like It 4:02
Words By, Music By – Al Green, Angie Alan Ebensberger (tracks: 5 to 7, 10), Cindy Cruse (tracks: 4), David Ebensberger (tracks: 5 to 7, 10), John Wirtz (4) (tracks: 9), Mark Stitts (tracks: 1, 2), Mike Stitts (tracks: 1, 2), Robert Wirtz (tracks: 9), Tim Miner (tracks: 1, 3, 4, 8, 9)
Label: Word – 701927160X
Format: CD, Album
Country: US
Released: 1992
Genre: R&B Soul, Gospel
Style: Gospel-Soul
Al Green's Love Is Reality (1992) received mixed reviews, often criticized for its slick, contemporary Christian/R&B sound that leaned heavily on producer Tim Miner's electronic style, moving away from Green's classic soul, though some found it a respectable gospel effort, praising Green's enduring voice but noting weaker compositions compared to his '70s work. Critics felt it was a departure, sometimes bland or generic, with some calling it the weakest of his career, while others appreciated it as a contemporary gospel album or a decent listen despite the production shift.
Produced by Tim Miner, the album featured a modern, synthetic sound with heavy electronic drums, which some disliked as overly commercial or formulaic.
Green's voice remained a highlight, described as fluid, fervent, and honey-toned, even if the songs didn't always match his talent. It marked a distinct move into high-tech, contemporary R&B gospel, a departure from his iconic soul sound.
Critical Reception was mixed; some found it disappointing or weak, while others saw it as a solid gospel record, with some listeners loving the sound and others preferring his older material.mReviews suggested songs varied from good to forgettable, often lacking the depth of his classic tracks, despite Green's vocal power.
In essence, Love Is Reality is seen as a commercially-driven, modern gospel album that showcases Al Green's voice but is let down by its production and less inspired songwriting compared to his legendary '70s soul albums, making it a polarizing release within his discography.
Love is Such a Funny Game
Written-By – Denzil Foster, Jay King, Thomas McElroy
4:42
2 You've Got A Friend
Written-By – Carole King
6:16
3 Dinner For Two
Written By – Ron Everette
5:48
4 Just Thinkin' Bout Cha
Written-By – Benjamin Wright, Ken Harris, Michael Cooper
4:29
5 No Other Lover
Written-By – Jay King, Michael Cooper
4:23
6 Oceans Wide
Written-By – Michael Cooper
4:45
7 Love Is Such A Funny Game
Written-By – Alex Hill, Jay King
3:57
8 Quickness
Written By – Erell Smith
Written-By – Michael Cooper
4:02
9 Look Before You Leave
Written-By – Alex Hill, Jay King
4:14
Label: Warner Bros. Records – 25653-1
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Contemporary R&B, New Jack Swing, Ballad
Released in late 1987, Love Is Such a Funny Game marked Michael Cooper’s successful debut as a solo artist following the disbandment of the legendary funk group Con Funk Shun. The album is widely regarded by critics and fans as a seamless transition that preserved his former band's soulful appeal while embracing a more modern late-80s sound.
The album blends contemporary R&B, funk, and early New Jack Swing. Reviewers on Barnes & Noble highlight its "variety of rhythms," ranging from high-energy dance tracks to silky ballads.
Cooper showcases more vocal range than in his Con Funk Shun days, notably utilizing a falsetto on tracks like "To Prove My Love" and a passionate tenor on slower grooves.
Key Tracks:-
"To Prove My Love" – The standout lead single that reached No. 3 on the Billboard Hot R&B Singles chart. It is often compared to the funk-heavy sound of Cameo.
"Dinner for Two" – A fan-favorite slow jam featuring a thumping bassline and smooth saxophone intro that reached No. 24 on the charts.
"You've Got a Friend" – A six-minute R&B reimagining of the classic Carole King song.
"Love Is Such a Funny Game" – The title track, noted for its "slinky" feel and lush background vocals.
The album marked Cooper's successful transition from a group member to a solo artist. It holds a strong reputation among "old school" R&B fans, maintaining a solid 3.96/5 average rating on Discogs.
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 Is The Message
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By [Uncredited] – Burton Lane, Frank Loesser 0:23
A1.b Love Is The Message
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – K. Gamble-L. Huff 6:35
A2 Cheaper To Keep Her
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – M. Rice 6:52
A3 My One And Only Love
Producer [Produced By], Arranged By – Vince Montana
Written-By – G. Wood, R. Mellin 4:34
B1 TSOP (The Sound Of Philadelphia)
(Theme From The Television Show "Soul Train")
Arranged By – Bobby Martin
Featuring, Vocals [Uncredited] – The Three Degrees
Producer [Produced By] – Gamble-Huff
Written-By – K. Gamble-L. Huff 3:43
B2.a Zack's Fanfare
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By [Uncredited] – Burton Lane, Frank Loesser 0:50
B2.b Touch Me In The Morning
Arranged By – Bobby Martin
Producer [Produced By] – Gamble-Huff
Written-By – M. Masser, R. Miller 6:21
B3 Bitter Sweet
Arranged By – Jack Faith
Producer [Produced By] – Bruce Hawes, Jack Faith
Written-By – B. Hawes, J. Faith 5:26
Label: Philadelphia International Records – KZ 32707
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1973
Genre: R&B Jazz, Funk, Soul
Style: Philly, Disco
MFSB's Love Is the Message (1973) is a landmark Philly Soul album, showcasing the Philadelphia International Records house band's rich fusion of orchestral soul, funk, and proto-disco, featuring iconic tracks like the #1 hit "TSOP (The Sound of Philadelphia)" (Soul Train theme) and the soulful title track, defining the smooth, lush "Philadelphia Sound" and paving the way for disco with its danceable grooves and jazzy arrangements.
A definitive album for the genre, blending lush strings, tight rhythms, and soulful melodies. Produced by the legendary duo Gamble & Huff, highlighting their signature sound with expansive arrangements.
It featured early disco elements, especially in "TSOP" and the title track, becoming club staples.
Showcases MFSB (Mother, Father, Sister, Brother), a large collective of studio musicians, in a rare outing as a featured artist, with jazzy solos and interplay.
Notable Tracks:
"TSOP (The Sound of Philadelphia)": Featuring vocals by The Three Degrees, this track became a global #1 hit and served as the iconic theme song for the television show Soul Train. It won the 1974 Grammy for Best R&B Instrumental Performance.
"Love Is the Message": The title track is a foundational anthem in club culture, later ranked by Rolling Stone as one of the 200 Greatest Dance Songs of All Time. It is celebrated for its signature "sermon-like" melody promoting unity and social harmony.
"Zack's Fanfare": An instrumental opener with jazz influences.
"Touch Me in the Morning": A soulful cover.
A commercial success, reaching #4 on the Billboard 200 and #1 on the R&B charts. Its blend of soul, jazz, and early disco cemented MFSB's status and influenced countless artists. Beyond its commercial success, the album is cited as a "cultural beacon" that bridged the gap between traditional soul and the emerging disco revolution of the mid-1970s.
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 Lite
A2 No Better Love 5:31
A3 Enjoy Ya 4:36
B1 Love Lite 5:09
B2 Say It Again 3:56
B3 Get It 9:00
Written-By – Willie Beck, Clarence Willis, James Williams
Label: Elektra – 6E-233
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco
Shadow’s 1979 album Love Lite, released on Elektra Records, is a well-regarded modern soul/funk gem featuring a tight, mid-tempo groove typical of late-70s R&B. The trio delivers a warmer, polished sound compared to pure post-disco, highlighted by tracks like "No Better Love," "Say It Again," and the title track.
Shadow was a trio associated with Leon Ware, bringing a polished soul sensibility to the Elektra label during that era. The album blends funk, soul, and disco, focusing on a "warmer" production style that moves away from heavy disco.
Standout Tracks: Key tracks mentioned for their quality include "No Better Love" and "Say It Again," which are noted for their "cold slow jam" feel, along with "Get It," "Love Lite," and "I Need Love".
The record is characterized by a "nice focus" to the songs, often appearing tighter than other contemporary work. The album is highly regarded by soul and disco enthusiasts for its sophisticated, mid-tempo groove that avoids the over-the-top tropes of late-70s club music.
On community platforms like Discogs, various pressings of the album maintain high user ratings, typically ranging between 4.0 and 4.8 out of 5 stars. The album is praised for its consistent, Groove-oriented, and soulful vibe, making it a solid, if sometimes overlooked, entry in late 1970s soul music.
Love Machine
3:28
2 Is There Anybody Lonely
4:42
3 Friday
3:59
4 Just Can't Let Go
4:38
5 Let Me See You Move It
3:06
6 Tell Me How You Want It
4:27
7 Let's Get It On
3:10
8 For Better Or Worse
5:10
9 Stop Fooling Around
3:14
10 Just Like Fire
3:06
Label: Mardi Gras Records – MG 1060
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Southern Soul
Sir Charles Jones' 2001 sophomore album, Love Machine, is widely considered the crowning jewel of the "King of Southern Soul’s" career. It famously spent 57 weeks on the Billboard Top R&B/Hip-Hop Albums chart, peaking at number 28.
Fans and critics like Daddy B. Nice often debate if his later work, The Masterpiece, surpassed it, but many still hold Love Machine as his definitive achievement.
Critics have praised the album for its "sensuality and emotional heat," noting that Jones' vocals successfully bridged the gap between traditional blues and contemporary soul.
Its longevity on the Billboard charts (over a year) cemented Jones as a major player in the "Chitlin' Circuit" and a "modern-day Johnny Mathis forged in a cauldron of the blues".
Key Tracks:-
"Is There Anybody Lonely?": Credited with bringing Jones massive attention on soul and blues radio, this ballad is often used as his signature show-closer.
"Friday": An enduring anthem that Southern Soul critics describe as sounding "fresh" even 20 years later; it captures the essence of the working man's weekend.
"Just Can’t Let Go" & "For Better or Worse": These tracks are frequently cited by fans as "early standards" and "vintage" essentials of the Southern Soul genre.
On platforms like Amazon and Discogs, the album maintains a high rating (average 3.67/5 on Discogs; 5/5 stars from most Amazon reviewers) who describe it as a collection of great love songs that chills you to the bone.
Love Makes A Woman
Written-By – Burt Bacharach, Hal David
2:25
A2 The Look Of Love
Written-By – Burt Bacharach, Hal David
2:23
A3 The Old Matchmaker
Written-By – Barbara Acklin, Eugene Record
2:54
A4 Come And See Me Baby
Written-By – Eugene Record
2:47
A5 I've Got You Baby
Written-By – Karl Tarleton, James Cleveland
2:14
A6 Love Makes A Woman
Written-By – Carl Davis, Eugene Record, Gerald Sims, William Sanders
2:55
B1 Please Sunrise, Please
Written-By – Barbara Acklin, Eugene Record
2:50
B2 Your Sweet Loving
Written-By – B. Butler
2:37
B3 Yes I See The Love (I Missed)
Written-By – Eugene Record
2:34
B4 To Sir, With Love
Written-By – Don Black, Marc Loudon
2:24
B5 Be By My Side
Written-By – Barbara Acklin, Eugene Record
2:36
Label: Brunswick – BL 754137
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Barbara Acklin – Love Makes A Woman (1968) is a foundational Chicago soul album produced by Carl Davis and Eugene Record, blending sophisticated pop-soul with gritty, melodic vocals. Featuring the hit title track, it showcases her songwriting talent and a refined, mature sound distinct from contemporary soul singers, making it a "must-have" for genre fans.
The album is considered a cornerstone of the Brunswick Chi-Soul sound, featuring loping grooves and lush, yet tight arrangements.
In addition to the title track, the album includes "Be By My Side," "Your Sweet Loving," "Come and See Me Baby," and a noteworthy cover of "The Look of Love".
Recognized as a landmark debut that established her as a premier vocalist and songwriter, with high praise for its quality and lasting impact. Acklin avoids the "little girl" vocal style common in some 60s soul, opting for a mature, direct approach.
The album is highly regarded by listeners, often described as having excellent, high-quality production, with many calling it a quintessential, essential, and "classy" listen.
The album is often described as a "five-star debut" and a "songwriting triumph". On platforms like Discogs, it maintains high user ratings (averaging ~4.5/5), with fans praising the pressing quality and enduring sound.
Originally released on the iconic Brunswick label, it solidified Acklin's transition from a label receptionist to a major soul star. The album remains a essential listen for fans of 1960s soul, available in various formats including a 180gm heavyweight vinyl reissue for modern listeners.
Love Makes No Sense
Written-By, Producer, Arranged By, Arranged By [Vocals], Drum Programming, Percussion – Jon Nettlesbey
Written-By, Producer, Arranged By, Arranged By [Vocals], Keyboards, Programmed By [Synthesizer] – Terry Coffey
4:36
2 If U Let It
Written-By, Producer, Arranged By [Rhythm], Keyboards, Drum Programming, Percussion, Recorded By – Lance Alexander
Written-By, Producer, Arranged By [Vocals], Backing Vocals, Recorded By – Tony Tolbert
5:14
3 Aphrodisia
Written-By, Producer, Arranged By [Rhythm], Keyboards, Drum Programming, Percussion, Recorded By – Lance Alexander
Written-By, Producer, Arranged By [Vocals], Backing Vocals – Tony Tolbert
5:18
4 Love Makes No Sense
Written-By, Producer, Arranged By [Rhythm], Keyboards, Drum Programming, Percussion, Piano, Synthesizer, Recorded By – Lance Alexander
Written-By, Producer, Arranged By [Vocals], Vocals [Additional], Backing Vocals, Recorded By – Tony Tolbert
6:58
5 Home Is Where The Heart Is
Written-By, Producer, Arranged By [Rhythm & Vocals], Keyboards, Drum Programming, Percussion, Recorded By – Zac Harmon
Written-By, Producer, Arranged By [Rhythm, Vocals & Strings], Piano, Synthesizer [Minimoog], Keyboards, Drum Programming, Percussion, Recorded By – Christopher Troy
6:15
6 Change Of Heart
Written-By – Christopher Troy, Diane Quander, Zac Harmon
4:44
7 Lady
Written-By, Producer, Arranged By [Rhythm], Keyboards, Synthesizer, Bass, Drum Programming, Percussion, Recorded By – Lance Alexander
Written-By, Producer, Arranged By [Vocals], Backing Vocals, Recorded By – Tony Tolbert
5:34
8 All That Matters To Me
Written-By – Allee Willis, Franne Golde
4:29
9 Since I've Been Loving You
Written-By – Franne Golde, Michael Bolton
4:01
10 Your Precious Love
Written-By – Nickolas Ashford/Valerie Simpson
Label: Tabu Records – 31454 9501 2
Format: CD, Album
Country: US
Released: 1993
Genre: R&B Soul, Funk
Style: Contemporary R&B, Soul
Alexander O'Neal's Love Makes No Sense (1993) is generally seen as a solid, well-produced album showcasing his rich voice, blending classic soul with contemporary R&B and New Jack Swing. Reviewers praise its strong grooves like "In The Middle" and "If U Let It," poignant ballads such as "Home Is Where The Heart Is," and standout tracks like the soulful "All That Matters" and his take on "What A Wonderful World," though some found slower tracks a bit lengthy, but overall a strong, consistent effort.
Fresh, modern sounds from new producers (like Jon Nettlesbey & Terry Coffey, Lance Alexander & Prof T) alongside O'Neal's signature style, featuring swing-beat and synth grooves. It marks a shift as O'Neal's final album for Tabu and his first without Jimmy Jam & Terry Lewis's formal production.
The album provided a chance for O'Neal to stretch out, showcasing his range from soulful moans to powerful singing, especially on slower, more introspective songs.
Standout Tracks: "In The Middle," "If U Let It" (New Jack Swing), "Aphrodisia," "Home Is Where The Heart Is," "All That Matters," and the cover of "What A Wonderful World".
It features a mix of upbeat dance tracks, romantic mid-tempo grooves, and heartfelt ballads that encourage reflection on relationships.
Some felt the album could have used more up-tempo tracks for variety, as ballads like "Home Is Where The Heart Is" could be considered long.
Considered a consistent, well-crafted album that highlights O'Neal's unique talent, echoing the quality of his earlier Hearsay album. It received high praise from fans for its quality and soulful depth, making it a favorite for both nostalgic and new listeners.
Alexander O Neal Alexander ONeal
Love Makes The World Go Round
Arranged By – Dale Warren
Written-By – Deon Jackson
2:27
A2 1-2-3
Arranged By – Dale Warren
Written-By – David White, John Madara, Leonard Borisoff
2:01
A3 Love Is What You Make It
Arranged By – Dale Warren
Written-By – Van McCoy
2:13
A4 No Not Much
Arranged By – Riley Hampton
Written-By – Al Stillman, Robert Allen
2:24
A5 You Said You Love Me
Arranged By – Riley Hampton
Written-By – Deon Jackson
2:37
A6 S.O.S.
Arranged By – Dale Warren
Written-By – A. Hamilton, C. Hatcher, R. Morris
2:02
B1 Love Takes A Long Time Growing
Arranged By – Dale Warren
Written-By – Helen Miller, Roger Atkins
2:30
B2 Nursery Rhymes
Arranged By – Riley Hampton
Written-By – Deon Jackson
2:14
B3 King Of The Road
Arranged By – Dale Warren
Written-By – Roger Miller
2:36
B4 I'm Telling You
Arranged By – Riley Hampton
Written-By – Sharon McMahan
2:21
B5 Hush Little Baby
Arranged By – Riley Hampton
Written-By – Deon Jackson
2:41
B6 Come Back Home
Arranged By – Riley Hampton
Written-By – Eddie Simpson
2:43
Label: ATCO Records – 33-188
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul
Deon Jackson’s 1966 debut (and only) studio album, Love Makes The World Go Round, is widely regarded by soul aficionados as a "masterpiece" of mid-60s Detroit soul. Produced by Ollie McLaughlin and arranged by Dale Warren, the album captures a transitional sound between Motown’s pop-sensibility and the grittier "Northern Soul" style that Jackson would later influence.
Critics often compare Jackson’s "sweetly honest" vocal style to Sam Cooke and Smokey Robinson. Reviewers highlight his ability to shift seamlessly into a "cool" falsetto.
The album is praised for its "unpredictably luscious and imaginative production," blending lilting melodies with "rollicking hard soul". It includes soul-inflected covers of contemporary hits like "1-2-3" and "King of the Road".
On collector platforms like Discogs, the album maintains high ratings (averaging 4.1 to 5 stars), with fans describing it as an underrated "soul classic".
Key Tracks & Highlights
"Love Makes The World Go Round": The title track remains Jackson's signature hit, described as a "happy, easy rhythm number". It reached #11 on the Pop charts and #3 on the R&B charts in 1966.
"Come Back Home": A standout dance tune that features a "deeper and tougher" soul delivery compared to his smoother ballads.
"Ooh Baby": Although not a massive hit at its release, this track is now considered a quintessential "Northern Soul" staple.
"Nursery Rhymes": An original track noted for its jazzy, bossa nova flavor and "funky horns".
The work of producer Ollie McLaughlin is highly regarded for blending "lilting qualities" with "rollicking hard soul". Critics and fans alike have called the arrangements brilliant and happy. While sometimes dismissed by casual listeners as a "one-hit wonder," dedicated soul fans, especially in the UK Northern Soul scene, treasure the album as a "soul killer" and a "masterpiece all the way through".
The album has been reissued in various formats, including a 2006 CD by Collectors' Choice Music and expanded compilations such as Love Makes The World Go Round and Many Others!, which often include bonus tracks from Jackson's later career. Discogs: Users have given the album an average rating of approximately 4/5.
Love Makes The World Go Round
1 One Love
Written-By – Tommy Tate
4:02
2 Love Makes The World Go Round
Written-By – Frederick Douglas Knight
4:19
3 Stay In My Arms
Written-By – Frederick Douglas Knight
3:47
4 Sure Feels Good Being With You
Written-By – Carson Whitsett, Frederick Douglas Knight
3:54
5 Just Because
Written-By – Larry Addison
4:20
6 Love Ain't Love
Written-By – Frederick Douglas Knight, Charles Richard Cason
4:05
7 Will You Still Love Me Tomorrow
Written-By – Gerald Goffin, Carole King
5:56
8 Turn Out The Stars
Written-By – Jim Weatherly, John Durrell
4:59
9 Please Remember Me
Written-By – Rodney Crowell, Will Jennings
5:05
10 Hook Up From The Heart
Written-By – Preston Glass
4:53
11 Waiting For You
Written-By – Tim Truman
4:00
Label: Park Place Records – PPD 4001
Format: CD, Album
Country: US
Released: 2006
Genre: R&B Soul, Funk
Style: Soul
David Sea's Love Makes The World Go Round album is praised for its smooth, modern soul with classic vibes, featuring standout tracks like the catchy title track, reminiscent of R. Kelly 's "Step In The Name Of Love" , and the strong opener "One Love," while Sea's velvety voice is compared to Luther Vandross and Teddy Pendergrass , filling a long-standing gap in soul music.
Standout Tracks: "Love Makes The World Go Round," "One Love," and "Stay In My Arms" are frequently mentioned.
Described as smooth and velvety, drawing comparisons to soul legends like Luther Vandross and Teddy Pendergrass, and delivering performances reminiscent of David Ruffin .
Features strong grooves, especially the title track's "essential stepping groove," and a familiar, appealing chorus similar to Candi Staton's "Young Hearts Run Free".
Seen as a quality release that delivers classic soul appeal with modern sensibilities, filling a void in contemporary music. It has been called Sea's best work since 1991's Born To Sing, and even considered a stronger, though less original, overall collection.
In essence, it's a highly recommended album for soul fans, especially those who enjoy traditional sounds with a contemporary touch, offering excellent grooves and strong vocal performances that are both nostalgic and fresh.
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 Me Mama
A2 Little Red Rooster 4:23
A3 4:00 In The Morning 3:11
A4 Five Long Years 4:15
A5 Dust My Broom 3:33
B1 Love Me Mama 3:54
B2 The Sky Is Crying 5:32
B3 You Gotta Help Me 3:45
B4 You Done Lost Your Good Thing Now 3:33
B5 Bloomington Closer 5:13
Label: Delmark Records – DS-625
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Blues
Style: Chicago Blues
Luther Allison's debut album, Love Me Mama (1969), is a powerful introduction to his electrifying talent, showcasing raw Chicago blues with fiery guitar work and soulful vocals on classic tunes like "Little Red Rooster" and the title track, praised for its blistering energy, gritty West Side groove, and early hints of the legendary artist he'd become, even if some critics find it uneven but still a vital document.
This album aptures Allison at the start of his career, demonstrating his electrifying interpretations of blues standards and his signature hungry, passionate style.
Features a small combo with "Big Mojo" Elem and guest guitarist Jimmy Dawkins, delivering a funky, West Side blues sound.
Highlights include his fiery take on "Help Me," the soulful "The Sky Is Crying," and the iconic title track, known for its stinging bends and wah pedal.
Praised as a "must-have" by Goldmine, thrilling by the New York Times, and a solid, straightforward blues album by fans, though AllMusic noted some unevenness.
Overall Impression: Love Me Mama is considered a landmark debut, a fiery snapshot of a young blues powerhouse emerging, offering glimpses of the genius that would later make Luther Allison a blues legend, solidifying his place in the Chicago blues tradition.
Love Means...
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Southern Soul
A1 Didn't We
Written-By – Jimmy Webb 3:34
A2 Are You Sure
Written-By – Homer Banks, Raymond Jackson 3:16
A3 What Is Love?
Written-By – Carla Thomas, Marvell Thomas 3:21
A4 Daughter, You're Still Your Daddy's Child
Horns [Memphis Horns] – Andrew Love, James Mitchell, Wayne Jackson
Written-By – Jeana Roker, Marvell Thomas 5:50
B1 Love Means You Never Have To Say You're Sorry
Written-By – Carla Thomas, Deanie Parker, Marvell Thomas 3:27
B2 You've Got A Cushion To Fall On
Electric Bass – Donald "Duck" Dunn
Piano – Rudy Robinson
Written-By – Homer Banks, Raymond Jackson 3:12
B3 Il Est Plus Doux Que
Electric Bass – Donald "Duck" Dunn
Piano – Rudy Robinson
Written-By – Tony Hester 3:27
B4 Cherish
Written-By – Terry Kirkman 4:46
B5 I Wake Up Wanting You
Written-By – Bettye Crutcher, Bobby Manuel, Carla Thomas, Marvell Thomas 3:19
Carla Thomas's Love Means... (1970) marked a shift from her earlier Memphis soul hits to a more orchestrated, pop-leaning sound, featuring lush arrangements and sentimental themes, which some critics found a departure from her grittier Stax roots but still showcased her vocal talent, with the title track being a standout for its groove. While a solid album, reviewers often paired it with Memphis Queen in reissues, sometimes noting the reverse chronological order detracted from hearing her development, but ultimately praising her consistent quality as the "Queen of Memphis Soul".
The album moved away from raw funk towards softer, orchestrated pop, reflecting Thomas's comfort with tender lyrics and melodies.
The powerful Stax rhythm section, including the MG's, still contributed, adding depth even to the pop-oriented tracks. The title track, "Love Means," provided a welcome groove with its bluesy bassline, while "What Is Love?" also stood out as a self-penned track.
It's considered a strong effort, but its move towards smoother sounds sometimes felt at odds with the Stax powerhouse sound, though it remained a quality record.
In summary, Love Means... is a well-regarded album in Carla Thomas's catalog, showcasing her versatility and sweet vocal delivery within a more polished, pop-soul framework, even if it wasn't as raw as some of her earlier work. It's a solid, sentimental listen that highlights her enduring talent.
Love Notes
Written-By, Synthesizer [Arp Odyssey] – Stevie Wonder
4:16
A2 Love Theme From "A Star Is Born" (Evergreen)
Written-By – B. Streisand, P. Williams
4:28
A3 Shining
Vocals – Rahm Lee Michael Davis, Zuri Raheem
Written-By – B. Gregory, R. Harris, D. Raheem
4:37
B1 Love Notes
Written-By, Synthesizer [Arp Odyssey] – Stevie Wonder
6:17
B2 Chili Today, Hot Tamale
Synthesizer [Polymoog, Arp 2600] – Terry Fryer
Written-By – D. Raheem
5:10
B3 The Messenger
Synthesizer [Polymoog, Arp 2600] – Terry Fryer
Written-By – B. Gregory
5:15
B4 Stash Dash
Clavinet – Jimmy Bryant (11)
Vocals – Jimmy Bryant (11), Rahm Lee Michael Davis, Zuri Raheem
Written-By – D. Raheem
4:51
Label: Columbia – PC 34696
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz
Style: Soul-Jazz, Jazz-Funk
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 Sign
Written-By – Leroy Emmanuel
7:52
A2 Too Bad (You Don't Love Me)
Written-By – Leroy Emmanuel
3:35
A3 Just You, Just Me
Written-By – Mose Davis
6:58
B1 Riding High
Written-By – Mose Davis
5:40
B2 Sacrifice
Written-By – Demo Cates
3:20
B3 Counts Medley (Play It Again, Far Out, Counts Blues)
Written-By – Andreau Gibson, Demo Cates, Leroy Emmanuel, Mose Davis
9:35
Label: Aware – AA 2002
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul, Funk
Style: Seventies Soul, Jazz-Funk
The Counts’ 1973 album Love Sign (Westbound Records) is a funk-soul, spacey jazz-groove record that shifts from their earlier, heavier 1971 sound. It features a dreamy, instrumental-focused atmosphere reminiscent of Lonnie Liston Smith, including the 9-minute "+Counts Medley+".
The album moves away from raw funk toward a more laid-back, "cosmic" jazz-funk fusion.
The title track "Love Sign" is described as ethereal and languid, while the album also contains the instrumental jam "+Counts Medley+".
The original LP featured a notable gatefold cover with a velvet-like illustration of Adam & Eve.
Love Sign is generally regarded as a solid, atmospheric entry in the Westbound funk catalog, often noted for its mellower, expansive instrumental jams.
Modern reviewers often call it a "brilliant" and overlooked gem, noting that original pressings—which featured a distinctive velvet-textured gatefold cover—are highly sought after by vinyl enthusiasts. The album has seen several reissues, including a 2021 Japanese remaster and digital versions available on platforms like Amazon Music.
Love Talk
Engineer – Alec Head
Producer, Arranged By – Bert DeCoteaux
Written-By – D. Frank, D. James 3:58
A2 Love Talk
Arranged By – Mike Foreman
Engineer – Kenny Present, Mike Barbiero
Producer – Scorpicorn Music Inc.
Written-By – Winfred Lovett 4:33
A3 The Right Feeling At The Wrong Time
Arranged By – Jack Faith
Backing Vocals – Barbara Ingram, Carla Benson, Yvette Benton
Engineer – Jim Gallagher, Kenny Present
Producer – Jack Faith, The Manhattans
Written-By – Barbara Wyrick, Keith Lamb 3:45
A4 Devil In The Dark
Arranged By – Jack Faith
Engineer – Jim Gallagher, Kenny Present
Producer – Jack Faith, The Manhattans
Written-By – Allan Felder, Cary Gilbert, T.G. Conway 4:06
A5 Here Comes The Hurt Again
Arranged By – Jack Faith
Engineer – Jim Gallagher
Producer – Jack Faith, The Manhattans
Written-By – Frank Johnson 4:56
B1 I Just Wanna Be The One In Your Life
Engineer – Alec Head
Producer, Arranged By – Bert DeCoteaux
Written-By – Daniel Walsh, Harvey Price 3:41
B2 New York City
Arranged By – Jack Faith, Mike Foreman
Backing Vocals – Barbara Ingram, Carla Benson, Yvette Benton
Engineer – Jim Gallagher, Kenny Present
Producer – Jack Faith, The Manhattans
Written-By – Winfred Lovett 4:29
B3 That's Not Part Of The Show
Arranged By – Dennis Harris
Engineer – Kenny Present
Producer – Scorpicorn Music Inc.
Written-By – Edward Bivins 4:27
B4 The Way We Were / Memories
Arranged By – Mike Foreman
Engineer – Kenny Present
Producer – Scorpicorn Music Inc.
Written-By – Alan Bergman, Egbert Van Alstyne, Gus Kahn, Marilyn Bergman, Marvin Hamlisch 5:13
B5 We Tried
Arranged By – Jack Faith
Engineer – Jim Gallagher, Kenny Present
Producer – Jack Faith, The Manhattans
Written-By – Winfred Lovett 3:38
Label: Columbia – JC 35693
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Disco, Ballad
The Manhattans' "Love Talk" album, often bundled with "Black Tie," is praised for its joyous energy, showcasing the group's fun banter on uptempo tracks like "New York City," stellar Philly soul ballads like "After You," and the surprising country-tinged "Here Comes The Hurt Again," making it a beloved, vibrant addition to their discography, especially for fans of 70s R&B. Reissued by Expansion Records after long unavailability, it highlights the group's versatility and strong vocals, with singles charting well and earning critical acclaim as essential Man
Unlike some of their more somber work, Love Talk captures the group having fun, particularly on uptempo songs. Produced with Jack Faith and Bert DeCoteaux, it embodies classic Philadelphia soul production.
Standout Tracks: "New York City," "Devil In the Dark," "After You," and the unique country-soul "Here Comes The Hurt Again" are frequently mentioned as favorites. It Featured singles like "Here Comes the Hurt Again" and "The Way We Were / Memories" charted on the Hot Soul Singles chart.
It's seen as a highlight of the Manhattans' catalog, offering a more upbeat and musically diverse experience. The reissue, combining it with Black Tie, makes this previously CD-unavailable album accessible to new and old fans. It showcases the group's talent for both lively tracks and soulful ballads.
Love To Love You Baby
B1 Full Of Emptiness 2:22
B2 Need-A-Man Blues 4:30
B3 Whispering Waves 4:50
B4 Pandora's Box 4:56
B5 Full Of Emptiness (Reprise) 2:20
Written by Donna Summer (tracks: A1), Giorgio Moroder, Pete Bellotte.
Label: Oasis – OCLP 5003
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Pop
Style: Ballad, Disco
Released in 1975, Love to Love You Baby is the second studio album by Donna Summer and her international breakthrough. Produced by Pete Bellotte and Giorgio Moroder, it is a foundational work of the disco era that famously established Summer as a "sex goddess" and pioneered the extended dance track.
The title track's 17-minute "minisymphony" of simulated orgasms led Time to label it "Sex Rock" and caused the BBC to ban it from airplay.
Despite the bans, the album reached the Top 20 in the US and UK, while the single peaked at #2 on the Billboard Hot 100.
Retrospective reviews frequently highlight it as a "pure pop genius" and a precursor to electronic dance and trance music.
Track Analysis:
Side One (Title Track): The nearly 17-minute title suite remains the album's centerpiece, praised for its hypnotic rhythm, funky wah-wah guitars, and Summer's sultry vocal range.
Side Two (Soul & R&B): Often overlooked but considered to have "real gems," Side Two features more traditional soul/R&B styles.
"Full of Emptiness": A dramatic, orchestral-inflected ballad showcasing Summer's theatrical background.
"Whispering Waves": A soft, moody ballad that hinted at the "floaty" vocal style Summer later perfected in "I Feel Love".
"Need-a-Man Blues": A funkier, "sleazy" disco track that demonstrated Summer was not confined strictly to one style.
"Pandora's Box": A mid-tempo soul/pop track noted for showcasing Summer's strong lower vocal register.
Modern reviewers laud the album for its innovative production and Summer's impressive vocal versatility.
Some critics argue the 17-minute title track contains "padding" and that Side Two serves mainly as "window dressing" for the massive single.
The album remains a essential disco classic, having been celebrated with its 50th-anniversary milestone in 2025.
Love To Share
A2 Pain In My Heart
A3 Never Before
A4 I Love You True
A5 Goodnight Sweetheart
B1 You, I Adore
B2 Love To Share
B3 Let Him Try
B4 If You Love Me Still
B5 Moments Of Sadness
Label: Third World – TDWD 6
Format: Vinyl, LP, Album
Country: UK
Released: 1979
Genre: Reggae, Funk, Soul
Style: Lovers Rock
Alton Ellis’s Love To Share, originally released in 1979, is widely regarded by critics and listeners as a "lesser-known classic" that bridges the gap between Lovers Rock and Roots Reggae.
Critics often note that the album leans heavily into "Jamaican Soul" rather than traditional reggae, with some suggesting it could have easily fit on legendary soul labels like Stax or Volt.
Ellis’s voice is frequently described as emotional and "A-1 nick," capable of wringing deep feeling out of tracks like "If You Love Me Still".
Listeners have compared the track "Never Before" to the smooth, serious mood of Marvin Gaye, noting how it blends perfectly with Ellis’s natural tone.
The album was arranged by the iconic Studio One keyboardist Jackie Mittoo and produced by Junior Lincoln, founder of the London Bamboo label.
Highlight Songs:
"You, I Adore": Praised for its evocative piano intro and 1970s soul setting.
"Let Him Try": A remake of his earlier Studio One rocksteady hit, featuring a different arrangement with echoing female backing vocals.
"Love To Share": The title track expands the album's romantic themes to a broader social context of "one love, one inspiration".
Some reviews of the more recent reissues (such as the CD and vinyl re-releases) warn of low-quality "vinyl rips" featuring phase issues and flutter. Collectors often recommend seeking out original pressings or high-quality remasters for the best audio experience.
The album is often described as a "supremely romantic and relaxed session" ideal for unwinding. On platforms like Discogs, it maintains high average ratings (frequently 5/5) from a small but dedicated group of fans.
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.
Lucy Pearl
2:52
2 Trippin'
3:04
3 Dance Tonight
3:41
4 La La 3:30
5 Everyday
4:00
6 Can't Stand Your Mother
3:39
7 Good Love
4:06
8 Without You
3:58
9 Don't Mess With My Man
3:37
10 Hollywood
3:52
11 Remember The Times
3:06
12 They Can't
3:09
13 Do It For The People
2:33
14 You Ft,– Q-Tip, Snoop Dogg
4:26
15 Lucy Pearl Tells
1:38
Label: Pookie Records – 63985-78059-2
Format: CD, Album
Country: US
Released: 2000
Genre: R&B Soul, Hip-Hop
Style: Neo-Soul. Contemporary R&B
The self-titled debut from the R&B supergroup Lucy Pearl, released in 2000, is widely celebrated for its innovative fusion of hip-hop, soul, and live instrumentation. Comprised of Raphael Saadiq (Tony! Toni! Toné!), Dawn Robinson (En Vogue), and Ali Shaheed Muhammad (A Tribe Called Quest), the trio produced what many critics consider a seminal neo-soul release of the early 2000s.
The album is praised for seamlessly merging Saadiq’s soul and guitar sensibilities with Muhammad’s hip-hop production and Robinson’s powerhouse R&B vocals.
Critics often describe the sound as "lush," "synergistic," and "eclectic," avoiding the typical supergroup pitfall of over-ambition by focusing on small, high-quality musical "bites".
Key Tracks:- "Dance Tonight": A standout track that earned a Grammy nomination for Best R&B Vocal Performance; "Don’t Mess With My Man": An international hit known for its "deft, R&B-inflected disco" groove; "You": Features notable guest appearances by Snoop Dogg and Q-Tip, bridging hip-hop and R&B.
Many reviewers call it one of the finest R&B debuts of its time, noting that it captured the spirit of A Tribe Called Quest better than the members' solo efforts.
Some critics felt the album was "front-loaded," with the most innovative tracks occurring in the latter third, while early portions were occasionally described as "overproduced" or containing "forgettable lyrics".
Retrospective reviews highlight the album's 25th anniversary (celebrated in 2025) as a testament to the brief but brilliant chemistry between Saadiq and Robinson.
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)
M.P.G.
Written-By – B. Strong, J. Bradford, N. Whitfield 2:57
A2 This Magic Moment
Written-By – Pomus, Shuman 2:39
A3 That's The Way Love Is
Written-By – B. Strong, N. Whitfield 3:40
A4 The End Of Our Road
Written-By – B. Strong, N. Whitfield, R. Penzabene 2:49
A5 Seek And You Shall Find
Written-By – I. Hunter, Wm. Stevenson 3:39
A6 Memories
Written-By – A. Story, H. Gordy, L. Brown, M. Johnson
Written-By [Uncredited] – Anna Gordy Gaye 2:44
B1 Only A Lonely Man Would Know
Written-By – B. Verdi, I. Hunter 2:55
B2 It's A Bitter Pill To Swallow
Written-By – Wm. Robinson, W. Moore 3:11
B3 More Than A Heart Can Stand
Written-By – I. Hunter, Wm. Robinson 2:55
B4 Try My True Love
Written-By – H. Cosby, J. Dean, S. Wonder 2:56
B5 I Got To Get To California
Written-By – I. Hunter, S. DeMell 2:51
B6 It Don't Take Much To Keep Me
Written-By – Holland, Dozier, Holland 2:39
Label: Tamla – TS 292
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre:R&B Soul
Style: Sixties Soul, Motown
Marvin Gaye's 1969 album, M.P.G. was a significant transitional record, showcasing his shift from pure pop to funkier, more assertive soul, featuring hits like "Too Busy Thinking About My Baby" and "That's the Way Love Is," becoming his first #1 Soul album and a major Pop chart success, though sometimes seen as overlooked but containing strong tracks like the funk-infused "I Got to Get to California" and emotionally rich "The End of Our Road," bridging his earlier work with the deeper themes to come.
M.P.G. sits between classic Motown hits and his later socially conscious work, blending upbeat singles with deeper, funkier grooves and emerging lyrical depth. It produced major hits such as the pop-oriented "Too Busy Thinking About My Baby" and the soulful, funky "That's the Way Love Is," notes AllMusic. Songs like "I Got to Get to California," "It's a Bitter Pill to Swallow," and "The End of Our Road" are praised for their driving momentum and emotional delivery.
Producer Norman Whitfield helped craft a sound that allowed Gaye's powerful vocals and evolving artistic vision to shine. While moderately received initially, retrospective reviews, like one from Rolling Stone and AllMusic, highlight its standout tracks and Gaye's stellar vocal performance.
Overall, M.P.G. is considered a strong, enjoyable album from a pivotal moment in Gaye's career, showcasing his versatility and setting the stage for his legendary 1970s output, even if some tracks lean towards standard Motown fare.
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.
Magic #
Written-By – Dennis Richardson
4:02
A2 Magic #
Written-By, Guitar – Darnell Jordan
Written-By, Piano – Ted (WIZARD) MIlls
4:26
A3 Sit Alone Again
Written-By – John Ingram
4:05
A4 If You Move You Lose
Written-By – Butch Ingram, Carol Davis
4:04
B1 In The Rain
Written-By – Tony Hester
5:04
B2 See Through
Written-By – Butch Ingram
4:39
B3 Since You've Been Gone
Bass – Gary Grainger
Drums – Greg Grainger
Guitar – Bobby Eli
Keyboards – Charles Williams
Producer, Written-By, Arranged By, Guitar – Bill Neale
Synthesizer – Mike Rosenman
Written-By – Diane Bernstein, Ted (WIZARD) Mills
5:47
B4 Clean Up Your Act
Guitar – Darnell Jordan
Written-By – John Ingram
4:45
B5 R.S.V.P
Producer, Arranged By – Bill Neale
Written-By – Alan Roy Scott, Ed Fox
4:12
Label: Mirage – 90074-1
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk, Boogie
The Magic # album by Blue Magic, released in 1983 on the Mirage and Omni labels, receives mixed reviews, praised by some as a must-have for fans for its strong vocals but criticized by others for its mid-80s production style, which relies heavily on synthesizers and lacks the rich Philadelphia soul sound of their earlier work.
Many fans consider Magic # a rare treasure and a must-have for Blue Magic enthusiasts, praising Ted Mills' continued great vocals and the inclusion of both fast and slow tunes. Reviewers mention there are several strong tracks and no "weak track" on the compilation.
Critics and some fans note the production is a departure from the group's classic 1970s Philadelphia soul sound, which featured full instrumentation from the MFSB house band at Sigma Sound Studios. The 1983 album's production, handled by Butch Ingram, leans more towards synthesizers, which some listeners find less appealing than their earlier work.
Key Tracks and Highlights: "In The Rain": The album features a great remake of the classic R&B song "In The Rain"; Title Track: The song "Magic #" is mentioned as a strong track, with user reviews highlighting its "funky" nature and "slamming" band, though the club mix version is sometimes included depending on the specific release; "For The Love of You": This track is also a notable highlight on the album.
While the Magic # album may not reach the critical acclaim of Blue Magic's 1974 debut, which featured hits like "Sideshow", it is generally well-regarded by fans as a solid, later-career effort with excellent vocals, despite a shift in production style to a more contemporary sound for the 1980s.
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.
Making A Good Thing Better
2 Heartbreaker Of The Year
3 Trapped By A Thing Called Love
4 Keep It Coming
5 Now Run And Tell That
6 The Deeper I Go (The Better It Gets)
7 Man Sized Job
8 I’m Over You
9 Making A Good Thing Better
10 What It Takes To Get A Good Woman (That’s What It’s Gonna Take To Keep Her)
11 Do Me Right
12 Your Man And Your Best Friend
13 What Am I Doing Wrong
14 Don’t Nobody Live Here (By The Name Of Fool)
15 Good Goody Getter
16 Get Up Off My Mind
17 The Best Thing I Ever Had
18 Trying To Forget
19 We’ve Got Love (The Good Part About It)
20 My Brand On You
21 Any Time Is The Right Time
22 Here I Am Again
23 Married, But Not To Each Other
24 Who’s The Fool
25 Radio Ad For “Trapped By A Thing Called Love” Album
26 Radio Ad For “On The Loose” Album
Label: Westbound Records – CDSEWD152
Format: CD, Compilation
Country: UK
Released: 2013
Genre: R&B Soul, Funk
Style: Southern Soul
Making A Good Thing Better - The Complete Westbound Singles 1970-76 is a comprehensive compilation album that showcases the deep Southern soul and R&B recordings of Denise LaSalle during her peak years with the Westbound label. The collection compiles all of her single A and B-sides released on the label between 1970 and 1976.
The album is a definitive look at LaSalle's significant contribution to Southern soul, a genre often overlooked in the broader scope of soul music. The tracks highlight her powerful, bluesy voice and her talent as a songwriter, as she wrote most of her own material.
Genre: Primarily Southern Soul and R&B, with some later tracks incorporating a "soulful disco" vibe.
Key Tracks: The album features major R&B hits, including the #1 R&B hit (and #13 Pop hit) "Trapped By a Thing Called Love", "Now Run And Tell That", "Man Sized Job", and the classic "cheatin' song" "Married, But Not to Each Other".
Production: The majority of the tracks were recorded in Memphis at Hi Studios under the supervision of renowned producer Willie Mitchell, with later sessions taking place in Muscle Shoals and Detroit.
Content: The compilation includes 24 tracks, featuring all 12 of her US Westbound singles, plus the bonus UK-only single "Do Me Right". It also features a 12-page booklet with an essay about her career by Tony Rounce and reproductions of the original single labels.
Reviewers praise the collection for bringing LaSalle's under-appreciated Westbound work to the forefront. Experts at Dusty Groove note how these sides were "crucial in helping push southern soul forward in the 70s," blending her bluesy inflections with a modern sound. The album is considered an "essential purchase" for fans of 70s R&B and Southern soul, providing a strong showcase of an artist at her peak.
Malo
Written-By – Abel Zarate, Arcelio Garcia Jr.
6:45
A2 Just Say Goodbye
Written-By – Luis Gasca, Rodgers Grant
8:00
A3 Cafe
Written-By – Arcelio Garcia Jr., Jorge Santana, Pablo Tellez
7:21
B1 Nena
Written-By – Abel Zarate, Arcelio Garcia Jr., Pablo Tellez
6:28
B2 Suavecito
Written-By – Abel Zarate, Pablo Tellez, Richard Bean
6:36
B3 Peace
Written-By – Abel Zarate, Arcelio Garcia Jr., Ismael Versoza, Pablo Tellez
9:21
Label: Warner Bros. Records – BS 2584
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: Jazz, Rock, Latin, Funk, Soul
Style: Afro-Cuban, Latin Jazz, Salsa, Guaguancó
Malo's 1972 self-titled debut is a landmark Latin Rock/Funk/Soul album, praised for its rich, multi-layered sound, blending Latin rhythms with jazz-funk and rock, featuring lush horn arrangements, extended jams, and Jorge Santana's searing guitar; it spawned the hit single "Suavecito," offering a vibrant, joyful escape and a powerful expression of Chicano identity, often seen as a deeper, more complex alternative to Santana's sound, solidifying its status as a classic.
The album masterfully combines Latin percussion, rock, soul, and jazz-funk, creating a unique sound that was fresh and exciting in 1972. With over ten members, the band delivered a full sound, integrating brass, keys, and percussion with standard rock instruments.
Many tracks are lengthy (often over six minutes), allowing for expansive musical exploration, complex rhythm changes, and standout solos, particularly from Jorge Santana.
Key Tracks: "Suavecito" was a major hit, but tracks like "Pana," "Cafe," and the epic closer "Peace" are frequently highlighted as favorites for their musical depth and energy.
The album, with its Spanish/English vocals and cover art referencing Mexican painter Jesús Helguera, served as a powerful artistic expression of Chicano identity, celebrating heritage and blending past with present.
While often compared to Carlos Santana, Malo carved its own path, focusing more on jazz-funk and groove, offering a different flavor of Latin rock.
Reviewers describe it as an "all killer no filler" record, delivering an interconnected, joyful, and near-escapist aural experience that remains fresh decades later, setting a high bar for Latin rock.
Mark IV
A2 I'll Be Right There (To Make Love To You) 3:34
A3 I'm A Working Man (Doin' Work For My Baby) 4:10
A4 I Fell In Love (With A Married Woman) 2:57
A5 You Black And I'm Black 3:02
B1 My Everything You Are 3:40
B2 Got To Get Back (To My Baby's Love) 2:57
B3 Since God Made Woman - Nobody Rest 2:57
B4 Why You Want To Hurt Me 2:42
B5 I Feel Good All Over (When You're Loving Me) 2:53
Written by Roy C. Hammond
Label: Mercury – SRM 1-651
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre:
R&B Soul
Style:Seventies Soul, Southern Soul
The 1973 self-titled album by the NYC vocal group Mark IV is a classic soul/R&B record blending traditional streetcorner quartet harmonies with the "southern flava" of producer/writer Roy "C" Hammond, featuring their hit single "Honey, I Still Love You" and offering a timeless, enjoyable sound appreciated by soul fans.
The album Combines tight, "classic streetcorner quartet" harmonies with Roy C.'s signature soulful, southern-infused production.
It Includes their breakthrough hit, "Honey, I Still Love You," which charted in late 1972.
Written and produced by the renowned Roy "C" Hammond, known for his distinctive style, it is considered a "timeless treasure" and a "thoroughly enjoyable album" for Northern Soul enthusiasts, with dated but beloved dancers and quality instrumentals.
Mary Jane Girls
A1 Candy Man
Lead Vocals – JoJo
4:30
A2 Boys
Lead Vocals – Mary Jane Girls
5:34
A3 Prove It
Lead Vocals – Mary Jane Girls
Vocals – Rick James
4:28
A4 Jealousy
Lead Vocals – Cheri
3:28
**Cool Out Side**
B1 You Are My Heaven
Lead Vocals – Candi, JoJo, Mary Jane Girls
3:14
B2 On The Inside
Lead Vocals – JoJo
3:55
B3 All Night Long
Lead Vocals – JoJo
5:34
B4 Musical Love
Lead Vocals – JoJo, Mary Jane Girls
5:07
Written by [All Songs], Arranged by, Producer – Rick James
Label: Gordy – 6040GL
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Funk
Style: Eighties Funk, Disco
The 1983 self-titled debut album by the Mary Jane Girls, produced by Rick James, is a critically acclaimed (5/5 stars from AllMusic) cornerstone of 80s funk and R&B, featuring hits like "All Night Long," "Candy Man," and "Boys". The album is praised for its immaculate production, JoJo McDuffie’s lead vocals, and a "freaky" funk sound.
Rick James’s production is described as "immaculate" and "pure, synth-heavy funk". JoJo McDuffie receives praise for her versatile range and vocal performances.
The album features lean, stripped-down backings and a "clubby" 80s groove. Critics often note its "immaculate" production, particularly the prominent drums and infectious synth-pop elements.
Standout Tracks:
"All Night Long": Often cited as the sexiest song in funk history, this track is praised for Joanne "JoJo" McDuffie’s sultry vocals and its smooth, nocturnal vibe.
"Candy Man": A high-energy "party track" that became one of their defining hits.
"Boys": A playful, rhythmic anthem that solidified their status on the R&B charts.
The album is considered an essential, must-listen classic of the genre. While some critics feel the lyrics can occasionally be "stale" or the songs a bit long, the general consensus is that it is a "must-listen" for any fan of 80s R&B.
Mary Wells
Written-By – Rudy Clark
2:21
2 Everlovin' Boy
Written-By – Rudy Clark
2:28
3 He's A Lover
Written-By – Lee Porter, Ron Miller
2:38
4 Stop Takin' Me For Granted
Written-By – Jennie Lee Lambert, Mickey Gentile
2:21
5 Use Your Head
Written-By – Strong, Barksdale, Parker
2:09
6 We're Just Two Of A Kind
Written-By – Van McCoy
2:20
7 My Mind's Made Up
Written-By – J.J. Jackson, Sidney Barnes
2:18
8 Never, Never Leave Me
Written-By – Jennie Lee Lambert, Mickey Gentile
2:46
9 Aint It The Truth
Written-By – L.R. Peques
3:00
10 He's Good Enough For Me
Written-By – Bob Goodman
2:30
11 How Can I Forget Him
Written-By – R. Feldman, G. Goldstein, L.R. Peques, R. Gottehrer
2:33
12 Time After Time
Written-By – J. Stein, S. Cahn
2:57
Label: 20th Century Fox – TFS 4171
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1965
Genre: R&B Soul, Pop
Style: Sixties Soul
Released in 1965, Mary Wells (TFM 3171) was the singer's debut for 20th Century Fox Records following her high-profile departure from Motown. While it failed to achieve the massive pop success of her earlier work, it is increasingly regarded by critics and soul collectors as a high-quality collection of "uptown soul".
The album yielded several modest hits that performed better on the R&B charts than the pop charts... "Use Your Head": A "Motown-esque" track that became a Top 40 pop hit; "Ain’t It the Truth": Reached #6 on the US R&B charts and #45 on the Billboard Hot 100; "Stop Takin' Me for Granted": Peaked at #13 R&B; "Never, Never Leave Me": A celebrated ballad that reached #15 R&B.
Reviewers often describe the album as a set of sophisticated soul tracks that lack the trademark "Motown sound" but excel in their own "uptown" arrangements. The production involved notable figures like Carl Davis, Bob Bateman, and Andre Williams.
Critics praise Wells' "smoky vocals" and emotional depth, noting that she remained in top form despite the change in labels. Some tracks, such as "Never, Never Leave Me," have been compared to the sophisticated style of Dionne Warwick.
Retrospective reviews suggest the album's initial failure to chart was due more to 20th Century Fox’s lack of R&B radio clout than the quality of the music itself. It currently holds a strong 4.5/5 rating among collectors on platforms like Discogs.
Maurice Williams and The Zodiacs
A2 Nearness Of You
Written-By – H. Carmichael 2:30
A3 I Remember 2:05
A4 Running Around 2:18
A5 We're Lovers 2:30
A6 But Not For Me
Written-By – The Gershwins 1:45
A7 So Fine
Written-By – J. Gribble 1:45
B1 Always 2:00
B2 The Winds 1:50
B3 Little Mamma 1:55
B4 Do You Believe 2:17
B5 Come Along 1:45
B6 I Love You Baby 2:05
B7 I Got A Woman
Written-By – R. Charles 2:00
Label: Herald – HLP 1014
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B, Funk, Soul
Style: Doo Wop, Rhythm & Blues
The "Stay" album by Maurice Williams and The Zodiacs is celebrated for its iconic, short-lived pop perfection, especially the legendary "Stay," featuring Henry Gaston's distinctive falsetto and Williams' rich vocals, blending gospel roots with doo-wop/R&B, creating timeless hits that endure in films like American Graffiti and Dirty Dancing, showcasing a classic sound that remains influential despite a lack of mainstream accolades for the group.
The Hit "Stay": It's famous for its brevity (98 seconds) and catchy falsetto hook, a perfect slice of 1960s pop/doo-wop.
The interplay between Maurice Williams' deep baritone and the high-pitched, yearning vocals (notably Henry Gaston's) is a signature element.
The sound draws from gospel roots, delivering heartfelt longing in a doo-wop style, making it enduringly popular.
Despite limited major awards, its placement in iconic films cemented its status, and the group saw further success with "Little Darlin'" and "May I".
Timeless Quality: Reviewers praise how the vocals and sound have aged well, retaining their charm and impact.
Simplicity & Depth: The music is seen as deceptively simple but emotionally resonant, a contrast to later, more complex productions.
Enduring Appeal: The songs, particularly "Stay," became anthems for generations, highlighted by their inclusion in popular culture.
In essence, while the album (or single compilation) might not have complex production, its core strength lies in its pure vocal talent, unforgettable hooks, and heartfelt delivery, securing its place in music history
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.
McKinley Mitchell
Written-By – B. Patterson, J. Strickland
4:12
A2 You're So Fine
Written-By – Larry Finnie, Will Scofield
2:35
A3 The Town I Live In
Written-By – McKinley Mitchell
3:34
A4 Same Old Dream
Written-By – McKinley Mitchell
4:30
A5 You Know I've Tried
Written-By – McKinley Mitchell
3:18
B1 Run To Love
Written-By – McKinley Mitchell
4:00
B2 Dream Lover
Written-By – Bobby Darin
2:49
B3 The End Of The Rainbow
Written-By – McKinley Mitchell
3:33
B4 Mr. Music Man
Written-By – McKinley Mitchell
3:02
B5 Follow The Wind
Written-By – McKinley Mitchell
4:00
Label: Chimneyville Records – CH-203
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Blues
Style: Southern Soul, Deep Soul
McKinley Mitchell’s self-titled 1978 album on Chimneyville Records is a respected southern soul and blues record featuring a raspy, passionate vocal performance reminiscent of Bobby Blue Bland or ZZ Hill. Produced with a laidback,, under-polished, and authentic late-70s vibe, it highlights Mitchell’s skills on tracks like "The End of the Rainbow," "Run To Love," and "Open House At My House".
The album features a blend of deep soul and blues, described as having a sound that feels earlier than 1978. The record is characterized by a "laidback and under-polished" sound with backing from a tight studio group. Features backing production and musical support from James Stroud.
Highlights include the ballads "The End of the Rainbow" and "Same Old Dream," alongside the uptempo "Open House At My House" and "You're So Fine".
While sometimes noted for a mix of strong ballads and more pedestrian blues shuffles, it is a highly regarded, rare full-length showcase for the soul singer.
This album remains a staple for fans of Southern Soul and is considered a solid, if slightly uneven, representation of McKinley Mitchell's talent.
The album holds high user ratings on community platforms, including a 4.71/5 on Discogs based on user contributions. It has been reissued several times, including a Japanese domestic press that includes bonus tracks.
Meant To Be In Love
2 If Your Were Mine
3 Hold Me In Your Arms
4 Tell Me
5 I'd Rather Leave When I'm In Love
6 My One And Only Love
7 Love After Love
8 Try Me
9 Won't You Come And Fly
Label: Triune Records – TRI 4162
Format: CD, Album
Country: US
Released: 1993
Genre: R&B Soul, Pop
Style: Soul
Cuba Gooding Sr.'s 1993 album, Meant to Be in Love, followed his successful run with The Main Ingredient and featured smooth, late-80s/early-90s R&B/soul, but garnered limited mainstream attention, with critics and fans highlighting its decent production and solid vocal performances, especially compared to his earlier hits, showcasing a continued focus on romantic themes and polished arrangements without producing major chart-toppers, though some tracks, like those produced by Michael Lovesmith, offered standout moments.
Genre & Style: Classic R&B, Soul, with hints of Quiet Storm, typical of early 90s production.
Production: Polished, often with contemporary arrangements, though some found it less distinctive than his work with The Main Ingredient.
Notable Tracks/Producers: Included contributions from Michael Lovesmith (formerly Michael L. Smith), who produced tracks like "Love Dancer" and "I'm Yours Now" on his earlier album, with similar polished efforts on Meant to Be in Love.
Reception: Considered a decent effort, an "underrated gem" by some fans, but not a major commercial breakout, a common fate for established artists in a changing R&B landscape.
In essence: Meant to Be in Love was a respectable, well-crafted solo album from the veteran singer, a continuation of his smooth R&B sound, but it served more as a pleasant addition to his discography rather than a landmark release.
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.
Memphis High
Written-By – J. Robinson
2:51
A2 We Are Gonne Make It
Written-By – B. Davis, C. Smith, G. Barge, R. Miner
2:22
A3 For Your Love
Written-By – E. Townsend
3:00
A4 Kansas City
Written-By – M. Stoller - J. Leiber
2:26
A5 God Is Love
Written-By – J. Robinson
2:26
B1 Slip Away
Written-By – M. Daniel, W. Terrell, W. Armstrong
2:58
B2 Nothing Can Touch This Love
Written-By – G. Jackson
3:30
B3 Lady Doctor
Written-By – J. Robinson, M. Hodges
3:48
B4 Person To Person
Written-By – M. Hodges, M. Strong
2:29
B5 Reconsider Me
Written-By – M. Lewis, M. Smith
3:56
B6 Don't Take It So Hard
Written-By – J. Robinson
3:12
Label: Epic – BN 26528
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul, Funk
Style: Southern Soul, Funk
Johnny Robinson's Memphis High, released in 1970 on Epic/BN records, is widely regarded as a "lost classic" of Southern and deep soul music. It is the sole studio LP of Robinson's career and has gained a cult following among soul enthusiasts.
The album was produced by the legendary Willie Mitchell (of Hi Records fame) during a rare sabbatical from his own label. Critics note that Mitchell captured a "rougher, earthier sound" than his later work with artists like Al Green. This gritty production perfectly complements Robinson’s "sandpapery wails" and "gospel-infused" vocal style.
The album is a mix of high-energy "funky soul" and slow-burning "deep soul" ballads. Key Tracks and Highlights:-
"Funky Feet": Described as a "ferocious dance record" and a "floorshaker," it is one of the rawest recordings Mitchell ever produced.
"God Is Love": A standout track noted for its intense gospel fire and "mindboggling" vocal performance.
"Nothing Can Touch This Love": A powerful, brooding rendition of a George Jackson song.
"Lady Doctor": Cited as a gritty blues track that captures a "down and out" vibe.
Notable Covers: Robinson performs slowed-down, soul-infused versions of Clarence Carter's "Slip Away" and the R&B classic "Kansas City".
Upon its initial release, the album vanished without a trace, largely attributed to poor marketing by Epic. Today, it holds a high reputation. It has an average rating of 4.15/5 on Discogs and is highly sought after by collectors. Original pressings are rare, with high-end sales reaching over $100.
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.
Migration
Written-By – D. Wyatt, J. Thomas, M. Stokes
2:27
A2 Harlem
Written-By – Bill Withers
4:57
A3 I Just Can't See Myself Without You
Written-By – Skip Scarborough
7:30
B1 Keep On Movin'
Written-By – J. Thomas, M. Stokes, S. Scarborough
2:35
B2 Migration
Written-By – J. Thomas, M. Stokes
4:22
B3 Corazon
Written-By – Carole King
4:41
B4 Let Me Be The One
Written-By – P. Williams, R. Nicholas
3:27
Label: Sussex – SRA-8035
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Migration (1974) is the acclaimed second album by the Los Angeles-based soul/funk group Creative Source, released on Sussex Records. Produced by Mike Stokes, the album is highly regarded for its blend of, funk, and soul, featuring polished vocal harmonies, with a notable cover of Carol King's "Let Me Be The One". It is often regarded as a strong, yet overlooked follow-up to their 1973 debut, featuring a "Funky Sound" that is popular with rare groove enthusiasts.
Produced by Mike Stokes, the album features sophisticated West Coast soul and funk arrangements. The production and arrangements are highly regarded, continuing the high quality established in their first album.
Considered an excellent, "rare groove" album, highly valued by collectors and fans of 70s soul. Known for close-knit, ensemble vocals similar to The 5th Dimension but with a distinct, funkier, and sometimes cinematic edge.
The album was the follow-up to their successful debut (which included the original "You Can't Hide Love" later made famous by Earth, Wind & Fire). While perhaps not as commercially impactful as the debut, it is considered an equally good record by some fans and critics.
Overall, "Migration" is a solid and enjoyable album for fans of 70s soul and funk, showcasing the group's strong vocal harmonies and musicianship.
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.
Millie Jackson
Written-By – Raeford Gerald 3:37
A2 I Ain't Giving Up
Written-By – Dock Price, Jr., Joe Simon, Raeford Gerald 2:34
A3 I Miss You Baby
Written-By – Raeford Gerald 2:54
A4 A Child Of God (It's Hard To Believe)
Written-By – Don French, Millie Jackson 3:37
A5 Ask Me What You Want
Written-By – Billy Nichols, Millie Jackson 2:49
B1 My Man, A Sweet Man
Written-By – Raeford Gerald 2:30
B2 You're The Joy Of My Life
Written-By – Raeford Gerald, Reginald Spruill 3:08
B3 I Gotta Get Away (From My Own Self)
Written-By – Dock Price, Jr., Raeford Gerald 2:42
B4 I Just Can't Stand It
Written-By – Billy Nichols, Millie Jackson 3:01
B5 Strange Things
Written-By – Raeford Gerald 2:25
Label: Spring Records – SPR 5703
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Millie Jackson's 1972 self-titled debut album is hailed as a brilliant, foundational soul record, showcasing her unique blend of raw emotion, sass, and social commentary, featuring hits like "A Child of God" and "My Man, A Sweet Man," establishing her distinctive voice with spoken-word intros and powerful ballads and uptempo tracks, making it a stellar start to a legendary career despite limited initial chart success. Critics praise its confidence, "hurting so good" soul, and foreshadowing of her later spoken-word style, with modern reissues adding valuable bonus tracks.
Even on her first album, Jackson sounds fully formed, delivering "sass into soul" and "feist into funk," often rapping or speaking over music, long before rap was mainstream.
The album is a mix of Southern Soul ballads ("If This Is Love") and funkier mid-tempo grooves ("Strange Things").Standout Tracks:
"A Child of God (It's Hard to Believe)": Her first big hit, a powerful social commentary with signature spoken intro.
"My Man, A Sweet Man": A popular uptempo dancer in the UK, reminiscent of Motown.
"Ask Me What You Want": Another popular single.
"I Ain't Giving Up": A groovy track with a great arrangement and congo solo.
It's a remarkably confident and strong debut that perfectly sets the stage for Jackson's legendary career, offering pure, gritty soul music that was both sweet and spicy, making it a must-listen for soul fans.
Expanded CD versions from labels like Ace/Southbound are highly recommended, adding unissued tracks, alternate takes, and early session material, making them essential for fans.
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
Mirage
Written-By – Richard Brown
5:37
A2 The Ultimate Frontier
Percussion – Drasheer Khalid
Vocals – Anita Jeffries, Ben Wright
Written-By – Richard Brown
9:54
A3 Just A Little Peace
Written-By – Ken Chaney
5:08
B1 Slinky
Bass – Rufus Ried
Written-By – Ken Chaney
6:10
B2 Mirage
Percussion – Drasheer Khalid
Written-By – Frank Gordon
8:31
B3 Glory To The Sun
Bass – Rufus Ried
Written-By – Frank Gordon
6:12
B4 March On
Percussion – Drasheer Khalid
Written-By – Ken Chaney
5:30
Label: Black Jazz Records – BJQD/15
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Jazz, Funk
Style: Soul-Jazz, Jazz-Funk
The Awakening's 1973 album, Mirage, is a highly acclaimed spiritual/fusion jazz masterpiece from Chicago, praised for its diverse, adventurous sound blending spiritual jazz, soul, fusion, and free jazz with Afrocentric roots, featuring powerful saxophone, electric piano, and unique vocal arrangements, making it a cherished "lost gem" from the Black Jazz Records label, noted for its expansive grooves and distinct tracks like "The Ultimate Frontier" and "Slinky".
It expertly weaves together spiritual jazz, soul-jazz, fusion, and free-jazz elements, reflecting the Chicago AACM scene.
The album showcases seven tracks with distinct personalities, ranging from spiritual journeys to funky grooves.
Features prominent electric piano (Ken Chaney), powerful saxophone (Frank Gordon), and unique vocal textures on tracks like "The Ultimate Frontier".
Reissues highlight its status as a significant, transportive work, deserving of wider recognition.
Standout Tracks: "Mode For DD": An energetic opener with skillful electric piano and sax; "The Ultimate Frontier": A lengthy, unique track with mysterious grooves and operatic vocals; "Mirage": The Spanish-flavored title track; "Slinky": A fan favorite for its excellent '70s jazz feel; "March On": A funky, free-flowing closer.
Mirage is considered a landmark album in spiritual jazz, offering rich, textural soundscapes and impressive musicality, and is often recommended alongside other spiritual jazz classics.
Miss Randy Crawford
Written-By – Juanita Rogers
3:44
A2 I Can't Get You Off My Mind
Written-By – Dee Erwin, Marria Ross
3:14
A3 I'm Under The Influence Of You
Written-By – Paul Kelly (3)
3:15
A4 Over My Head
Written-By – C. McVie
3:05
A5 Desperado
Written-By – Don Henley, Glenn Frey
3:25
B1 Take It Away From Her (Put It On Me)
Written-By – Paul Kelly (3)
2:20
B2 Single Woman, Married Man
Written-By – Joey Carbone, Lanny Hambert
3:02
B3 Half Steppin'
Written-By – Curtis Wilkins
3:36
B4 This Man
Written-By – Lynda K. Lance, Ron Oates
3:04
B5 At Last
Written-By – Harry Warren (2), Mack Gordon
2:25
Label: Warner Bros. Records – BS 3083
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz, Soul
Style: Soul, Jazz-Funk
Miss Randy Crawford (1977) is generally seen as a solid, though sometimes uneven, sophomore effort after her acclaimed debut, showcasing her distinctive soulful voice, but some fans found it less memorable, despite strong tracks and highlighting her versatility in jazz/R&B, with later albums like Now We May Begin (1980) and Secret Combination (1981) often considered stronger follow-ups.
The album served as a follow-up to her breakthrough Everything Must Change (1976). It emphasized Crawford's powerful, unique voice and emotional delivery, a hallmark of her career.
While showcasing her talent, some listeners felt it didn't quite reach the heights of her debut or later classics, with some tracks considered forgettable compared to her signature hits. It solidified her place in the jazz, soul, and R&B realms, building on her early success.
Fans often point to Now We May Begin (1980) and Secret Combination (1981) as albums that further developed her sound and delivered bigger hits like "One Day I'll Fly Away," making Miss Randy Crawford a key, but perhaps less iconic, part of her early journey.
In Summary: Miss Randy Crawford is a noteworthy album for fans exploring her early work, demonstrating her vocal prowess, but many critics and fans find subsequent albums more essential to her legacy.
Mister Magic
Bass – Phil Upchurch
Written-By – Bob James
12:23
A2 Passion Flower
Bass – Gary King
Written-By – Billy Strayhorn
5:34
B1 Mister Magic
Bass – Gary King
Written-By – Ralph MacDonald
9:11
B2 Black Frost
Bass – Gary King
Written-By – Bob James, Grover Washington, Jr.
6:07
Label: Kudu – KU 20 S1
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Jazz
Style: Jazz-Funk
Grover Washington, Jr.'s Mister Magic (1975) is a landmark jazz-funk album, celebrated for its smooth, melodic grooves, masterful saxophone, and innovative fusion of R&B rhythms with sophisticated jazz improvisation, featuring classic tracks like the iconic title song and "Earth Tones," solidifying its place as a feel-good crossover classic essential for jazz-funk fans. The album blends catchy melodies with complex musicianship from players like Bob James and Eric Gale, creating an accessible yet rich sound.
The album consists of four extended tracks:-
"Earth Tones": A psychedelic, cinematic 12-minute opener featuring a long soprano saxophone spotlight.
"Passion Flower": A cover of the Billy Strayhorn jazz standard, presented here as a slow, romantic R&B-style number.
"Mister Magic": The 9-minute title track and a major crossover hit known for its "in the pocket" rhythm and "soothing" melody.
"Black Frost": A grooving track noted for its "mysterious" string arrangements.
It perfectly captures the mid-'70s jazz-funk sound, blending deep grooves with accessible melodies, appealing to both jazz aficionados and mainstream audiences.
Iconic Title Track: "Mister Magic" became a major hit, known for its infectious funk groove, prominent horn arrangements, and stellar guitar by Eric Gale, notes All About Jazz.
The album features a dream team of musicians, including Bob James (keys/arrangements), Harvey Mason (drums), and Ralph MacDonald (percussion), creating a tight, polished sound.
Washington's saxophone breathes fluid, powerful, yet caressing melodies, while the rhythm section provides an irresistible, "in the pocket" feel.
Besides the title track, "Earth Tones" and "Black Frost" are often highlighted for their captivating grooves and atmospheric qualities.
The album was a commercial "mega-hit," reaching #1 on both the Billboard Jazz and Soul (R&B) album charts, and peaking at #10 on the Billboard 200.
Misty Blue
Written-By – Phillip Mitchell
3:31
A2 Dark End Of The Street
Written-By – C. Moman, D. Penn
2:50
A3 Funny How Time Slips Away
Written-By – Willie Nelson
3:48
A4 Laugh It Off
Written-By – Carson Whitsett
3:08
A5 Misty Blue
Written-By – B. Montgomery
3:38
B1 Enough Woman Left (To Be Your Lady)
Written-By – Carson Whitsett
3:02
B2 I Don't Want To Be With Nobody But You
Written-By – Eddie Floyd
4:12
B3 Ain't That A Mother's Luck
Written-By – D. Zimmerman, J. Strickland
3:17
B4 Too Much Love
Written-By – Carson Whitsett, Eddie Floyd
3:22
B5 It's So Good
Written-By – Eddie Floyd
2:28h
Label: Malaco Records – M 6351
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Dorothy Moore's Misty Blue album, especially the classic 1976 release, is lauded for her stunning, soulful voice, particularly on the iconic title track, a massive crossover hit showcasing her powerful, yet smooth, delivery that blends classic soul with R&B, making it a beloved staple for soul fans despite disco's rise.
Critics and fans praise its enduring relevance, emotional depth, and Moore's ability to convey deep feeling, though some find later tracks lean towards bland proto-disco, making compilations or the expanded editions popular for comprehensive collections.
Moore's voice is consistently described as beautiful, strong, silky, and velvety, allowing her to deliver heartfelt ballads and soulful tunes.
Title Track "Misty Blue": This song is the album's centerpiece, a massive hit that defined her career, known for its emotional depth and crossover appeal.
A blend of classic soul, R&B, and blues, often seen as a throwback to the 60s, providing nostalgia and genuine feeling. Even decades later, listeners find the music relevant, with some albums being "miles ahead" of standard compilations.
While the title track and first few songs are often called "killer," some tracks drift towards blandness, with standout moments on bonus tracks or other soul-funk numbers like "Ain't That a Mother's Luck".
In essence: Misty Blue is celebrated for Dorothy Moore's exceptional voice and the timeless quality of its best tracks, making it a must-have for soul music lovers, especially for the iconic single and the rich emotional journey it offers.
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.
Mongo’s Way
Written-By – Grant Reed 2:56
A2 The Letter
Written-By – Wayne Carson Thompson 3:29
A3 Listen Here
Written-By – Eddie Harris 2:54
A4 Sometimes Bread
Written-By – Sonny Henry 5:50
A5 Geechee Girl
Written-By – Neal Creque 3:10
B1 Hippo Walk
Written-By – Dorn, Hahn, Sheller, Creque 3:03
B2 Featherbed Lane
Written-By – Marty Sheller 2:51
B3 Saoco
Written-By – Armando Peraza, Raymond Perez 5:30
B4 Afro Walk
Written-By – Mongo Santamaria 2:54
B5 Congo Blue
Written-By – Mongo Santamaria 5:30
Label: Atlantic – SD 1581
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Jazz, Funk, Soul
Style: Afro-Cuban, Latin Jazz
Mongo's Way, Mongo Santamaria's 1971 Atlantic Records album, is a vibrant fusion of Latin jazz, soul, and funk, featuring Santamaria's signature conga grooves with heavy 70s electric textures, funky basslines, keyboards, and tight horn arrangements, showcasing original compositions and modern arrangements of tracks like "Listen Here," blending traditional Afro-Cuban rhythms with contemporary sounds for a rich, danceable sound.
A prime example of Latin jazz-funk, incorporating Afro-Cuban roots with burgeoning funk and soul.
Features rich arrangements with electric piano, funky bass (Chuck Rainey, Cachao), electric guitar, keyboards (Earl Neal Creque), and a powerful horn section.
Santamaria's masterful conga playing leads the ensemble, supported by percussionists like Armando Peraza and drums from Bernard Purdie.
Includes the groovy "Windjammer," funky "The Letter," soulful "Listen Here," and "Hippo Walk," noted for their infectious rhythms and arrangements.
Crisp, balanced production allows instruments to shine, with arrangements often by Marty Sheller.
The album captures a "killer 70s sound" with a "blaxploitation mode," offering a full, dynamic listening experience that's both deeply rooted in Latin tradition and perfectly in tune with the era's evolving funk landscape, making it a favorite for sampling by hip-hop artists like People Under The Stairs.
Mood, Heart And Soul
Written-By – Jim Weatherly 6:00
A2 I Would Still Be There
Written-By – Billy Clements, Phillip Mitchell 3:13
A3 Good Time Charley's Got The Blues
Written-By – Jerry Chestnut 3:23
A4 Covering The Same Old Ground
Written-By – George Jackson (3), James Dotson, Ray Moore 3:25
A5 Walking Down Lonely Street
Written-By – Aseneth Peek, Joe Simon, K. Sterling 4:30
B1 The Best Time Of My Life
Written-By – Aseneth Peek, Joe Simon, K. Sterling 2:48
B2 What We Gonna Do Now
Written-By – Phillip Mitchell 3:05
B3 I'm In The Mood For You
Written-By – Richard Parker 2:51
B4 Carry Me
Written-By – E. Shelby, Phillip Mitchell 3:40
B5 Come Back Home
Written-By – Aseneth Peek, Joe Simon, K. Sterling 3:15
Label: Spring Records – SPR 6702
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Southern Soul
Joe Simon's Mood, Heart and Soul is a lauded 1974 Southern soul album celebrated for its rich, atmospheric sound, featuring Muscle Shoals magic with incredible musicianship (Hawkins, Becket, Carr), poignant vocals, and killer tracks like "I'm In The Mood For You" and "Walking Down Lonely Street," showcasing mature soul and country-soul fusion that remains essential listening for R&B fans.
Recorded at legendary studios (Muscle Shoals, Chess, Criteria), the album boasts phenomenal backing from the Muscle Shoals rhythm section, with subtle organ, licks, and horns perfectly supporting Simon's expressive voice.
Simon delivers convincing, emotive vocals, stretching phrases and delivering intimate, introspective performances that highlight his dynamic range.
The album features strong material, especially from Phillip Mitchell, with standout tracks including the heartbreaking "I'm In The Mood For You," the soulful "Walking Down Lonely Street," and the gospel-tinged "Something You Can Do Today".
While rooted in southern soul, it bridges R&B with country-soul, a hallmark of Simon's style, making it a consistent, high-quality LP.
Considered a classic in the Southern soul genre, with some critics calling it one of Simon's best performances, blending Southern soul with Norman Whitfield-style elements.
Reissues often bundle it with the Today album, offering immense musical value for collectors.
In summary, Mood, Heart and Soul is a mature, must-have soul record known for its incredible musicianship, heartfelt vocals, and timeless tracks, solidifying Joe Simon's status as a soul icon.
Moody Jr.
Written-By – G. Knight, J. Bristol, W. Felder
3:15
A2 I Don't Want To Do Wrong
Written-By – M. Knight, G. Knight, J. Bristol, C. Schaffner, W. Guest
3:20
A3 Bristol's Way
Written-By – J. Bristol
3:50
A4 Don't Blame The Children
Written-By – C. Ghant, J. Bristol, M. McLeod
2:52
A5 Me And My Family
Written-By – G. Knight, J. Bristol
4:58
B1 Groove Thang
Written-By – J. Bristol
2:38
B2 Still Water Medley
Written-By – F. Wilson, W. Robinson
4:55
B3 Never Can Say Goodbye
Written-By – C. Davis
2:59
B4 Walk In The Night
Written-By – J. Bristol, M. McLeod
3:57
B5 Moody Junior
Written-By – J. Bristol
4:20
Label: Soul – S733L
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Soul, Motown, Instrumental
Moody Jr. (1971) by Jr. Walker & The All Stars is a cohesive, R&B-focused Motown album produced largely by Johnny Bristol. It features a slightly less intense sound than earlier hits, highlighting a "smoother" or "soul-jazz" feel with standout tracks like "...Way Back Home," "...Me and My Family," and a cover of "...I Don't Want to Do Wrong".
The album heavily featured Johnny Bristol, who co-wrote most of the material, resulting in a more polished, soulful, and less "frantic" sound than their early, high-energy hits.
AllMusic and other reviews characterize it as a "less intense" but high-quality album within their discography, marking a shift in their sound in the early 70s.
While perhaps not boasting the massive singles of earlier, more energetic, or "raunchier" albums, Moody Jr. is regarded as a high-quality, professional, and enjoyable soul record from this Motown institution.
The album is described as having a "matured" and sometimes "hauntingly soulful" vibe. While some fans miss the raw grit of earlier hits, others praise its evolution into "smooth, funky" territory. At the time of its release, it was seen as one of his most forward-looking LPs, leaning into a "Trouble Man" or "smooth soul" aesthetic that prefigured mid-70s trends.
More Of The Night
Arranged By [Background Vocals] – O'Deen Mays, Jr.
Arranged By [Strings, Rhythm & Vocal Arrangements] – Joel Davis
Backing Vocals – Whispers
Drum Programming – Skylark
Engineer – Fil Brown
Engineer [Assistant] – Joe Shay, Matt Hyde
Guitar – Gene Robinson
Lead Vocals – Scotty Scott
Mixed By – Taavi Mote
Percussion – Keith Robertson
Producer, Drum Programming, Programmed By [Keyboards], Strings, Bass, Keyboards – Joel Davis
Programmed By [Keyboards] – Gary Taylor
Written-By – Joel Davis
6:02
2 My Heart Your Heart
Arranged By [Rhythm & Strings] – Gary Taylor
Backing Vocals – Whispers
Engineer [Assistant] – Ross Donaldson
Engineer, Mixed By – Fil Brown
Lead Vocals – Scotty Scott
Producer, Keyboards, Drum Programming, Programmed By [Keyboards], Synthesizer [Bass Synthesizer] – Gary Taylor
Written-By – Gary Taylor
5:19
3 Mind Blowing
Arranged By [Rhythm & Strings] – Gordon Jones
Arranged By [Rhythm, Strings & Vocals] – Robert Brookins
Backing Vocals – Whispers
Co-producer, Keyboards, Drum Programming, Programmed By [Keyboards], Strings, Synthesizer [Bass Synth] – Gordon Jones
Engineer – Mitch Gibson
Engineer [Assistant] – Scott Weatherspoon
Lead Vocals – Scotty Scott
Mixed By – Jeff Lorenzen
Producer, Strings, Drum Programming, Programmed By [Keyboards] – Robert Brookins
Written-By – Quander, Jones, Brookins
4:55
4 Don't Be Late For Love
Backing Vocals – Alex Brown, Carl Carwell, Keni Burke, Marelena Jeter, Marva King
Cymbal – Ndugu Leon Chancellor
Engineer – Craig Burbridge, Steve Hallquist, Thom Kidd
Guitar [Solo] – Henry Johnson
Lead Vocals – Scotty Scott
Mixed By – Steve Hallquist
Producer – Peabo Bryson
Producer, Drums, Percussion, Bass, Keyboards, Drum Programming, Programmed By [Keyboards] – Sir Gant
Rhythm Guitar – Paul Jackson Jr.
Written-By – Jenkins, Ferguson, Lindsay
Written-By [Bridge] – Peabo Bryson
5:12
5 You Are The One
Arranged By [Guitar] – Eric Bryce, Gene Robinson
Arranged By [Strings, Rhythm & Vocals] – Joel Davis
Backing Vocals – Whispers
Drum Programming – Skylark
Engineer – Fil Brown
Engineer [Assistant] – Joe Shay
Guitar – Gene Robinson
Lead Vocals – Scotty Scott
Mixed By – Taavi Mote
Overdubbed By – Matt Hyde
Percussion – Keith Robertson
Producer, Drum Programming, Strings, Drums, Bass, Keyboards, Programmed By [Keyboards] – Joel Davis
Written-By – Joel Davis
5:26
6 Is It Good To You
Arranged By [Rhythm & Strings] – Tsuyoshi "Taka" Takayanagi
Arranged By [Vocals] – Kevin Spencer
Backing Vocals – Whispers
Drum Programming – Donnell Spencer
Engineer – Fil Brown, Jim Shifflet, Joe Shay
Lead Vocals – Scotty Scott
Mixed By – Craig Burbridge
Producer – Kevin Spencer
Producer, Strings, Drums, Bass, Keyboards, Drum Programming, Programmed By [Keyboards] – Tsuyoshi "Taka" Takayanagi
Saxophone – Gerald Albright
Written-By – K. Spencer, T. Takayanagi
6:16
7 Innocent
Arranged By [Rhythm & Vocals] – Gordon Jones, Robert Brookins
Arranged By [Strings] – Robert Brookins
Backing Vocals – Portia Griffin, Whispers
Co-producer, Keyboards, Synthesizer [Bass & Guitar], Drum Programming, Programmed By [Keyboards] – Gordon Jones
Engineer – Jared Held, Mitch Gibson
Lead Vocals – Scotty Scott
Mixed By – Jeff Lorenzen
Mixed By [Assistant] – Anthony "A.J." Jeffries
Producer, Keyboards, Drum Programming, Programmed By [Keyboards], Strings – Robert Brookins
Written-By – Jones, King, Brookins
5:16
8 Girl Don't Make Me Wait
Arranged By [String, Rhythm & Vocals] – Christopher Troy, Zack Harmon
Backing Vocals – Whispers, Vernell Shaw
Engineer – David Koenig
Engineer [Assistant] – Gregg Barrett
Lead Vocals – Scotty Scott, Walter Scott
Mixed By – Craig Burbridge
Mixed By [Assistant Mix Engineer] – Anthony "A.J." Jeffries
Producer, Strings, Percussion, Keyboards, Bass, Drum Programming, Programmed By [Keyboards] – Christopher Troy
Producer, Strings, Percussion, Keyboards, Guitar, Drum Programming – Zack Harmon
Written-By – C. Troy, Z. Harmon
4:26
9 Misunderstanding
Arranged By [Rhythm & Vocals] – Steve Russell
Backing Vocals – Whispers
Co-producer – The Whispers
Engineer – David Koenig
Engineer [Assistant] – Anthony "A.J." Jeffries
Lead Vocals – Scotty Scott, Walter Scott
Mixed By – Craig Burbridge
Mixed By [Assistant] – Gregg Barrett
Piano [Other], Programmed By [Keyboards] – Dwayne McGhee
Piano [Solo] – Chuckii Booker
Producer, Drums, Percussion, Bass, Keyboards, Drum Programming – Steve Russell
Sounds [Bass Boom] – Timmy Gatling
Synth [Bass], Soloist – D.C. (4)
Written-By – R. Benford, S. Russell
5:49
10 Forever Lover
Arranged By [Rhythm & Vocals] – Greg Dalton
Backing Vocals – Whispers
Engineer – David Koenig
Engineer [Assistant] – Gregg Barrett
Engineer [Assistant], Mixed By [Assistant] – Anthony "A.J." Jeffries
Lead Vocals – Scotty Scott, Walter Scott
Mixed By – Craig Burbridge
Producer, Drums, Bass, Keyboards, Drum Programming, Programmed By [Keyboards], Sequenced By – Greg Dalton
Written-By – Greg Dalton
4:49
11 Babes
Arranged By [Rhythm & Vocals] – "The Riddler"
Backing Vocals – Whispers
Co-producer – "Romance"
Engineer – Dave Rideau, David Koenig
Engineer [Assistant] – Anthony "A.J." Jeffries, Joe Shay
Executive-Producer – Herb Trawick, Whispers
Lead Vocals – Scotty Scott
Mixed By – Craig Burbridge
Mixed By [Assistant] – Anthony "A.J." Jeffries
Producer, Drum, Percussion, Bass, Keyboards, Drum Programming, Programmed By [Keyboards] – "The Riddler"
Written-By – C. Romance, Riddler
4:15
12 I Want 2B The 1 4U
Arranged By [Rhythm, String & Vocals] – Skylark
Backing Vocals – Whispers
Engineer [Assistant] – Michael Scottella
Guitar – Paul Jackson Jr.
Lead Vocals – Scotty Scott
Mixed By – Taavi Mote
Mixed By [Assistant] – Anthony "A.J." Jeffries
Producer, Keyboards [AKAI MPC 60], Synth [Bass], Drum Programming, Programmed By [Keyboards], Strings – Skylark
Programmed By [Synth Additional], Engineer – Conley Abrams
Written-By – Skylark
4:06
13 Help Them See The Light
Arranged By [Rhythm, String & Vocals] – Jerry McNeil
Backing Vocals – Whispers
Engineer – Matt Hyde, Steve Hallquist
Engineer [Assistant] – Joe Shay, Ross Donaldson
Lead Vocals – Scotty Scott
Mixed By – Craig Burbridge
Producer, Percussion, Synth [Bass], Keyboards, Drum Programming, Programmed By [Keyboard], Strings – Jerry McNeil
Saxophone, Arranged By [Saxophone] – Gerald Albright
Written-By – Jerry McNeil
5:24
14 Innocent (Heat Of The Heat Edit)
Backing Vocals – Portia Griffin
Co-producer, Synth [Bass, Guitar], Keyboards – Gordon Jones
Engineer [Assistant] – Kimm James
Producer [Additional Production], Mixed By – Keith Cohen
Producer, Keyboards, Drum Programming, Programmed By [Keyboards], Strings – Robert Brookins
Written-By – Jones, King, Brookins
4:37
Label: Capitol Records – CDP 7 92957 2
Format: CD, Album
Country: US
Released: 1990
Genre: R&B Soul
Style: New Jack Swing, Soul
The Whispers' More of the Night (1990) is generally well-regarded as a strong, smooth soul/R&B album, continuing their successful late-80s/early-90s sound with polished production, though some critics noted it softened the raunchier edge of earlier works for a more debonair, gentlemanly feel, focusing on well-crafted love songs and hits like "Innocent" and "My Heart Your Heart". Fans praise its classic Whispers sound, excellent vocals, and ability to deliver timeless soul, with the album achieving Gold status and producing multiple R&B Top 10 hits, solidifying their place in the era's smooth R&B landscape.
It's characterized as high-quality soul-pop, featuring a sophisticated, smooth, and sometimes intimate atmosphere, with a reliance on strong vocals and polished instrumentation.
The album shifts focus from Nicholas Caldwell's typically raunchy ballads to more universally appealing, gentlemanly love songs, maintaining the group's signature romantic themes.
While not groundbreaking or "cutting-edge," reviews highlight it as a strong, well-crafted collection, a successful follow-up to Just Gets Better with Time, and a great addition for fans.
The album went Gold in the U.S. and spawned major R&B hits, keeping The Whispers relevant and popular in the early '90s R&B scene.
Standout Tracks (as mentioned in reviews): "Innocent"; "My Heart Your Heart"; "Is It Good to You"; "Its You" (noted for its sexy sax and gentle vibe); The title track, "More of the Night" (praised for its groove).
Overall, More of the Night is seen as a satisfying continuation of The Whispers' smooth R&B legacy, offering expertly produced, timeless love songs that resonated with longtime fans and introduced their sound to new listeners.
More Sex and More Soul
2:57
A2 Show Me Love, I'll Show You Pain
2:51
A3 You've Got Everything I Need
3:53
A4 Great, Great Grandson Of A Slave
2:53
A5 Sure Nuf In Love With You
4:00
B1 After Loving You
3:52
B2 You're So Good To Me
3:17
B3 I Want To Love You, Kiss And Hug You
3:34
B4 Forever, Forever
3:12
B5 Don't Let My Love Get Away
2:53
Label: Mercury – SRM-1-1192
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Southern Soul
Released in 1977 on Mercury Records, More Sex & More Soul is widely considered a southern soul masterpiece that blends seductive musicianship with raw, real-life themes.
The album is noted for its "slow-burning" sound, featuring a sophisticated evolution of southern soul with indie-style arrangements. Critics have praised its "rawness" and "heartfelt delivery," noting it avoids the overproduction common in late '70s R&B.
Roy C. (Roy Charles Hammond) described it as a "concept album about infidelity". His lyrics offer a "wry" and "outspoken" exploration of romantic mischief, specifically in songs like "From The Outside Looking In (He Used To Be My Friend)".
Despite the title's focus on romance, the album includes the politically charged track "Great Great Grandson of a Slave," which reportedly contributed to tensions between Roy C. and his label bosses.
While a "satisfying slab of southern soul," some collectors and critics, including Peter Guralnick, often favor its 1973 predecessor, Sex & Soul, in direct comparisons.
Though it received minimal mainstream R&B airplay at the time, it remains highly revered by soul collectors and served as a foundational influence for later southern soul artists like Marvin Sease and Willie Clayton.
Later reissues on labels like Collectables often include bonus tracks such as "Love Me Till Tomorrow Comes" and "Virgin Girl".
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.
Mothership Connection
Written-By – B. Worrell, B. Collins, G. Clinton
7:42
A2 Mothership Connection (Star Child)
Written-By – B. Worrell, B. Collins, G. Clinton
6:14
A3 Unfunky UFO
Written-By – B. Collins, G. Shider, G. Clinton
4:24
B1 Supergroovalisticprosifunkstication
Written-By – B. Worrell, B. Collins, G. Shider, G. Clinton
5:01
B2 Handcuffs
Written-By – G. Clinton, G. Goins, J. McLaughlin
4:01
B3 Give Up The Funk (Tear The Roof Off The Sucker)
Written-By – B. Collins, G. Clinton, J. Brailey
5:45
B4 Night Of The Thumpasorus Peoples
Written-By – B. Collins, G. Shider, G. Clinton
5:12
Label: Casablanca – NBLP 7022
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Funk
Style: P.Funk, Funk
Released in December 1975, Parliament’s Mothership Connection is a foundational, platinum-certified funk masterpiece that defined the genre and pioneered Afrofuturism. Featuring iconic hits like "Give Up the Funk (Tear the Roof Off the Sucker)," the seven-track album showcases the virtuosic bass of Bootsy Collins, innovative keys by Bernie Worrell, and the tight horn lines of Maceo Parker and Fred Wesley. It is widely celebrated for its infectious, danceable grooves and imaginative space-themed mythology.
This was the first album to heavily feature ex-James Brown musicians Maceo Parker and Fred Wesley, offering them more creative freedom under George Clinton. It established the "P-Funk mythology," introducing characters that would anchor the group's work for years.
The album is described as "funk to the max", featuring deep, distorted basslines, intricate horn arrangements, and a mix of, boisterous chants, and soulful vocals.
Key Tracks:
"Give Up the Funk (Tear the Roof Off the Sucker)": A quintessential, anthemic party track that became their biggest hit.
"Mothership Connection (Star Child)": The title track that introduced the central concept.
"P-Funk (Wants to Get Funked Up)": A defining, high-energy opener.
"Unfunky UFO" & "Supergroovalisticprosifunkstication": Highlighted for their unique, energetic grooves.
The album, particularly its Afrofuturist themes and the "Mothership" stage prop, is recognized for its immense influence on jazz, rock, and particularly hip-hop (notably sampled by Dr. Dre).
Mothership Connection is frequently ranked among the greatest albums of all time, with 1001 Albums Generator calling it a "5-star funk album".
Mr. Blues Plays Lady Soul
A2 I Can't See Myself Leaving You 3:32
A3 Never Let Me Go 3:28
A4 Baby, I Love You 3:40
A5 Lady Soul 3:12
B1 Soul Serenade 3:30
B2 Ain't No Way 3:57
B3 Since You've Been Gone (Sweet Sweet Baby) 2:16
B4 Take A Look 3:13
B5 Going Down Slow 7:26
Label: Atlantic – SD 1523
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: Jazz, Funk, Soul
Style: Soul-Jazz
Hank Crawford's Mr. Blues Plays Lady Soul (1969) is generally praised as a magnificent tribute to Aretha Franklin, featuring his soulful alto sax backed by a big band with great Arif Mardin arrangements, delivering heartfelt blues-soul with highlights like "Baby, I Love You," though some find it a bit less distinctive than his earlier work, leaning into mainstream funk/soul rather than pure jazz.
he album serves as a dedicated homage to Aretha Franklin, capturing her "Lady Soul" spirit with bluesy riffs and emotional solos. Crawford is supported by a robust big band, with arrangements by Arif Mardin, creating a lush, full sound.
Reviewers call it a "tremendous album," highlighting standout tracks like "Baby, I Love You," "Lady Soul," and "Going Down Slow". It blends classic blues with emerging soul and funk, appealing to fans of soul-jazz.
While many adore it as a joyous, high-energy session, some listeners find it less innovative or "derivative" compared to his other records, preferring funkier or jazzier tracks.
Overall, Mr. Blues Plays Lady Soul is considered a strong, enjoyable entry in Crawford's discography, especially for fans of classic soul and big-band arrangements, even if it leans into more commercial sounds than some other soul-jazz artists
Mr. Look So Good!
Written-By – Belinda Wilson, Richard "Dimples" Fields
6:50
A2 After I Put My Lovin' On You
Written-By – Arthur Adams, Belinda Wilson, Richard "Dimples" Fields
3:45
A3 Baby Work Out
Written-By – Alonzo Tucker, Jackie Wilson
4:19
A4 Mr. Look So Good
Written-By – Belinda Wilson, Richard "Dimples" Fields
3:49
B1 Taking Applications
Written-By – Belinda Wilson, Richard "Dimples" Fields
5:30
B2 (A Woman At Home And) A Freak On The Side
Written-By – Belinda Wilson, Richard "Dimples" Fields
5:05
B3 Sincerely
Written-By – Alan Freed, Harvey Fuqua
3:59
B4 The Lady Is Bad
Written-By – Arthur Adams, Belinda Wilson, Richard "Dimples" Fields
5:20
Label: Boardwalk Entertainment Co – NB1-33249
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco
Richard "Dimples" Fields' Mr. Look So Good! (1982) is a beloved R&B/Soul album showcasing his signature smooth vocals and playful storytelling, featuring hits like "If It Ain't One Thing, It's Another" and the iconic "She's Got Papers on Me," blending original tunes with soulful takes on oldies, establishing his "Mr. Look So Good" persona with classic tracks and enduring fan appeal, cementing its place as a fan-favorite from his Boardwalk Records era.
It includes his signature 1982 smash "If It Ain't One Thing, It's Another," a #1 R&B hit, and the popular "She's Got Papers on Me," featuring Betty Wright.
Fields pays tribute to R&B legends with covers like Jackie Wilson's "Baby Work Out" and The Moonglows' "Sincerely". The album fully embraces his charming, sometimes mischievous, romantic character, as seen in the title track and "Taking Applications".
Released on Boardwalk Records, the album benefited from slick production, a hallmark of the era, and featured collaborations like Patrice Rushen on other works, aligning with contemporary R&B sounds.
Fans consistently praise the album for its feel-good vibes, soulful tracks, and Fields' charismatic delivery, with positive ratings on sites like Discogs.
It's considered a definitive work from his popular Boardwalk period, known for its mix of romantic ballads, danceable tunes, and social commentary, appealing to fans of classic soul and contemporary R&B.
In essence, Mr. Look So Good! is a strong entry in Fields' catalog, capturing his appeal as a suave, relatable crooner with great tunes and witty lyrics, making it a go-to album for fans.
Music Magic
Producer – Bobby Eli
5:58
A2 Holding On To Love
Producer – Bobby Eli, Kenny Copeland
3:23
A3 New Love
Producer – Michael Nash
5:18
A4 Safe And Warm
Producer – Bobby Eli, Kenny Copeland, Michael Nash
4:45
B1 Work It
Producer – Bobby Eli
5:54
B2 Long Distance Love Affair
Producer – Bobby Eli, Kenny Copeland
4:22
B3 You're So Fine
Co-producer – Kenny Copeland, Michael Nash
Producer – Alvin Santiel, Terral Santiel
3:49
B4 Show Me
Producer – Michael Nash
4:27
Label: Montage Records – MA110
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Boogie
Released in 1984, Music Magic by Rose Royce represents a post-Gwen Dickey era of the band, featuring a refined, funk-soul sound produced by Bobby Eli. The album is highly regarded for its standout track, "Magic Touch," which is often praised for its "ol'skool" soul-dance appeal. Despite being a later, less commercially successful release than their 70s hits, it holds a positive reputation among fans of the genre.
The album is noted for its "superb" production quality, particularly the work of Bobby Eli.
While many listeners associate the band with original lead singer Gwen Dickey, the replacement vocals (including lead by Rose Norwalt and Keith Patrick) are noted for being soulful and sophisticated.
While not reaching the same heights as their 1970s work (such as Car Wash), the album is well-received by collectors and fans of 80s funk, with this Discogs listing showing it is still valued by listeners.
The album was released on the Streetwave label in the UK and Hot Productions in the US, often recognized as a strong, post-prime effort from the band.
It is often compared to their earlier masterpieces like In Full Bloom, but viewed as a more "refined" and "cool" evolution of their sound rather than a retread of their disco-era hits.
Music Of My Mind
Trombone, Soloist – Art Baron
Written-By – S. Wonder, S. Wright 7:21
A2 Superwoman
Guitar, Soloist – Buzzy Feiton
Written-By – S. Wonder 8:04
A3 I Love Every Little Thing About You
Written-By – S. Wonder 3:46
A4 Sweet Little Girl
Written-By – S. Wonder 4:54
B1 Happier Than The Morning Sun
Written-By – S. Wonder 5:18
B2 Girl Blue
Written-By – S. Wonder, Y. Wright 3:35
B3 Seems So Long
Written-By – S. Wonder 4:27
B4 Keep On Running
Written-By – S. Wonder 6:35
B5 Evil
Written-By – S. Wonder, Y. Wright 3:35
Label: Tamla – T 314L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Electronic
Stevie Wonder's Music of My Mind (1972) is a landmark album, hailed as his creative rebirth where he gained full artistic control, showcasing genius fusion of funk, soul, jazz with pioneering synthesizer use (TONTO), and deeper social commentary, starting his legendary 70s run with reflective tracks like "Superwoman" alongside upbeat funk, even if some critics noted occasional self-indulgence or slower moments amidst its groundbreaking sound.
This was the first album under his new Motown deal, giving him unprecedented control and paving the way for his classic era. He pioneered the use of synthesizers (TONTO), blending them seamlessly with funk, R&B, and jazz for a unique, expansive sound.
The album moves beyond simple love songs, incorporating deep personal reflections (marriage struggles) and social commentary (like in "Evil").
It features rich harmonic sophistication, intricate arrangements, and a powerful, expressive vocal performance, with Stevie playing most instruments.
Acclaimed as a creative peak, proving R&B's artistic depth, though it wasn't a massive initial commercial hit, it laid the groundwork for future blockbusters.
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 To Make Love By
Written-By – Solomon Burke
2:53
A2 Let Me Wrap My Arms Around You
Written-By – Solomon Burke
4:02
A3 Come Rain Or Come Shine
Written-By – Johnny Mercer-Harold Arlen
3:44
A4 You And Your Baby Blues
Written-By – Jerry Styner, Solomon Burke
5:49
B1 All The Way
Written-By – Sammy Cahn-James Van Huesen
4:31
B2 Thanks, I Needed That
Written-By – Solomon Burke
4:29
B3 Everlasting Love
Written-By – Solomon Burke
4:12
B4 Midnight And You
Written-By – Billy Page, Gene Page
4:01
B5 Music To Make Love By (Part 2)
Written-By – Solomon Burke
2:43
Label: Chess – CH 60042
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Solomon Burke's Music to Make Love By album is generally viewed as a pleasant, if somewhat forgettable, foray into Barry White-esque smooth soul, featuring his signature deep voice applying romantic rap over lush, background-friendly tracks, but lacking the raw power of his earlier work, with some critics finding it designed to fade into the background rather than demand attention, yet still possessing redeeming qualities like his vocal presence and a unique concept.
A romantic, late-night album focused on seduction, with Burke delivering spoken-word verses (rap) over instrumental backdrops, featuring smooth, romantic soul, reminiscent of Barry White, with production intended to be unobtrusive, making it ideal for background listening during intimate moments.
Burke's powerful, soulful voice is still present, even when used in a softer, crooning, and rapping style, bringing his unique presence to the material. while some found its subtlety a success for its intended purpose, others felt it lacked the impact and depth of his classic Atlantic Records material, with one review calling it "not a good album" but still acknowledging its success as background music.
In summary, Music to Make Love By showcases a different, smoother side of Solomon Burke, less about fiery soul and more about sensual atmosphere, succeeding as a mood piece but perhaps not as a standout artistic statement in his extensive catalog.
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 Goal
A2 My Goal 4:11
A3 Saved 5:01
A4 It's Alright 4:30
A5 Last Mile Of The Way 5:07
B1 Vocal Prelude 0:36
B2 In The Garden 5:09
B3 Taken Away My Lord 4:50
B4 I'll Do It 4:25
B5 Of The World 5:24
Label: Light Records – 7-115-72036-3
Format: Vinyl LP, Album
Country: US
Released: 1988
Genre: R&B Gospel, Soul
Style: Christian, Gospel
Johnnie Wilder Jr.’s 1988 solo debut, My Goal, is widely regarded by fans and critics as a "hidden gem" and a masterclass in vocal harmony. Following a 1979 car accident that left him paralyzed, the former Heatwave frontman transitioned into gospel music, utilizing this album as an expression of faith and gratitude.
Reviews consistently praise the album's vocal arrangements, often comparing the intricate layering to the work of Take 6. Listeners describe the production as having a "hi-fidelity" quality that feels both expansive and intimate.
The album is primarily a cappella, highlighting Wilder’s legendary tenor voice without heavy instrumentation. Fans of his work with Heatwave note that while it is a gospel record, the soulful "Heatwave sound" remains evident in the vocal blends.
Listeners often describe the record as "uplifting" and "gripping," noting the sincerity in Wilder's performance given his physical condition at the time.
Notable Tracks:-
"My Goal": The title track is frequently cited as a standout for its beautiful and touching lyrical content.
"Thank You Jesus": A central piece of the album that reinforces the theme of giving thanks despite life-altering adversity.
"In the Garden": A highly-rated track on community sites like Rate Your Music, showcasing his traditional gospel roots.
The album holds a high standing among niche collectors, with average user ratings of 4.3 to 5 stars on platforms like Amazon and Discogs.
It is often described as an underrated masterpiece that serves as a vital bridge between 70s soul and modern contemporary Christian music (CCM).
My Hands Are Tied
Written-By – E. Cornelius
4:50
A2 Treat Her Like A Lady
Written-By – E. Cornelius
3:23
A3 All In The Game
Written-By – C. Sigman, C. Dawes
4:40
A4 Let Me Be Good To You
Written-By – R. Gamble, L. Huff
3:35
A5 Let's Fool Around
Written-By – T. Bingham
4:38
B1 Release Yourself
Written-By – T. James
3:59
B2 Talk To Me
Written-By – J. Seneca
4:27
B3 You're All I Need To Get By
Written-By – Ashford, Simpson
3:32
B4 Don't Ever Be Lonely
Written-By – E. Cornelius
3:50
B5 I'll Carry A Torch
Written-By – D. Van Arsdale
5:14
Thinking a little longer Eddie Cornelius's 1982 solo album, My Hands Are Tied, is a notable shift from his early '70s success with the Cornelius Brothers & Sister Rose, blending his signature soul with contemporary boogie and funk elements.
The album is classified as Funk / Soul with a specific focus on Soul and Boogie styles. While official mainstream reviews from its release year are scarce, it maintains a high average rating of 4.55/5 among collectors on Discogs.
Listeners have specifically praised the "fantastic" backing vocals, particularly on the title track.
The album features 10 tracks, including original compositions and covers of soul classics including: "My Hands Are Tied" – The mid-tempo title track written by Cornelius; "Treat Her Like a Lady" – A re-recording/solo version of his 1971 hit with the Cornelius Brothers; "All In the Game" – A soul cover of the 1951 standard; "You’re All I Need to Get By" – An Ashford & Simpson cover; "Don’t Ever Be Lonely" – Another solo rendition of a former group hit.
By the time of this release, Cornelius had begun moving toward a born-again Christian path, which would eventually lead him into gospel music. My Hands Are Tied serves as a bridge between his secular soul peak and his later spiritual works.
Label: Audiograph – AG 7785
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Boogie
My Kind Of Blues
Written-By – D. Morris, D. Donaldson
2:58
A2 Come On Home To Me
Written-By – D. Morris, D. Donaldson
2:26
A3 See See Rider 2:26
A4 Nothin' But Trouble On My Mind
Written-By – Debby Moore, L. Donaldson
2:40
A5 Sent For You Yesterday 2:10
A6 Baby, Won't You Please Come Home 2:39
B1 I'm Travelin' Light 3:01
B2 (I Know) My Baby Loves Me True
Written-By – Debby Moore, L. Donaldson
2:53
B3 Why Don't You Do Right 2:50
B4 How Come You Do Me Like You Do Do Do 2:21
B5 Hallelujah, I Love Him So
Written-By – Ray Charles
2:56
B6 No Love, No Nothin' 2:45
Label: Top Rank International – RS 601
Format: Vinyl, LP, Album
Country: US
Released: 1960
Genre: Jazz, Blues
Style: East Coast Blues, Vocal
My Kind of Blues is the only solo album recorded by jazz and pop vocalist Debby Moore (born Cora Lee McDade, 1924–2017). Recorded in New York City in December 1959 and released in 1960, it features her intimate, warm vocal style and unique whistling abilities.
The album is characterized as a session of "sweet blues" and vocal jazz, featuring personal interpretations of established standards.
Moore’s voice is described as light and "warmly caressing," with a phrasing style that displays a deep jazz awareness. Moore contributes whistling on several tracks, such as "I Get A Feeling," in a style reminiscent of her trumpeter.
Key Tracks: The repertoire includes covers of Ray Charles' "Hallelujah, I Love Him So" and Jimmy Rushing's "Sent For You Yesterday," as well as "See See Rider" and "Why Don't You Do Right".
Moore is backed by a quintet of prominent jazz soloists:- Trumpet: Harry "Sweets" Edison; Piano: Jimmy Jones (also credited with arrangements); Guitar: Barry Galbraith; Bass: George Duvivier; Drums: Elvin Jones.
Released in 1960 by Top Rank International (Mono: RM 301; Stereo: RS 601). The album has been reissued several times, including a 2007 CD from Fresh Sound Records that added the bonus track "Get a Feeling," and a 2023 limited edition 180-gram vinyl from the Supper Club label.
My Kind Of Blues
Written-By – Russell, Ellington 3:10
A2 Little Girl Blue
Written-By – Rodgers - Hart 2:55
A3 Nobody Knows When You're Down And Out
Written-By – Jimmie Cox 3:20
A4 Out In The Cold Again
Written-By – Bloom, Koehler 2:25
A5 But Not For Me
Written-By – George And Ira Gershwin 2:29
A6 Exactly Like You
Written-By – Fields - McHugh 2:05
B1 I'm Just A Lucky So And So
Written-By – Duke Ellington, Mack David 3:10
B2 Since I Met You Baby
Written-By – Ivory Joe Hunter 3:00
B3 Baby, Won't You Please Come Home
Written-By – Warfield, Williams 2:08
B4 Trouble In Mind
Written-By – Richard M. Jones 2:55
B5 You're Always On My Mind
Written-By – J. W. Alexander 2:12
B6 The Song Is Ended
Written-By – Irving Berlin 2:07
Label: RCA – LSP-2392
Format: Vinyl, LP, Stereo
Country: US
Released: 1961
Genre: R&B Soul
Style: Soul, Jazz, Blues
Sam Cooke's My Kind of Blues (1961) is generally seen as a solid, enjoyable effort, showcasing his soulful voice on standards with a jazzy, horn-driven, Vegas-tinged sound, though some critics find its pop-oriented production less "gritty" than true blues, with praised tracks like "Don't Get Around Much Anymore" and "Nobody Knows You When You're Down And Out," marking a step up from his more saccharine pop albums.
It's more a pop-jazz/swing album with blues themes than raw, traditional blues, featuring tasteful horns and piano. The production is a bit "Vegas," but with more emphasis on brass and piano than strings, making it less schmaltzy than some other efforts.
Track Highlights: "Don't Get Around Much Anymore," "Little Girl Blue," "Nobody Knows You When You're Down And Out," "But Not For Me," and "Trouble In Mind" are often mentioned as standout tracks. Cooke's smooth, captivating voice shines, delivering heartfelt performances, even on less gritty tracks.
While not a groundbreaking blues record, it's considered a good collection of standards, a step up from his more pop-focused albums like Cooke's Tour, and a decent listen for fans of his vocal talent.
In Summary, My Kind of Blues offers a "come of age" feel for Cooke, blending standards with his signature soulful delivery and a tight band, making it a worthwhile listen for those who appreciate his voice and a smoother, swinging take on blues classics.
My Life
Producer – Chucky Thompson, Sean "Puffy" Combs
Programmed By [Digital], Keyboards, Strings, Mixed By – "Bassy" Bob Brockmann
Recorded By – Nashiem Myrick, Tony Maserati
Written-By – Mary J. Blige
1:04
A2 Mary Jane (All Night Long)
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – Rich Travali
Written-By – Mary J. Blige, Rick James
4:41
A3 You Bring Me Joy
Backing Vocals – Jo-Jo, LaTonya J. Blige
Instruments – Chucky Thompson
Mixed By – "Bassy" Bob Brockmann
Producer – Chucky Thompson, Sean "Puffy" Combs
Producer [Vocal Production] – Jo-Jo
Recorded By, Programmed By – "Bassy" Bob Brockmann, Nashiem Myrick
Written-By – Jo-Jo Hailey, Mary J. Blige
4:14
A4 Marvin (Interlude)
Instruments – Chucky Thompson
Mixed By – "Bassy" Bob Brockmann
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick
Written-By, Performer – Mary J. Blige
0:40
A5 I'm The Only Woman
Backing Vocals – LaTonya J. Blige
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick, "Prince" Charles Alexander, Tony Maserati
Written-By – Mary J. Blige
4:32
A6 K. Murray (Interlude)
Featuring – Keith Murray
Mixed By – "Bassy" Bob Brockmann
Producer – Chucky Thompson, Nashiem Myrick, Sean "Puffy" Combs
Recorded By – Nashiem Myrick, Tony Maserati
Written-By, Performer – Keith Murray
0:24
A7 My Life
Backing Vocals – LaTonya J. Blige
Instruments – Chucky Thompson
Producer – Chucky Thompson, Sean "Puffy" Combs
Programmed By [Additional] – Rashad Smith Of Tumblin' Dice Productions, Inc.
Recorded By – Nashiem Myrick, "Prince" Charles Alexander, Tony Maserati
Written-By – Arlene DelValle, Mary J. Blige
4:19
A8 I Never Wanna Live Without You
Backing Vocals – Faith Evans, Mary J. Blige
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Music By, Keyboards [Additional] – Herb Middleton
Producer – Chucky Thompson, Herb Middleton, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick, Rich Travali, Tony Maserati
Written-By – Big Bub, Faith Evans, Mary J. Blige
6:20
A9 I'm Goin' Down
Alto Saxophone – Vincent Henry
Bass – Victor Bailey
Cello – Eileen Folson
Co-producer – Mark "Led" Ledford, "Prince" Charles Alexander
Drums – Kevin "K-Dog" Johnson
Guitar – Paul Pesco
Harp – Gloria Agostini
Keyboards – Fred McFarlane
Lyrics By – Norman Whitfield
Music By – Joel Schumacher
Percussion – Frank Colon
Piano – Lenny Underwood
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By, Mixed By, Tenor Saxophone, Flute, Piccolo Flute – "Prince" Charles Alexander
Trumpet – Bruce Purse, Mark "Led" Ledford
Violin – Diane Monroe, Lesa Terry, Regina Carter
3:44
A10 My Life (Interlude)
Instruments – Chucky Thompson
Mixed By – "Bassy" Bob Brockmann
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick, Tony Maserati
Written-By – Big Bub, Mary J. Blige
1:15
B1 Be With You
Instruments – Chucky Thompson
Mixed By – "Bassy" Bob Brockmann
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick
Written-By – Mary J. Blige
4:27
B2 Mary's Joint
Backing Vocals – LaTonya J. Blige
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – Nashiem Myrick, Tony Maserati
Written-By – Mary J. Blige, Sean "Puffy" Combs
5:02
B3 You Gotta Believe
Backing Vocals – Faith Evans, K-Ci & Jo-Jo, Mary J. Blige
Keyboards [Additional] – Chucky Thompson
Music By, Instruments – Herb Middleton
Producer – Chucky Thompson, Herb Middleton, Sean "Puffy Combs"
Recorded By, Mixed By – "Bassy" Bob Brockmann
Written-By – Big Bub, K-Ci Hailey, Faith Evans, Mary J. Blige
5:02
B4 Don't Go
Backing Vocals – Big Bub, Faith Evans, Mary J. Blige
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – Nashiem Myrick, Tony Maserati
Written-By – Big Bub, Faith Evans, Mary J. Blige
5:01
B5 I Love You
Instruments – Chucky Thompson
Mixed By – Tony Maserati
Producer – Chucky Thompson, Sean "Puffy" Combs
Recorded By – "Bassy" Bob Brockmann, Nashiem Myrick, "Prince" Charles Alexander, Rob Paustian, Tony Maserati
Written-By – Mary J. Blige, Sean "Puffy" Combs
4:33
B6 No One Else
Arranged By – K-Ci, Mr. Dalvin
Bass [Additional] – Darryl Pearson
Producer, Instruments – Mr. Dalvin
Recorded By, Mixed By – Rob Paustian
Written-By – K-Ci Hailey
4:17
B7 Be Happy
Backing Vocals – LaTonya J. Blige
Instruments – Chucky Thompson
Lyrics By – Arlene DelValle, Mary J. Blige
Mixed By – "Prince" Charles Alexander, Tony Maserati
Music By – Jean C. Olivier, Sean "Puffy" Combs
Producer – Poke, Sean "Puffy" Combs
Recorded By – Nashiem Myrick, "Prince" Charles Alexander
Label: Uptown Records – UPT-11156
Format: Vinyl, LP, Album
Country: US
Released: 1994
Genre: Hip Hop, Funk, Soul
Style: Contemporary R&B
Mary J. Blige's 1994 album My Life is a landmark Hip-Hop Soul masterpiece, celebrated for its raw, deeply personal exploration of heartbreak, depression, and resilience, set against a backdrop of rich, sample-heavy production by Sean "Puffy" Combs and Chucky Thompson, solidifying Blige as the "Queen of Hip-Hop Soul" and earning critical acclaim for its emotional honesty and enduring influence.
Blige candidly addressed her struggles with substance abuse, abusive relationships, and clinical depression, creating a relatable and powerful narrative.
The album perfected the Hip-Hop genre's blend, using 70s soul breaks and classic R&B samples (like Mary Jane Girls, Curtis Mayfield, Isaac Hayes) with gritty 90s hip-hop beats, a signature style.
Sean "Puffy" Combs' innovative production, alongside Chucky Thompson, created a unique, melodic, and emotionally resonant soundscape that distinguished it from contemporaries.
My Life became a cultural touchstone, moving beyond initial mixed reviews to be hailed as a classic, appearing on numerous "greatest albums" lists for its groundbreaking honesty and musical quality.
The album peaked at #7 on the Billboard 200 and #1 on Top R&B/Hip-Hop Albums, certified 3x Platinum. While initial reviews were varied, critics now universally praise it as a masterpiece, with Rolling Stone ranking it among the greatest albums ever.
My Life is considered a pivotal album, defining the "ghetto diva" persona and cementing Mary J. Blige's status as a voice for a generation, offering catharsis through its unflinching portrayal of personal turmoil.
Today, it is considered one of the greatest R&B albums ever. It earned Blige her first Grammy nomination and has been ranked on numerous "all-time best" lists, including those by Rolling Stone and Blender. The album is credited with redefining the R&B genre, paving the way for later introspective artists such as Alicia Keys, Beyoncé, and Lauryn Hill.
My Love Is Your Love
Written-By – F. Jerkins III, I. Phillips, L. Daniels, R. Jerkins, T. Estes 4:51
2 Whitney Houston Feat. Faith Evans And Kelly Price– Heartbreak Hotel
Written-By – C. Schack, K. Karlin, T. Savage 4:41
3 Whitney Houston– My Love Is Your Love
Written-By – J. Duplessis, W. Jean 4:24
4 Whitney Houston Duet With Mariah Carey– When You Believe
Written-By – S. Schwartz 4:32
5 Whitney Houston– If I Told You That
Written-By – F. Jerkins III, L. Daniels, R. Jerkins, T. Estes 4:37
6 Whitney Houston Feat. Missy "Misdemeanor" Elliott– In My Business
Written-By – K. Bradshaw, L. Turner, M. Elliott 3:26
7 Whitney Houston– I Learned From The Best
Written-By – D. Warren 4:19
8 Whitney Houston– Oh Yes
Written-By – K. Bradshaw, L. Turner, M. Elliott 6:52
9 Whitney Houston– Get It Back
Written-By – F. Jerkins III, L. Daniels, R. Jerkins, T. Estes 4:56
10 Whitney Houston– Until You Come Back
Written-By – Babyface, D. Simmons 4:53
11 Whitney Houston– I Bow Out
Written-By – D. Warren 4:30
12 Whitney Houston– You'll Never Stand Alone
Written-By – D. Warren 4:21
13 Whitney Houston– I Was Made To Love Him
Written-By – H. Cosby, L. Hardaway, S. Wonder, S. Moy 4:29
Label: Arista – 07822 19037 2
Format: CD, Album
Country: Europe
Released: 1998
Genre: R&B Soul, Hip Hop, Pop
Style: Soul, Contemporary R&B
Whitney Houston's My Love Is Your Love (1998) was a critically acclaimed comeback album, marking a mature shift from traditional R&B to contemporary sounds like hip-hop, reggae fusion, and funk, showcasing her evolving artistry and powerful vocals on hits like "It's Not Right But It's Okay" and the reggae-tinged title track. Reviewers praised its fresh production (with Rodney Jerkins, Missy Elliott, Wyclef Jean), emotional depth, and Houston's enduring vocal strength, making it a consistent and artistically successful album that redefined her sound for a new era.
This album is a departure from her earlier works, embracing modern R&B, hip-hop, and Caribbean influences, showcasing a grittier, more mature Whitney.
Features Grammy-winning "It's Not Right But It's Okay," the popular "Heartbreak Hotel," and the iconic title track.
Collaborations: Strong production from producers like Rodney Jerkins, Missy Elliott, and Wyclef Jean, plus a duet with Mariah Carey on "When You Believe".
The album is praised for its emotional depth, power, and range, proving her vocal mastery continued. It's seen as a consistent, cohesive, and creative album that successfully reinvigorated her career, offering grown-up themes reflecting her life as a wife and mother.
Rolling Stone: Called it her "first consistent album," highlighting the "creative juice" from producers and her newfound "bite" in her voice.
Entertainment Weekly: Praised Wyclef Jean's "gorgeous reggae-tinged title song" and the "funky cuts" by Rodney Jerkins.
Many consider it a superb, emotionally resonant album that captures her enduring talent and personal growth, making it a fan favorite and a standout in her discography.
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.
My Name is Joe
0:45
2 Somebody Gotta Be On Top
4:12
3 Stutter
3:52
4 Table For Two
5:32
5 I Wanna Know
4:56
6 Treat Her Like A Lady
4:17
7 Get Crunk Tonight
4:17
8 5 6 3 (Joe)
4:08
9 Peep Show
4:26
10 One Life Stand
4:39
11 Blawk Hawk
4:13
12 I Believe In You
Duet With NSYNC
4:57
13 So Beautiful
4:26
14 Thank God I Found You
(Make It Last Remix Edit)
Featuring – Mariah Carey & Nas
4:11
Label: Jive – 01241-41703-2
Format: CD, Album
Country: US
Released: 2000
Genre: R&B Soul
Style: Contemporary R&B
My Name Is Joe (2000) is a highly polished, critically acclaimed R&B album that solidified Joe as a premier, smooth-voiced crooner. Featuring hits like "I Wanna Know," the album expertly balances sensual, bedroom-ready slow jams with melodic, romantic ballads, marking it as a definitive, strong-start-to-finish record of the era.
The album is described as a, "tight," "well-crafted" collection of 11-12 tracks (depending on version) that delivers a consistent, "lush" mood.
Key songs include "I Wanna Know," "Treat Her Like a Lady," "Get Crunk Tonight," and the 'N Sync duet "I Believe in You".
Critics praised Joe’s restrained, smooth vocal performance, often comparing his romantic style to artists like Marvin Gaye or Al Green.
AllMusic and Los Angeles Times gave the album a 5/5 star rating, with it peaking at #17 on the US Billboard 200 and reaching the top 3 on the R&B/Hip-Hop albums chart.
While hailed as a top-tier lover-man album, some critics noted that the lyrics often lean into explicit, sometimes "salacious" territory. Some reviews noted a lack of variety, focusing heavily on the "mood music" formula.
Overall, My Name Is Joe is generally considered one of the best R&B albums of its time, providing a solid, mature, and romantic listening experience.
My Thing
Written-By – A. Goodman, B. Brown, Sylvia Robinson
3:53
A2 Girl Don't Go
Written-By – A. Goodman, N. Edmonds, S. Seiger
3:03
A3 Life And Breath
Written-By – George Clinton
3:16
A4 Baby I'm A Want You
Written-By – David Gates
3:44
A5 Gotta Find A Way
Written-By – B. Terrell, R. Derouge
4:00
B1 My Thing
Written-By – Sylvia Robinson
2:55
B2 Look What You've Done
Written-By – J. Ingram
3:17
B3 When I Get There
Written-By – A. Goodman, B. Brown, H. Ray
2:51
B4 I Believe In You
Written-By – A. Goodman, B. Brown, H. Ray
2:53
B5 I Think So
Written-By – A. Goodman, B. Brown, H. Ray, Joe Robinson, Jr.
2:53
Label: Stang Records – ST-1022
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
Released in 1972 on Stang Records, My Thing by The Moments is a cornerstone of the "Smooth Soul" and "Sweet Soul" subgenres. The album is widely regarded by collectors as a "hidden gem" of 1970s R&B, praised for its lush arrangements and vocal harmonies that set the stage for the group's later evolution into Ray, Goodman & Brown.
Produced by Sylvia Robinson, the album features the classic early-70s Stang soul sound, which is characterized as sometimes low-fidelity with noticeable sibilance, yet this only enhances the atmospheric, "dreamy" quality of the songs.
Reviews frequently describe the album as "hypnotic" and essential for fans of 70s soul. The group is noted for its ability to "croon" with high emotional resonance, particularly on the ballads.
Some modern listeners find the sound quality to be "lo-fi" with noticeable sibilance (sharp 's' sounds), though purists argue this adds to the authentic atmospheric charm of the 70s.
The album maintains strong scores across music databases, typically averaging between 4.1 and 4.7 out of 5 stars on platforms like Discogs and Amazon.
Notable Tracks:- "My Thing": The title track is the standout, praised for its quintessential 70s R&B groove; "Girl I'm Gonna Miss You": Highly regarded for its emotional depth and vocal delivery; "Thanks A Lot": Often cited alongside the title track as one of the best examples of the group's smooth, harmonized style.
The Moments were a premiere R&B group of the early 70s, and this album fits squarely within their peak period, often appearing in compilations alongside their bigger chart hits. For fans of early 70s soul, sweet soul, or "low-fi" romantic ballads, My Thing is highly recommended as a quintessential, atmospheric listen.
My Whole World Ended
Written-By – H. Fuqua, J. Roach, J. Bristol, P. Sawyer 3:15
A2 Pieces Of A Man
Written-By – J. Bristol, P. Sawyer 2:46
A3 Somebody Stole My Dream
Written-By – H. Cosby, J. Hinton, P. Sawyer 2:57
A4 I've Lost Everything I've Ever Loved
Written-By – J. Bristol, T. Kemp 2:55
A5 Everlasting Love
Written-By – Cason, Gayden 2:58
A6 I've Got To Find Myself A Brand New Baby
Written-By – H. Fuqua, J. Bristol, M. Johnson, S. DePasse 2:53
B1 The Double Cross
Written-By – A. Story, H. Gordy 2:57
B2 Message From Maria
Written-By – Al Reed 3:25
B3 World Of Darkness
Written-By – H. Fuqua, T. Kemp 3:55
B4 We'll Have A Good Thing Going On
Written-By – A. Story, H. Gordy 2:34
B5 My Love Is Growing Stronger
Written-By – J. Bristol, M. Johnson 2:39
B6 Flower Child
Written-By – D. McNeil, J. Bristol 2:40
Label: Motown – MS685
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Motown
David Ruffin's 1969 debut solo album, My Whole World Ended, is a powerful showcase for his raw, emotive voice, capturing deep heartbreak with classic Motown production, featuring the hit title track and strong renditions like "Everlasting Love," though some reviewers found it slightly less consistent than hoped, it's celebrated for its intense emotion and Ruffin's signature gritty vocals, marking a significant post-Temptations start.
The album functions as a near-concept record, exploring devastating loss and heartbreak with palpable pain.
Despite being from 1969, the arrangements (strings, flutes, funk rhythms) retain the lush, high-quality Motown sound Ruffin was known for with The Temptations.
Critics praise his expressive, scratchy, and gritty voice, which conveys deep emotion, melancholy, and a "working man's" struggle, elevating even the material.
Standout Tracks:
"My Whole World Ended (The Moment You Left Me)": The iconic title track perfectly captures the album's theme with dramatic strings and Ruffin's anguished delivery, feeling like a classic Temptations-style ballad.
"Everlasting Love": Often cited as a highlight, Ruffin's version is considered by some to be the best ever recorded.
The album topped the Billboard R&B Albums chart and reached #31 on the Billboard Pop charts, demonstrating Ruffin's solo viability. Some critics found it solid but lacked a standout hit beyond the title track, while others loved the entire record, especially the stripped-down back half. It established Ruffin as a major solo artist, capturing his peak vocal power before later career challenges.
In essence, My Whole World Ended is essential listening for Temptations fans, offering raw, emotional depth and showcasing Ruffin's unmatched vocal prowess in a richly produced Motown setting.
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
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.
Natural Four
Producer, Arranged By – Leroy Hutson
Written-By – J. Hutson, L. Hutson, M. Hawkins
3:28
A2 You Bring Out The Best In Me
Producer, Arranged By – Leroy Hutson
Written-By – L. Hutson, M. Hawkins
4:37
A3 Try Love Again
Producer, Arranged By – Leroy Hutson
Written-By – J. Reaves, L. Hutson, M. Hawkins
4:28
A4 You Can't Keep Running Away
Producer, Arranged By – Leroy Hutson
Written-By – L. Hutson, M. Hawkins
3:28
B1 This Is What's Happening Now
Arranged By – R. Tufo
Producer – L. Simon, R. Tufo
Written-By – A. J. Tribble, G. Davis
4:08
B2 Love That Really Counts
Producer, Arranged By – Leroy Hutson
Written-By – J. Hutson, J. Reaves, L. Hutson, M. Hawkins
4:20
B3 Try To Smile
Arranged By – R. Tufo
Producer – L. Simon, R. Tufo
Written-By – L. Brownlee, L. Simon
2:58
B4 Love's Society
Arranged By – R. Tufo
Producer – J. Scott, L. Simon, R. Tufo
Written-By – J. Scott, L. Hutson, R. Anfinsen
3:20
B5 Things Will Be Better Tomorrow
Arranged By – Leroy Hutson
Producer, Written-By – R. Tufo
3:30
Label: Curtom – CRS 8600
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
The Natural Four's 1974 self-titled album, released on Curtom Records, is a highly acclaimed harmony soul classic, produced by Leroy Hutson under Curtis Mayfield's label, blending lush arrangements, soulful vocals (especially Chris James'), and mature lyrics with sweet soul and funk elements, featuring hits like "Can This Be Real?" and "You Bring Out The Best In Me".
Masterfully produced by Leroy Hutson, it showcases a polished yet earnest sound, mixing smooth, sweet soul with touches of funk and reggae rhythms, notes Funk My Soul and Apple Music.
Features emotive lead vocals from Chris James, supported by tight, soulful group harmonies, creating a rich texture.
Includes notable singles and album cuts like "Can This Be Real?", "You Bring Out The Best In Me", "This Is What's Happening Now", "Love That Really Counts", and "Things Will Be Better Tomorrow".
Considered a standout in the strong catalog of Curtis Mayfield's Curtom Records, standing alongside other great Chicago soul of the era, according to Apple Music and Dusty Groove.
The album is instantly recognizable by its vibrant, multicolored cover featuring a "Lifesavers" candy-like color scheme, designed by Olga Romero with photography by Joel Brodsky.
It reached #36 on the US Billboard R&B Albums chart and contained three top-40 R&B singles, marking the commercial peak for the group. Overall, it's praised as a mature, deep soul work, a "great lost classic" that embodies the best of 70s harmony soul.
Naturally
Written-By – Semenya, Henderson 3:31
A2 Learn To Love
Written-By – Semenya, Mbulu, Henderson 3:33
A3 Noma Themba
Written-By – Semenya, Mbulu 3:28
A4 Kube
Written-By – Semenya 3:17
A5 Hareje
Written-By – Semenya 4:06
B1 Never Leave You
Written-By – Semenya 4:05
B2 Now We May Begin
Written-By – Joe Sample 3:35
B3 Saddest Day
Written-By – Semenya 5:00
B4 Setho
Written-By – Henderson 4:20
B5 Zimkile
Written-By – Semenya 3:15
Label: Fantasy – F-9428
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Jazz, Funk, Soul
Style: Afro Soul-Jazz, Jazz-Funk
Letta Mbulu's Naturally (1973) is a celebrated Afro-Funk/Soul album praised for Mbulu's powerful voice, blending South African sounds with American funk, thanks to production by her husband Caiphus Semenya and features from jazz legends Cannonball Adderley and Nat Adderley. Reviews highlight its thrilling openers like "Afro Texas," soulful ballads, and a distinctive mix of African rhythms and smooth 70s production, making it a standout rediscovery of classic South African soul.
The album masterfully combines Letta Mbulu's vibrant South African roots with American funk, soul, and jazz, a sound often compared to an African Aretha Franklin.
The presence of jazz giants Cannonball Adderley (alto sax) and his brother Nat Adderley (cornet) brings sophisticated jazz textures, notes Ace Records.
Produced by her husband Caiphus Semenya (also a key figure in the South African music scene), with contributions from members of The Crusaders (like Joe Sample and Stix Hooper), the album boasts rich brass, tight rhythms, and soulful expression.
Mbulu's "extraordinary voice" is a central feature, shining on both upbeat funk tracks and poignant ballads like "Saddest Day".
Naturally is considered a classic, rediscovered through reissues (like BGP's 2010 release) for its timeless quality. Many listeners discover Mbulu through this album, appreciating its blend of cultural sounds and sophisticated musicianship.
It's seen as a significant record in Mbulu's career, showcasing her talent as an exile from apartheid and her ability to create exceptional music.
In summary, Naturally is a highly recommended, soulful, and funky album that bridges African heritage with American jazz and soul, propelled by Letta Mbulu's powerful vocals and special guest appearances from the Adderley brothers, making it a must-listen for fans of classic soul and jazz fusion.
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.
New Generation
Written-By – J. Chambers
3:47
A2 Young Girl
Written-By – L. Chambers, W. Chambers
3:35
A3 Funky
Written-By – L. Chambers
2:52
A4 When The Evening Comes
Written-By – C. LaMarr
6:37
A5 Practice What You Preach
Written-By – J. Chambers
3:29
B1 Reflections
Written-By – G. Chambers
5:20
B2 Pollution
Written-By – J. Chambers
1:45
B3 New Generation
Written-By – C. LaMarr, J. Chambers
11:54
B4 Going To The Mill
Written-By – C. LaMarr, J. Chambers
5:1
Label: Columbia – C 30032
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Funk, Psychedelic
Released in 1971, The Chambers Brothers' New Generation is a blended, sometimes uneven, collection of funk, rock, and soul that showcases their unique, gritty, and psychedelic-tinged sound. While often considered less consistent than their peak 1960s work, the album features standout tracks like "Funky" and "Are You Ready".
Key Tracks and Sound:-
"Funky": Widely recognized as a highlight, this track features an iconic drum intro and is notable for being sampled by A Tribe Called Quest.
"Are You Ready": An Afro-Latin percussion-based, psychedelic soul track that sets a high-energy tone.
"Going To The Mill": Showcases the group’s gospel-influenced vocal harmonies.
"When The Evening Comes" and the title track, "New Generation" : These tracks lean into the band's, at times, wandering jam-oriented style.
Critics and fans generally describe the album as a mix of gospel, rock, funk, and psychedelic soul, similar to a "perfect blend of soul and garage".
Some reviews suggest the album lacks the tight, focused songwriting of their earlier, more popular work, with a mix of styles that sometimes feels disjointed.
Despite not having a single defining hit, the album is regarded as a solid, fun experience, particularly for fans of late-60s rock, offering a "joyous package" of tunes.
New Generation is a worthy listen for those looking beyond the band's famous hits to experience their later, more funk-driven era.
Next In Line
Written-By – F. Knight
4:54
A2 We Don't
Written-By – J. Shamwell, T. Tate
4:55
A3 If Tears Were Pennies
Written-By – D. Camon
5:55
A4 I Can't Turn The Boogie Loose
Written-By – F. Knight, M. Ward
3:56
B1 Gunning For Love
Written-By – F. Knight, M. Ward, W. Thomas
4:30
B2 Ankle Chain
Written-By – F. Knight
3:55
B3 I Don't Know
Written-By – J. Shamwell, T. Tate
4:06
B4 Hurt Again By Love
Written-By – F. Knight, L. Addison, T. Armstrong
4:52
Label: Juana – 200,005
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco
Released in 1979 under Juana Records and produced by Frederick Knight, Next In Line is often celebrated as a quintessential Southern soul and disco-funk record that showcases the group's vocal versatility.
The album maintains a high standing among soul enthusiasts, holding average ratings between 3.67 and 4.67 out of 5 across various Discogs listings.
Reviews highlight the group's "easy to sing" melodies and clear phrasing, making it a favorite for listeners who appreciate traditional soul harmonies.
It successfully balances late-'70s disco energy with the raw, emotional "stinging" soul typical of the Malaco/Juana label sound.
The album is noted for its consistency, with fans stating that "pretty much every track is good". Standout moments include:
"Let Me Entertain You": A high-energy disco-funk track known for its driving drum breaks and Frederick Knight's crisp production.
"If Tears Were Pennies": A showcase of the group's smoother, ballad-oriented soul capabilities.
"We Don't": Another fan favorite that reinforces the album's strong groove-heavy foundation.
The album is appreciated for its authentic 70s soul sound and, in some releases, includes longer running times for certain tracks.
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.
Night Birds
Written-By – W. Sharpe, R. Odell
6:19
A2 Streetwalkin'
Soloist, Vocals – Jackie Rawe
Written-By – W. Sharpe, R. Odell
5:30
A3 Rio Nights
Trumpet – Stuart Brooks
Written-By – W. Sharpe, R. Odell
5:16
A4 Fly The Wind
Written-By – W. Sharpe, R. Odell
4:16
B1 Easier Said Than Done
Written-By – W. Sharpe, R. Odell
6:10
B2 Bitch To The Boys
Written-By – W. Sharpe, R. Odell
6:28
B3 Light On My Life
Lead Vocals – Lorna Bannon
Soloist, Saxophone – Dick Morrisey
Written-By – W. Sharpe, R. Odell
4:42
B4 Takin' Off
Written-By – W. Sharpe
5:06
Label: Polydor – POLS 1059
Format: Vinyl, LP, Album
Country: UK
Released: 1982
Genre: R&B Funk / Soul
Style: Jazz-Funk, Disco
Shakatak’s 1982 album Night Birds is a definitive, critically acclaimed British jazz-funk masterpiece, known for its smooth, melodic, and danceable sound. Featuring hits like the title track and "Easier Said than Done," it highlights polished production, skilled instrumentation, and catchy, soulful vibes that remain highly regarded by fans.
The album is a blend of jazz-funk and smooth jazz, characterized by a cheerful, polished, and sophisticated atmosphere. It is noted for its relaxed, "chill" feel, making it suitable for both dancing and easy listening.
Key Tracks:-
"Night Birds": The title track reached No. 9 on the UK charts, featuring a hypnotic bass line and soaring keyboard melodies.
"Easier Said Than Done": A top 20 hit known for its irresistible groove and melodic piano work.
"Streetwalkin'" & "Rio Nights": These tracks highlight the album's jazz-funk foundation, with guest saxophone solos by Dick Morrissey.
The album features strong musicianship, particularly from Bill Sharpe and Nigel Wright, with a focus on polished production that defines the early 80s UK jazz-funk sound.
It was the band's most successful album, featuring multiple top 40 hits and enjoying a 28-week chart run in 1982. It is highly regarded for its, albeit sometimes simplistic, memorable hooks and, in retrospect, seen as a classic of the genre.
Night Birds is widely considered a staple for fans of 80s jazz-funk and smooth jazz. Celebrated for its superb musicianship and "feel-good" atmosphere. It is frequently cited as a essential jazz-funk/soul collection item.
Night Stalkers
Written-By – James Ingram
5:34
A2 With You
Written-By – James Ingram
4:50
A3 Drivin' Me Crazy
Written-By – John Ingram, Robert Ingram
3:30
A4 When You're Hot You're Hot
Written-By – John Ingram
5:49
B1 Just For You
Written-By – James Ingram
4:46
B2 I Like It
Written-By – Butch Ingram, John Ingram
3:52
B3 Fantasy
Written-By – William Ingram
4:52
B4 Hot Body
Written-By – Robert Ingram
5:37
Label: Mirage – 90150-1
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco, Boogie
Ingram's 1984 album, Night Stalkers, is praised as a strong, underrated electro-funk/synth-funk record, blending smooth vocals with infectious synth basslines and solid arrangements, especially for fans of early 80s modern soul, though some note lyrical dips in the more overtly suggestive tracks like "Hot Body". Key highlights include the smooth ballad "Just For You," the grooving "With You," and the sweet "Fantasy," showcasing great production and Ingram's distinctive vocals, making it a worthwhile listen despite minor remastering complaints on some reissues.
The album fully embraces the early 80s electronic sound with prominent synthesizers, synth bass, and drum machines. The Ingrams' signature strong, smooth vocals remain a highlight. Tracks like "With You" are noted for being deep, infectious grooves. Features soulful ballads ("Just For You") alongside upbeat funk tracks.
Standout Tracks:- "Just For You": An infectious, dreamy ballad with ethereal vocals, a standout on the album; "With You": A well-loved, groovy track perfect for modern soul fans; "Fantasy": Described as "sweet" and a strong part of the album's appeal.
Praised for bringing a classic album to CD, adding bonus tracks like extended mixes. Some fans noted the omission of original album interludes, which helped the flow, and minor sound quality issues on certain digital masters compared to the original vinyl.
Overall, Night Stalkers is considered a gem of its era, offering excellent production and strong performances that capture the essence of early 80s funk and soul, making it a must-have for fans of the genre.
Nightbirds
Written-By – Bob Crewe, Kenny Nolan 3:57
A2 Somebody Somewhere
Written-By – Nona Hendryx 3:26
A3 Are You Lonely?
Written-By – Nona Hendryx 3:13
A4 It Took A Long Time
Written-By – Bob Crewe, L. Russell Brown, Raymond Bloodworth 4:04
A5 Don't Bring Me Down
Written-By – Allen Toussaint 2:50
B1 What Can I Do For You?
Written-By – Edward Batts, James Ellison 4:03
B2 Nightbird
Written-By – Nona Hendryx 3:10
B3 Space Children
Written-By – Nona Hendryx 3:03
B4 All Girl Band
Written-By – Allen Toussaint 3:51
B5 You Turn Me On
Written-By – Nona Hendryx 4:38
Label: Epic – KE 33075
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Labelle's Nightbirds (1974) is hailed as a landmark funk-soul album, celebrated for its powerful vocals from Patti LaBelle, groundbreaking production by Allen Toussaint, and iconic hits like "Lady Marmalade," blending gospel roots with New Orleans funk, sci-fi themes, and early disco, earning its place as a critically acclaimed classic that defined the group's peak. Reviewers praise its innovative sound, standout tracks like "What Can I Do For You," and its lasting influence on soul, funk, and dance music.
Critics note its masterful blend of deep soul, psychedelic funk, and burgeoning disco, with rich instrumentation, horns, and keyboards.
Her "break the sound barrier" voice is consistently praised as a central, powerful force, though some note she shows restraint here compared to later solo work.
Producer Allen Toussaint's New Orleans touch brought "robot funk," "juke-joint piano," and a modern, almost sci-fi feel, elevating the group beyond typical girl-group sounds.
"Lady Marmalade" is a definitive opener, but other highlights include the disco-infused "What Can I Do For You," the gospel-tinged ballad "It Took A Long Time," and the powerful "You Turn Me On".
Recognized by Rolling Stone as one of the greatest albums ever, Nightbirds is considered the high point of Labelle's career, a must-have for funk/soul/disco fans, and a significant cultural moment. The album explores themes of female experience, sexuality, and spirituality, using R&B metaphors for broader cultural shifts, notes a review from Rolling Stone.
Nightshift
Arranged By – Peter Wolf
Lead Vocals – Walter
Written-By – Martin Page
4:54
A2 Nightshift
Arranged By – Peter Wolf
Lead Vocals – J.D., Walter
Written-By – Dennis Lambert, Franne Gold, Walter Orange
5:03
A3 I Keep Running
Arranged By – Harold Hudson, Paul Fox, William King
Co-producer – William King
Lead Vocals – J.D.
Written-By – Harold Hudson, Shirley King, William King
4:11
A4 Lay Back
Arranged By – Peter Wolf
Lead Vocals – J.D.
Written-By – Dennis Lambert, Franne Gold, Martin Page, Milan Williams
5:01
B1 Slip Of The Tongue
Arranged By – Peter Wolf
Lead Vocals – Walter
Written-By – Lenny Macaluso, Peter Beckett
3:53
B2 Play This Record Twice
Arranged By – Paul M. Jackson Jr.
Lead Vocals – Walter
Written-By – Kevin Smith, Ronald LaPread
4:22
B3 Janet
Arranged By – Paul Fox
Lead Vocals – Walter
Written-By – Bobby Caldwell, Franne Gold, Paul Fox
3:41
B4 The Woman In My Life
Arranged By – Peter Wolf
Lead Vocals – Walter
Written-By – Keith Stegall, Patrick Henderson
3:34
B5 Lightin' Up The Night
Arranged By – Jeff Lorber
Arranged By [Horns] – Jerry Hey
Lead Vocals – Walter
Written-By – Diane Warren, Jeff Lorber
4:02
Label: Motown – 6124ML
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul, Funk
Style: Eighties Soul
Released in 1985 on Motown Records, Nightshift is often cited as a "remarkable renaissance" for the Commodores, marking their first major success after the departure of lead singer Lionel Richie.
Critics generally viewed the album as a solid, if slightly uneven, comeback project. It holds a 4 out of 5 stars rating from Record Mirror and an average user rating of 3.46/5 on Discogs.
The addition of British-born J.D. Nicholas (formerly of Heatwave) was praised as a "welcome change," providing a smooth tenor that complemented the group's transition into mid-80s synth-pop and R&B.
The album was a commercial triumph, peaking at No. 4 on the US Billboard Top R&B Albums chart and No. 12 on the Billboard 200.
Track Highlights & Analysis:-
"Nightshift": The titular track is the album's undisputed "crown jewel". A moving tribute to late soul legends Marvin Gaye and Jackie Wilson, it won a Grammy Award for Best R&B Performance by a Duo or Group with Vocal.
"Animal Instinct": This second single received mixed reviews; while successful at the time, some modern critics find its heavy 80s synth-pop production "cheesy" but memorable.
"Janet": Often highlighted as a deep-cut favorite, this track features an infectious melody co-written by Bobby Caldwell.
Criticisms: Some reviewers have noted that beyond the hit singles, the album contains several "filler" tracks or "weak" ballads like "The Woman In My Life," which struggled to match the group's previous Richie-led successes.
The album solidified the group's ability to survive after Richie’s departure, providing them with one of their biggest hits and a Grammy for Best R&B Performance by a Duo or Group.
Nina Simone And Piano!
A2 Nobody's Fault But Mine 2:56
A3 I Think It's Going To Rain Today 3:18
A4 Everyone's Gone To The Moon 3:05
A5 Compensation 1:35
B1 Who Am I 4:09
B2 Another Spring 3:29
B3 The Human Touch 2:07
B4 I Get Along Without You Very Well (Except Sometimes) 4:45
B5 The Desperate Ones 4:38
Label: RCA Victor – LSP-4102
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Jazz, Pop
Style: Soul-Jazz, Vocal
Nina Simone And Piano! (1969) is a revered, intimate solo album showcasing Nina Simone's genius at musical interpretation, stripping away orchestration to focus on her profound piano skills and emotive voice, exploring diverse songwriters (Randy Newman, Hoagy Carmichael, Leonard Bernstein) and hidden depths within familiar songs, offering a deeply personal yet universally resonant experience that highlights her artistry and soul. Reviewers praise its emotional honesty, unique sound (especially on audiophile pressings), and its success as an excellent entry point to her expansive catalog, revealing "pure Nina".
The solo piano setting emphasizes her raw talent, making the listening experience deeply personal and emotionally intense, allowing the listener to feel connected to her expression.
She excels at taking songs by others, finding new meanings and hidden depths, turning even lighter material like Jonathan King's "Everyone's Gone to the Moon" into profound statements.
The album features a wide range, from early Randy Newman and Bernstein's Peter Pan, to jazz standards, showcasing her broad musical knowledge and taste.
Simone prioritizes soul and feeling over technical perfection, making every lyric vivid and impactful, as seen in her heartfelt rendition of "I Think It's Going to Rain Today".
Many listeners and reviewers celebrate the superb sound quality on vintage pressings, noting the natural piano, breathy vocals, and "Tubey Magic".
Long-time fans often call it "pure Nina," a stripped-back, essential listen that reveals her core artistic identity. While not always an easy listen due to its reflective nature, it's considered a challenging but deeply rewarding album that speaks to lived experiences.
For newcomers, it serves as a fantastic, soulful introduction to her diverse musical world, blending genres seamlessly. In essence, Nina Simone And Piano! is celebrated for its profound artistry, emotional depth, and minimalist beauty, making it a standout and essential piece in her legendary discography.
No Stranger To Love
Arranged By – Roy Ayers
Written-By – Chano O'Ferral, Roy Ayers, Wes Ramseur
8:14
A2 What You Won't Do For Love
Arranged By – Roy Ayers
Written-By – Bobby Caldwell
5:50
A3 Shack Up, Pack Up, It's Up (When I'm Gone)
Arranged By – Roy Ayers
Written-By – Argerie Ayers, Roy Ayers
6:03
B1 Slyde
Arranged By – Roy Ayers
Written-By – Roy Ayers
5:31
B2 No Stranger To Love / Want You
Arranged By – William Allen
Written-By – Roy Ayers, William Allen
7:07
B3 Don't Let Our Love Slip Away
Arranged By – William Allen
Written-By – William Allen
5:44
B4 Don't Hide Your Love
Arranged By – Roy Ayers
Written-By – Roy Ayers, William Allen
Label: Polydor – PD-1-6246
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Disco
Released in November 1979 on Polydor Records, No Stranger to Love is a studio album by Roy Ayers that blends jazz-funk, disco, and smooth soul. Produced by Ayers and William Allen, the album is often highlighted for its mix of high-energy dance tracks and sultry, downtempo grooves.
Key Tracks and Highlights:-
"Don't Stop the Feeling": An 8-minute jazz-funk and disco classic that became Ayers' only Top 10 hit on the Billboard Disco/Dance chart.
"What You Won't Do for Love": A widely acclaimed cover of the Bobby Caldwell hit, often cited as one of the definitive versions of the song due to its sophisticated string arrangements and Ayers' signature vibraphone work.
"Don't Let Our Love Slip Away": A notable downtempo, mellow track that showcases the album's smoother side.
The album is characterized by its use of "tremendous vibes," funky basslines, and soulful vocals. Critics and fans frequently describe it as an overlooked gem in the Ayers catalog that bridges the gap between his 1970s dance-ready work and the emerging "slick" adult contemporary soul of the early 1980s.
Nothing Takes The Place Of You
Written-By – T. McCall 2:41
A2 The Toussaint Shuffle
Written-By – T. McCall 2:25
A3 Nothing Takes The Place Of You
Written-By – T. McCall 3:15
A4 The Title Escapes Me
Written-By – T. McCall 1:50
A5 (I Left My Heart) In San Francisco
Written-By – D. Cross, G. Cory 3:49
A6 La Rea
Written-By – T. McCall 1:49
B1 Step By Step
Written-By – T. McCall 2:53
B2 Perhaps I Love You
Written-By – T. McCall 2:18
B3 Shimmy
Written-By – T. McCall 2:15
B4 I'm Undecided
Written-By – T. McCall
2:03
B5 All For A Love Like You
Written-By – T. McCall 2:45
B6 Summertime
Written-By – Heyward, Gershwin 2:08
Label: Ronn Records – LPS 7527
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul, Deep Soul
Released in 1967 on Ronn Records, Nothing Takes the Place of You is the debut studio album by Louisiana-based soul singer and organist Toussaint McCall. It is anchored by the eponymous title track, a hauntingly slow, lovelorn ballad that reached #5 on the US R&B charts and became a soul classic.
The album is characterized as classic Southern soul, rhythm and blues, and gospel-influenced ballads. Many tracks feature a sparse, "haunting" production style. McCall played a Lowrey organ on the sessions, creating a "weeping" organ sound that reflects his strong background in church music.
Much of the material was recorded at McCall’s home in Monroe, Louisiana, or at Fame Studios in Muscle Shoals, Alabama.
The album includes a mix of original compositions by McCall and soul-inflected covers:
"Nothing Takes the Place of You": The centerpiece of the album, later featured in John Waters' 1988 film Hairspray.
"The Toussaint Shuffle": An instrumental track highlighting his organ playing.
"Summertime": A soul interpretation of the Gershwin classic.
"Step by Step": A frequently cited deep soul favorite.
"Let It Be Me": A duet with Barbara West.
While McCall did not achieve another major commercial success, the album remains a staple of "Deep Soul" collections. It has been reissued several times, including a 2007 CD release by Fuel 2000 that added bonus tracks and previously unissued recordings.
Now
2 Get To Know Ya 4:18
3 Lifetime 5:29
4 W/As My Girl 3:11
5 Changed 4:07
6 Noone 4:41
7 For Lovers Only 3:41
8 Temporary Nite 4:22
9 Silently 5:20
10 Symptom Unknown 5:37
11 This Woman's Work 4:00
12 Now / At The Party 5:25
Written-By – Musze (tracks: 1 to 10, 12)
Written-By – Kate Bush (track 11)
Written-By [Co-Writes] – Hod David (tracks: 1 to 10, 12), Stuart Matthewman (tracks: 1 to 10, 12)
Label: Columbia – CK 67136
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Neo Soul
Maxwell's 2001 album Now was generally praised as a smooth, mature continuation of his signature neo-soul sound, delivering sensual, romantic vibes with classic grooves, though some critics found it too safe and homogenous compared to his earlier work, highlighting standout tracks like the heartfelt "Lifetime," the funky "Get to Know Ya," and a remarkable cover of Kate Bush's "This Woman's Work". It successfully returned to the accessible style of Urban Hang Suite after the more experimental Embrya, solidifying his status as a leading soul crooner.
The album explored deeper, more enduring themes of love and commitment, moving beyond typical "sappy" love songs, featuring mellow, in-the-pocket grooves, lush arrangements, and Maxwell's signature creamy vocals and falsetto. A conscious move back towards the accessible, lover-boy vibe of his debut, pleasing many fans.
Standout Tracks:
"Lifetime": A popular, enduring single showcasing growth and resilience.
"Get to Know Ya": An instantly charming, finger-popping, funky opener.
"This Woman's Work": A critically acclaimed, soulful cover of Kate Bush's track, noted for its depth and beauty.
"Temporary Nite": A funkier, guitar-infused track that picked up the pace.
Praised for its mood-setting, intimate atmosphere, solid musicianship, and strong performances, calling it a perfect soundtrack for romantic nights.
Some felt it was too safe, lacking the artistic ambition of his predecessors or even his own potential, calling it "unadventurous" or "somnolent" at times.
In essence, Now was seen as a successful, sensual, and mature chapter in Maxwell's career, cementing his place in neo-soul while still drawing some debate on artistic evolution.
Now
Backing Vocals – Roy Galloway
Backing Vocals, Electric Piano [Rhodes], Music By, Lyrics By, Arranged By [Rhythm] – Patrice Rushen
Bass – "Ready" Freddie Washington
Guitar – Gregory D. Moore
Music By, Lyrics By, Arranged By [Rhythm] – Fred Washington
Timbales – Paulinho Da Costa
6:48
A2 Gone With The Night
Backing Vocals, Electric Piano [Grand], Lead Vocals, Music By – Patrice Rushen
Guitar – Marlo Henderson
Lyrics By – Angela Rushen Ehigiator
4:40
A3 Gotta Find It
Backing Vocals, Electric Piano [Rhodes], Music By, Lyrics By – Patrice Rushen
Backing Vocals, Music By, Lyrics By – Roy Galloway
Guitar – Gregory D. Moore
4:26
A4 Superstar
Backing Vocals, Electric Piano [Grand], Lead Vocals, Music By, Lyrics By – Patrice Rushen
Bass, Music By, Lyrics By – Romeo Williams
Guitar – Gregory D. Moore
4:56
A5 Heartache Heartbreak
Backing Vocals – Jim Gilstrap, Lynn Davis
Backing Vocals, Electric Piano [Rhodes], Music By, Lyrics By – Patrice Rushen
Bass – "Ready" Freddie Washington
Cymbal, Tom Tom [Fills] – Harvey Mason
Music By, Lyrics By – Fred Washington
Saxophone [Solo] – Gerald Albright
4:10
B1 Get Off (You Fascinate Me)
Backing Vocals – Jim Gilstrap, Lynn Davis
Backing Vocals, Electric Piano [Rhodes], Synthesizer [Bass], Music By, Lyrics By – Patrice Rushen
Bass – "Ready" Freddie Washington
Bass, Music By – Gerald Albright
Guitar – Gregory D. Moore
Music By, Lyrics By – Fred Washington
Percussion – Paulinho Da Costa
6:18
B2 My Love's Not Going Anywhere
Backing Vocals, Music By, Lyrics By – Roy Galloway
Bass – "Ready" Freddie Washington
Cymbal, Tom Tom [Simmons] – Harvey Mason
Electric Piano [Rhodes], Lead Vocals, Music By, Lyrics By – Patrice Rushen
Guitar – Gregory D. Moore
4:18
B3 Perfect Love
Backing Vocals – Roy Galloway
Backing Vocals, Bass – "Ready" Freddie Washington
Backing Vocals, Electric Piano [Rhodes], Music By, Lyrics By, Arranged By [Rhythm] – Patrice Rushen
Guitar – Gregory D. Moore
Music By, Lyrics By, Arranged By [Rhythm] – Fred Washington
4:54
B4 High In Me
Backing Vocals, Electric Piano [Rhodes], Lead Vocals, Music By – Patrice Rushen
Bass – "Ready" Freddie Washington
Guitar – Gregory D. Moore
Lyrics By – Syreeta Wright
Percussion – Paulinho Da Costa
Tom Tom [Simmons] – Harvey Mason
4:13
B5 To Each His Own
Backing Vocals, Electric Piano [Rhodes], Lead Vocals, Music By – Patrice Rushen
Bass – "Ready" Freddie Washington
Lyrics By – Lynn Davis
4:12
Label: Elektra – 60360-1
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco, Synth-Pop
Released in 1984, Patrice Rushen’s Now is a critically lauded, sophisticated R&B and synth-funk album that expertly bridges jazz-influenced musicianship with, at the time, modern pop production. Highlighted by standout tracks like "Feels So Real (Won't Let Go)" and "Get Off (You Fascinate Me)," the album is recognized for its consistent, high-quality grooves.
The album is noted for its polished 1980s sound, featuring prominent synthesizers, polyrhythmic dance tracks, and mid-tempo, soulful ballads. It is considered a precursor to the polished R&B sounds of the late '80s and was a strong influence on producers like Jimmy Jam and Terry Lewis.
Standout Tracks:
"Feels So Real (Won't Let Go)" & "Get Off (You Fascinate Me)": Described as "relentlessly polyrhythmic" and "assiduous grooves".
"Perfect Love": Features an effortless vocal and an understated Fender Rhodes solo.
"Heartache Heartbreak": Highlighted as a romantic,Mid-tempo tune.
While some critics found the electro-grooves less imaginative than her previous work, it is generally considered a strong, filler-free effort. It reached #4 on the Billboard Top Soul Album Charts, #7 on the Billboard Traditional Jazz albums chart, and #40 on the Billboard 200.
The album is seen as a "soft pop funk perfection" that has stood the test of time, showcasing Rushen's skills as a producer, songwriter, and vocalist.
Now is often recommended for fans of 1980s R&B, synth-pop, and those looking for a more polished follow-up to her earlier, more organic Straight from the Heart album.
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.
Off the Wall
Written-By – M. Jackson
6:02
A2 Rock With You
Written-By – R. Temperton
3:38
A3 Working Day And Night
Written-By – M. Jackson
5:12
A4 Get On The Floor
Written-By – L. Johnson, M. Jackson
4:44
B1 Off The Wall
Written-By – R. Temperton
4:04
B2 Girlfriend
Written-By – McCartney
3:04
B3 She's Out Of My Life
Written-By – T. Bahler
3:36
B4 I Can't Help It
Written-By – S. Wonder, S. Greene
4:27
B5 It's The Falling In Love
Written-By – C. B. Sager, D. Foster
3:46
B6 Burn This Disco Out
Written-By – R. Temperton
3:38
Label: Epic – FE 35745
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Pop
Style: Seventies Soul, Disco
Michael Jackson's fifth studio album, Off the Wall (1979), is widely hailed as a landmark of 20th-century music, frequently cited by critics as one of the greatest pop albums of all time. Released on August 10, 1979, it marked Jackson's first project with producer Quincy Jones and served as his definitive transition from child star to adult solo artist.
Critics praise the album's seamless blend of disco, funk, soul, R&B, and pop. It is often described as "discofied post-Motown glamour at its classiest".
Jackson's "extraordinarily beautiful" feathery tenor and daring use of falsetto are highlights. His emotional delivery in "She's Out of My Life," where he is heard crying at the end, is frequently noted for its raw vulnerability.
Quincy Jones's "masterful" and "polished" production is credited with creating a "fresh" and "vibrant" sound that remains a benchmark for pop excellence.
Many music journalists and fans argue that Off the Wall is superior to Thriller (1982), citing its consistency, youthful energy, and lack of "overly processed" sound compared to later work.
Track Highlights:-
"Don't Stop 'Til You Get Enough": An "aural extravaganza" and Jackson's first self-penned #1 hit, praised for its infectious disco-funk groove.
"Rock with You": Often called the "perfect pop song," lauded for its "masterful" melody and "gentle, seductive sexiness".
"I Can't Help It": A jazz-infused deep cut co-written by Stevie Wonder, frequently highlighted as a "hidden gem".
"She's Out of My Life": A stark, emotional ballad that showcases Jackson's maturity as an interpreter of song.
It was the first album by a solo artist to spawn four Billboard Top 10 hits. As of 2026, the album's influence remains vast, with modern artists like The Weeknd, Beyoncé, and Pharrell Williams citing it as a primary blueprint for their own work.
Though famously snubbed for "Album of the Year" at the 1980 Grammys, it won "Best R&B Vocal Performance, Male" for its lead single and was inducted into the Grammy Hall of Fame in 2008.
While some critics noted a slight dip in quality on the second side of the album, it is overwhelmingly viewed as a classic that established the musical, vocal, and artistic, foundation for Jackson's future "King of Pop" status.
Offering The Spice Of Life
Written-By – Gamble & Huff
3:25
A2 A Prayer
Written-By – J. Butler, S.F. Brown III
3:24
A3 Get On The Case
Written-By – C. Carter, J. Blumenberg, J.D. Jones
5:21
B4 So Far Away
Written-By – C. King
5:06
B1 I Need You
Written-By – J. Peters
5:55
B2 (They Long To Be) Close To You
Featuring – Brenda Lee Eager
Written-By – Bacharach & David
4:13
B3 Don't Rip Me Off
Written-By – D. Sherman
4:01
B4 All Kinds Of People
Written-By – Bacharach & David
4:53
Label: Mercury – SRM 2 7502
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Jerry Butler's Spice of Life (1972) is highly regarded as a sophisticated Chicago soul masterpiece, praised for its rich baroque arrangements, blend of jazz and soul, and strong production by Samuel F. Brown III. Reviews highlight its standout tracks like "A Prayer," "That's The Way It Was," and solos featuring Brenda Lee Eager, showcasing Butler's mature vocals and a departure from his earlier work, making it a top album from his Mercury years.
The album features intricate arrangements and production by Samuel F. Brown III, creating a "sophisticated mix of soul, jazz, and studio imagination". Butler moves beyond his Gamble & Huff era into the vibrant Chicago scene of the late 60s/early 70s.
Considered one of Butler's greatest 70s records, with high ratings on collector sites like Discogs. In essence, Spice of Life is celebrated as a pivotal, polished soul album that solidified Jerry Butler's status with its elegant production and deep, emotive performances.
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 Our Way To Number 1
Written-By – Charles Morris, Marshall Smith
3:42
A2 Do What You Wanna Do
Written-By – Joseph J. Carter, Jr.
4:44
A3 How I Wish For Yesterday
Written-By – Marshall Smith
3:44
A4 Magic Words
Written-By – Charles Morris, Marshall Smith, Richard E. Gillyard
3:31
A5 Cosmic Dancing
Written-By – Charles Morris, Marshall Smith
3:07
B1 Let Me Lay My Funk On You
Written-By – Poison
2:58
B2 Unity Man
Written-By – A. Dabney, C. Morris, F. McCray, M. Smith
4:10
B3 You Can't Run Away From Yourself
Written-By – Charles Morris, Marshall Smith
3:12
B4 Let Your Fingers Do The Walking
Written-By – Charles Morris, Marshall Smith
4:37
B5 Music Is Our Destiny
Written-By – Charles Morris, Marshall Smith
3:09
B6 Get Up And Move Your Body
Written-By – Charles Morris, Marshall Smith
4:40
Label: Roulette – SR 3017
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Poison's 1976 album, On Our Way To Number 1 is a Funk/Soul/Disco LP known for its vibrant, layered sound, featuring soulful vocals, tight rhythm sections, catchy dance grooves like "Cosmic Dancing," soulful ballads like "How I Wish for Yesterday," and incorporating instruments like the Kalimba, reminiscent of early Earth, Wind & Fire, offering a classic late-70s funk-disco experience with socially-themed tracks.
The album is a blend of ensemble funk, disco, and mid-tempo vocal soul. It features prominent horn charts, percussion breaks (including the use of the Kalimba), and group vocals. It features layered vocals from members like Janet "Cookie" Cook and Marshall "Frazell" Smith. Expect rhythmic intensity, tight grooves, and danceable tracks.
Instrumentation is rich with Fender Rhodes, Moog synths, guitar, bass, diverse percussion (congas, shekere), and prominent Kalimba.
Key Tracks: "Cosmic Dancing," "Get Up and Move Your Body," "Our Place in Time," "Let Me Lay My Funk on You".
This album offers a true taste of late-70s funk and disco, blending soulful melodies with hard-hitting rhythms, making it a sought-after piece for fans of vintage Black music.
On The Line
Written-By – G. Taylor
5:50
A2 There's No Easy Way
Written-By – Lol Mason, Richard Jon Smith
4:11
A3 You've Got It Coming
Written-By – H. Johnson
3:50
A4 So Close
Written-By – A. Hamilton, W. Lewis
6:06
B1 Tell Me Love
Soloist, Piano – Michael Wycoff
Written-By – R. Wright, W. Lewis
7:48
B2 I'll Do Anything For You
Written-By – L. Nocentelli
4:08
B3 Do It To Me Baby
Written-By – G. Taylor
3:40
B4 You Are Everything
Written-By – L. Creed, T. Bell
\
Label: RCA Victor – AFL1-4563
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Released in 1983, On The Line is the third and final studio album by R&B artist Michael Wycoff. It is widely regarded by soul aficionados as a stronger, more polished effort than his debut, characterized by its "mid-80s commercial R&B/disco" sound and high production value.
The album features heavy collaboration with producer Webster Lewis, which critics note provides a more robust and professional sound compared to his earlier work. While some contemporary listeners find it "more synthetic" than his previous albums, it is still hailed as an "early 80s gem".
Wycoff’s vocals are frequently compared to the "Stevie-esque" style of Stevie Wonder, combined with the smooth, emotive delivery of James Ingram. The record blends dance-floor fillers with sophisticated "Quiet Storm" ballads, making it a staple for fans of 80s soul and funk.
Key Tracks
"Tell Me Love": Generally considered the standout track and Wycoff’s biggest hit, described as a "dancefloor smasher" with a superb progression.
"So Close": An "achingly beautiful ballad" that many critics cite as one of Wycoff’s finest vocal performances.
"You’ve Got It Coming": Another major dance track praised for its infectious energy.
"No Easy Way": A "loping slow jam" that remains a favorite for its timeless production.
"You Are Everything": A "solid" cover of the classic track by The Stylistics.
Various pressings hold high average ratings between 4.3 and 4.5 out of 5 stars based on community reviews.
While Wycoff did not release further solo albums and later struggled with personal challenges, On the Line remains a staple for soul music enthusiasts and collectors. It has been digitally remastered and reissued, often paired with his debut album Come To My World as a "2-on-1" CD release.
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 The Rise
Written-By – Doors
2:40
A2 My Song
Written-By – D. J. Mattis, J. L. Alexander
2:58
A3 You've Made Me So Happy
Written-By – Gordy, Holloway, Wilson, Holloway
3:36
A4 I Need You
Written-By – Steven Reece
3:15
A5 Welcome Home
Written-By – C. Taylor
2:25
B1 Save Your Love For Me
Written-By – W. B. Johnson
2:30
B2 Oh Me Oh My, I'm A Fool
Written-By – Jim Doris
2:40
B3 The Man Above
Written-By – Steven Reece
2:30
B4 It's Not Unusual
Written-By – Mills, Reed
1:50
B5 For Once In My Life
Written-By – Murden, Miller
3:30
Label: S. Reece – none
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul
On The Rise is the debut and most celebrated studio album by American soul singer Barbara Howard, originally released in 1970. Often described as a "holy grail" of soul music by collectors, the album has gained cult status for its sophisticated blend of soul, jazz, gospel, and R&B.
The album showcases Howard’s smooth, deep vocals and "deep soul diva" power. It features a mix of original tracks and soulful interpretations of popular songs from the era:
The tracklist includes Howard's unique takes on hits like "Light My Fire" (The Doors), "You've Made Me So Very Happy" (Brenda Holloway/Blood, Sweat & Tears), and "It's Not Unusual" (Tom Jones). Highlights include "Welcome Home" and "My Song".
The record was intentionally produced to bridge multiple radio formats, ranging from spiritual gospel tones to upbeat pop and jazz-influenced arrangements.
The album's history is frequently cited as one of the most romantic in soul music: It was produced by Steven Reece in 1968–1970 as part of a community talent search program in Cincinnati called "Operation Step-Up". Although the album did not achieve commercial success at the time of its release, Reece and Howard married shortly after its production.
For decades, the LP remained a rare obscurity until a sealed copy was discovered in 2016 at Plaid Room Records in Ohio, leading to a major revival of interest and several reissues.
The album has been reintroduced to modern audiences through high-quality reissues by Colemine Records (via their Remined Records imprint) in 2019, available on vinyl, CD, and digital formats with remastered audio.
On The Rocks
Written-By – George Kerr
3:29
A2 Heads Up
Written-By – Michael Watson
3:40
A3 Hurry Up And Wait
Written-By – G. Kerr
4:07
A4 I'm So Glad I Found You
Written-By – G. Kerr, L. Roberts
3:15
B1 Only People Can Save The World
Written-By – M. Watson
4:33
B2 Blues Fly Away
Written-By – G. Kerr, M. Burton
2:43
B3 Why Can't People Be Colors Too?
Written-By – M. Watson
4:55
B4 Ooh Baby Baby
Written-By – W. Robinson
3:17
Label: Stang Records – ST-1018
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
Released in 1972, The Whatnauts’ On The Rocks is a critically acclaimed, high-quality soul album from Baltimore that blends romantic, slow-burning ballads with groovy, uptempo tracks. Produced by George Kerr and Michael Watson, it is considered a essential, rare 70s soul gem featuring standout harmonies and rich, emotional songwriting.
The album balances tender ballads with raw,, soulful funk, often described as a perfect mix of soul, funk, and early disco elements.
Standout Tracks: "I'm So Glad I Found You" (featuring Linda Jones): Highlighted as a perfect Northern Soul floor-filler; "Why Can't People Be Colors Too?": Noted for its groovy, distinct drum breaks; "You Forget Too Easy": Considered a classic, lowrider-style soul track.
The group's music has been heavily sampled by hip-hop artists, including A Tribe Called Quest, Kanye West, and Busta Rhymes.
On The Rocks is highly regarded by collectors and soul fans, with an average rating of 4.48/5 on Discogs, making it a "must-have" for lovers of vintage soul. Reissues, such as the one from Playoff Records, often include the 80s-influenced track "Help is on the Way," which features a notable, hard-hitting bassline.
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 By One
Written-By – Al Nevins, Artie Dunn, Buck Ram, Morty Nevins 2:17
A2 I Wanna Be Around
Written-By – J. Mercer, S. Vimmerstedt 2:15
A3 Nature Boy
Written-By – Eden Ahbez 2:24
A4 Just One Kiss From You
Written-By – C. Mayfield 2:37
A5 I Want To Be With You
Written-By – Strouse, Adams 3:17
A6 Answer Me, My Love
Written-By – Carl Sigman, Fred Rauch, Gerhard Winkler 2:43
B1 It's Not Unusual
Written-By – Mills, Reed 2:20
B2 Without A Song
Written-By – Rose, Eliscu, Youmans 3:18
B3 Falling In Love With You
Written-By – C. Mayfield 2:56
B4 My Prayer
Written-By – Boulanger, Kennedy 2:58
B5 Mona Lisa
Written By [Wrongly Credited To] – Mana Zuca - Sallie M. Sefrit
Written-By [Uncredited] – Livingston & Evans 2:28
B6 Lonely Man
Written-By – C. Mayfield 2:43
Label: ABC-Paramount – ABCS-523
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul, Blues
Style: Sixties Soul
The Impressions' One by One (1965) album, while featuring their signature sweet harmonies and Curtis Mayfield's evolving songwriting, is often seen by critics as a transitional album, balancing pop covers ("Twilight Time") with their emerging deep soul/social commentary ("Just One Kiss from You") and gospel roots, a solid entry but sometimes overshadowed by bigger hits from nearby LPs like People Get Ready.
Reviewers praise the stunning vocals, especially the intricate gospel-infused interplay, but some find the mix of pop standards and soul tracks less cohesive than their focused concept albums, though it's still a must-have for fans of their glorious sound.
The album showcases the trio's breathtakingly beautiful, interwoven harmonies, a hallmark of their gospel-rooted style. It Features early Curtis Mayfield tracks alongside covers of popular hits, demonstrating their growth into powerful soul artists. It seamlessly incorporates gospel traditions into secular soul, a revolutionary sound.
Some critics felt the pop covers were an awkward fit, a commercial attempt to emulate Motown that didn't always land, making it less focused than People Get Ready. Despite this, the group's inherent talent shines, making even weaker tracks shine, and contains gems like "I've Been Trying".
Highlights:- "I've Been Trying": A showcase for their sublime three-part vocal magic; "Just One Kiss from You": A Mayfield original hinting at deeper lyrical themes; "Twilight Time," "I Wanna Be Around": Examples of their beautifully sung covers.
Overall, One by One captures The Impressions in a pivotal moment, showcasing their transition and unparalleled vocal skill, even if its tracklist isn't as perfectly curated as some of their other classic albums. It's a testament to their sound, proving even their "filler" is exceptional.
One Eye Open
Written-By – Harmon Bethea, Jim Burston 2:53
A2 Yaw'll
Written-By – Harmon Bethea 2:38
A3 Wigs
Written-By – Harmon Bethea 2:33
A4 I Wouldn't Come Back
Written-By – Harmon Bethea 2:07
A5 Roaches
Written-By – Harmon Bethea 2:15
B1 The World Is A Cafeteria
Written-By – Harmon Bethea 2:27
B2 It's The Thing
Written-By – Harmon Bethea 2:30
B3 In A Crowded Station
Written-By – Harmon Bethea 2:41
B4 Never Would Have Made It
Written-By – Frank Motley, Harmon Bethea 2:40
B5 Love Bandito
Written-By – Harmon Bethea 2:15
Label: Dynamo Records – DS 8004
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Funk, Soul
Style: Rhythm & Blues, Soul
The Mask Man – One Eye Open album is praised as a fun, gritty collection of proto-funk and northern soul from the '60s, featuring Harmon Bethea as the masked singer with catchy tunes like the hit "One Eye Open," known for its humor, energetic beats, and quirky lyrics about domestic drama (wigs, roaches, boiling water). While the original recordings are celebrated for their raw sound, modern reissues (like the 2014 CD compilation) offer a comprehensive collection of tracks, though some vinyl reissues have reported manufacturing defects like locked grooves.
Reviewers find it a cool, funny, and well-crafted soul album perfect for parties, highlighting its unique charm and classic sound. Critics describe the record as "crackling with energy" and featuring "frantic beats". It is noted for its "gritty soul" quality, proving that Bethea's comedic persona—wearing a Lone Ranger-style mask—didn't detract from his serious vocal talent.
A popular CD reissue gathers two albums' worth of material, including hits like "One Eye Open," "My Wife, My Dog, My Cat," and "The World Is a Cafeteria".
Some listeners warn that specific vinyl reissues have quality issues, with the title track containing a skip/locked groove.
In essence, it's a cult favorite offering a blend of raw soul power and quirky lyrical storytelling, best enjoyed through reliable sources or original pressings (if you can find them!).
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.
One Nation Under A Groove
Written-By – G. Shider, G. Clinton, W. Morrison 7:33
A2 Groovallegiance
Written-By – B. Worrell, G. Clinton, W. Morrison 7:00
A3 Who Says A Funk Band Can't Play Rock?!
Written-By – G. Clinton, W. Morrison, M. Hampton 6:21
B1 Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)
Written-By – G. Shider, G. Clinton, L. Brown 11:00
B2 Into You
Written-By – W. Collins, G. Clinton, W. Morrison 5:43
B3 Cholly (Funk Getting Ready To Roll!)
Written-By – W. Collins, G. Clinton, W. Morrison 4:33
C1a Maggot Brain
Written-By – E. Hazel, G. Clinton 7:37
C1b Chant (Think It Ain't Illegal Yet!) 0:53
D1 Lunchmeataphobia (Think! It Ain't Illegal Yet!)
Written-By – B. Worrell, G. Clinton 4:16
D2 P.E. Squad / Doo Doo Chasers
Written-By – G. Shider, G. Clinton, L. Brown 4:40
Label: Warner Bros. Records – BSK 3209
Format: Vinyl, LP
Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk
Style: P.Funk
Funkadelic's One Nation Under a Groove (1978) is widely hailed as a funk masterpiece and their commercial breakthrough, a vibrant, conceptual album that solidified George Clinton's P-Funk vision with catchy hooks, psychedelic funk-rock, and dense grooves, featuring the iconic title track as a unifying anthem for dancing and freedom, despite its wild experimentation and complex tracks like "Promentalshitbackwashpsychosis" alongside accessible hits.
The Title Track: A timeless, accessible hit with a memorable bassline, handclaps, and a mission statement for unity and dancing.
Marked by the addition of Walter "Junie" Morrison and continued collaboration with Parliament members, bringing a cohesive yet wild sound.
Concept & Message: A "loose concept" about the unifying power of funk, using patriotic imagery (like the album cover) to call for breaking down barriers and celebrating diversity.
The album seamlessly blends psychedelic rock (Hendrix-esque guitar), hard funk, soul, and experimental elements, with intricate rhythms and chaotic vocals.
Highlights: Features standouts like "Who Says a Funk Band Can't Play Rock!", the sprawling "Promentalshitbackwashpsychosis Enema Squad", and the fiery live "Maggot Brain" (from the EP).
Praised as one of the greatest funk albums ever, capturing Funkadelic's ambitions perfectly. A gateway album for many British listeners, introducing them to the P-Funk universe. Seen as a deep source of ideas for later rock and rap.
In essence, One Nation Under a Groove is an essential, energetic listen that is both a party starter and a statement, solidifying Funkadelic's legacy as innovators of funk.
One-Way Love Affair
Written-By – J. Mtume, R. Lucas
4:32
A2 You're The One For Me
Written-By – E. Moore, H. King
4:06
A3 The Fool In Me
Written-By – J. Mtume, R. Lucas
4:11
A4 Never Gonna Stop This Heart Of Mine
Written-By – J. Mtume, R. Lucas
4:50
A5 Standing In The Shadows Of Love
Written-By – Holland-Dozier-Holland
3:02
B1 Sit Up
Written-By – B. Fearrington, J. Mtume, R. Lucas
4:17
B2 Girl Come On (Let's Get It On)
Written-By – J. Mtume, R. Lucas
4:15
B3 Love Can't Wait
Written-By – J. Mtume, R. Lucas
4:58
B4 Midnight Love Dance
Written-By – J. Mtume, R. Lucas
3:26
B5 Make Up Your Mind
Written-By – H. Eaves, Tawatha
3:31
Label: Warner Bros. Records – BSK 3503
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul, Funk
Style: Eighties, Disco, Boogie
Released in 1981, One-Way Love Affair is the debut studio album by American soul singer Marc Sadane. It is characterized as a "mellow and modern soul" set, blending romantic vocals with early 80s boogie and contemporary R&B.
The album was produced by the renowned duo James Mtume and Reggie Lucas. Their production provides a sophisticated, "sublime" backdrop that has been compared to the smooth, rich styles of Leon Ware or Leroy Hutson. The music ranges from mid-tempo dance numbers and energetic "boogie" tracks to lush, romantic slow jams.
The album features several prominent musicians and backing vocalists of the era:- Backing Vocals: Gwen Guthrie, Tawatha Agee, Brenda White, and Syndi Jordan; Instruments: Hubert Eaves III (keyboards), Basil Fearrington (bass), and Howard King (drums); Mastering: Ted Jensen.
While not a massive commercial hit upon its initial release via Warner Bros. Records, it has become a cult classic among soul and boogie enthusiasts. It has been reissued several times, including as a Japanese CD pressing and a two-for-one CD set paired with his 1982 follow-up album, Exciting, by Expansion Records.
Oogum Boogum
Written-By – A. Smith
1:59
A2 A Little Bit Of Love
Written-By – A. Smith, J. Winn, J. Hooven
1:57
A3 Best Thing I Ever Had
Written-By – A. Smith, J. Winn, J. Hooven
2:20
A4 Runnin' Wild
Written-By – A. Mathis
2:30
A5 Take A Chance
Written-By – A. Smith, J. Winn, J. Hooven
2:20
A6 The Oogum Boogum Song
Written-By – A. Smith
2:25
B1 Gimme Little Sign
Written-By – A. Smith, J. Winn, J. Hooven
2:19
B2 Psychotic Reaction
Written-By – Atkinson, Byrne, Michalski, Ellner, Chaney
2:50
B3 I'm The One Who Knows
Written-By – A. Smith
2:25
B4 Come Here Girl
Written-By – A. Smith, J. Winn, J. Hooven
2:27
B5 Birdman
Written-By – A. Smith
1:58
B6 I Like The Way You Love Me
Written-By – A. Smith
2:25
Label: Double Shot Records – DSS-5002
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1967
Genre: R&B Soul, Pop
Style: Sixties Soul, Pop-Soul
Brenton Wood's Oogum Boogum album, a 1967 pop-soul LP, is lauded for its iconic hits "The Oogum Boogum Song" and "Gimme a Little Sign," showcasing Wood's unique vocals and catchy, emotionally resonant songwriting, though some find it short (23 mins) and inconsistent, blending playful tunes with deeper soul cuts like "I Think You've Got Your Fools Mixed Up," making it a beloved, albeit brief, snapshot of mid-60s West Coast soul.
Wood's "elastic" and sincere voice carries the album, moving from playful to deeply emotional. The album eatures the novelty smash "The Oogum Boogum Song" and the soulful ballad "Gimme Little Sign," a fan favorite. It Includes strong tracks like "I Think You've Got Your Fools Mixed Up," showing more depth beyond the hits, blending upbeat rhythms with simple, effective keyboard riffs, perfectly capturing the era's sound.
Many consider it a must-have for Wood's hits, with the rest of the album being an easy, enjoyable listen, perfect for lowrider culture and soul fans. It's seen as a creative expression of Wood's exploration into pop-soul, highlighting his talent for blending joy and sorrow.
In summary, Oogum Boogum is a short but sweet collection, essential for its two massive hits, but also offers a charming glimpse into Brenton Wood's soulful, versatile style, making it a significant, beloved album despite its brevity.
Open Soul
Written-By – Tomorrows People
3:50
A2 It Ain't Fair
Written-By – Tomorrows People
4:20
A3 Hurt Perversion
Written-By – Tomorrows People
5:03
A4 Hurry On Up Tomorrow
Written-By – Tomorrows People
2:31
A5 Let's Get Down With The Beat
Written-By – Tomorrows People
2:56
B Open Soul
Written-By – Tomorrows People
20:13
Label: Stage Productions – SM-766-5
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Funk, Soul, Psychedelic, Disco
Tomorrow's People's 1976 album Open Soul is a coveted Chicago soul-funk classic, famous for its rare status and epic 20-minute title track, a deep funk jam exploring "What is soul?" with cosmic keys, chanting, and hard grooves, though some find the A-side more standard early funk/soul, with highlights like "Let's Get Down With The Beat," making it essential for rare groove fans despite sourcing challenges for reissues. A sole album by the four Burton brothers from Chicago's South Side. An extremely sought-after collector's item, with original pressings fetching high prices.
The centerpiece of the album is the 20-minute title track, "Open Soul," which occupies the entire B-side. Described as a "breathtaking funk odyssey," it features cosmic-soul vibes, warm keys, and a building, "motorik" groove that critics liken to a marathon. It was reportedly neither written nor rehearsed, giving it a raw, improvisational energy.
Other Notable Tracks:- "Let's Get With The Beat": An upbeat funk-disco track with proto-disco elements; "Hurt Perversion": A keyboard-fronted instrumental; "It Ain't Fair" / "Lovers To Friends": Slower, more sentimental soul tracks with harmonies and synth textures.
Reissued by labels like Melodies International, P-Vine, and Light in the Attic Records. Due to the scarcity of master tapes, reissues are often sourced from original vinyl, leading to some audible imperfections like guitar distortion, noted by some listeners.
Overall, a unique blend of Chicago's gritty funk scene with sophisticated soul arrangements, offering deep grooves and psychedelic touches, especially on the epic title track. It has become a "holy grail" for collectors, with original copies often selling for over $1,000.
Tomorrow s People Tomorrows People
Otis Blue - Otis Redding Sings Soul
Written-By – Otis Redding
2:55
A2 Respect
Written-By – Otis Redding
2:05
A3 Change Gonna Come
Written-By – Sam Cooke
4:17
A4 Down In The Valley
Written-By – Solomon Burke
3:02
A5 I've Been Loving You Too Long
Written-By – Butler, Redding
3:10
B1 Shake
Written-By – Sam Cooke
2:35
B2 My Girl
Written-By – Ronald White, William Robinson
2:52
B3 Wonderful World
Written-By – Barbara Campbell
3:00
B4 Rock Me Baby
Written-By – B. King, Joe Josea
3:20
B5 Satisfaction
Written-By – Mick Jagger & Keith Richard
2:45
B6 You Don't Miss Your Water
Written-By – William Bell
2:53
Label: Volt – VOLT 412
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul
Style: Southern Soul
Released on September 15, 1965, Otis Blue/Otis Redding Sings Soul is widely regarded by critics as Otis Redding's first great album and a definitive masterpiece of the 1960s soul era. Recorded almost entirely in a single 24-hour period at Stax Studios in Memphis, the album captures Redding at the peak of his raw, expressive vocal power.
Unlike many 1960s R&B records that were collections of singles and filler, Otis Blue is considered a cohesive artistic statement. The album features Redding's self-penned hits, including "Respect" (later famously covered by Aretha Franklin) and the soul ballad "I've Been Loving You Too Long".
The tracklist is composed largely of covers that Redding made his own, including a horn-driven version of The Rolling Stones' "(I Can't Get No) Satisfaction" and a popular rendition of The Temptations' "My Girl". Three songs—"A Change Is Gonna Come," "Shake," and "Wonderful World"—honor his idol Sam Cooke, who had died just months before the recording.
Redding is supported by the iconic Stax house band, Booker T. & the M.G.'s, along with the Memphis Horns and pianist Isaac Hayes. It was Redding's first album to top the US R&B charts and reached number 6 in the UK. The album frequently appears on "greatest of all time" lists, including those by Rolling Stone and Time magazine.
Music historians credit the album with helping to establish the term "soul" to describe music previously categorized simply as R&B. The album cover is notable for featuring a blonde-haired woman, often believed to be German model Dagmar Dreger, rather than Redding himself.
Outta Season
Written-By – Butler, Redding 3:40
A2 Mean Old World
Adapted By – Ike Turner 2:20
A3 3 O'Clock In The Morning Blues
Written By – R. King-J. Taub 2:35
A4 Five Long Years
Written By – E. Boyd 3:20
A5 Dust My Broom
Adapted By – Ike Turner 2:30
A6 Grumbling
Written-By – Ike Turner 2:35
A7 I Am A Motherless Child
Written-By – Tina Turner 3:30
B1 Crazy 'Bout You Baby
Written By – W. Williamson 3:25
B2 Reconsider Baby
Written-By – L. Fulsom 2:40
B3 Honest I Do
Written By – J. Reed-E.G. Abner, Jr. 2:20
B4 Please Love Me
Written By – R. King-J. Taub 2:10
B5 My Babe
Written By – W. Dixon 1:50
B6 Rock Me Baby
Written By – King & Josea 2:45
Label: Blue Thumb Records – BTS 5
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Blues, Rock
Style: Rhythm & Blues, Sixties Soul
Ike & Tina Turner's Outta Season (1969) is praised as a strong, rootsy blues-rock album showcasing Tina's incredible vocal power and Ike's tasteful guitar work on blues classics, though some critics found the arrangements a bit too straightforward, while others loved its raw, soulful feel, making it a standout blues effort amidst their funkier hits, highlighted by Tina's stellar interpretations of tracks like "Honest I Do" and "Dust My Broom.".
A raw, hard, soulful, and rootsy blues-rock album, a departure from some of their funkier hits.
Tina shines, delivering powerful, dazzling performances on blues standards, proving her depth as a blues interpreter.
Ike's guitar playing is noted as tough, melodic, and skillful, with great arrangements, though some felt it lacked excitement.
Features classic blues tracks like "Dust My Broom," "Honest I Do," "Rock Me Baby," and "Reconsider Baby".
The album received positive reviews, with Pete Johnson calling Tina an "expert" blues interpreter and the album "strong," highlighting talent often ignored.
The striking whiteface cover, while controversial, added to the album's unique presentation, reflecting a tradition of artistic interpretation.
Outta Season is seen as a genuine blues record where Tina's voice truly excels, backed by Ike's solid musicianship, offering a different, deeper side to the duo's sound. While some felt the arrangements were too basic, many appreciate its authentic, powerful delivery, making it a favorite for fans of their bluesier work.
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.
Paradise
Featuring – Ecstacy
Written-By – J. Skinner, L. Holland, R. Turner 4:30
A2 It's Gonna Be Alright
Written-By – J. Skinner, L. Holland, R. Turner 4:28
A3 It's A Cryin' Shame
Written-By – J. Skinner, L. Holland, R. Turner 4:30
A4 Leaves In The Wind
Written-By – J. Skinner, L. Holland, R. Turner 4:53
A5 There's No Better Love
Written-By – J. Skinner, L. Holland 4:22
B1 Everytime I Breathe
Written-By – J. Skinner, L. Holland 4:37
B2 Sexy
Written-By – Cecil And Linda Womack 3:56
B3 See Me
Written-By – Cecil And Linda Womack 4:44
B4 Surrender
Written-By – J. Skinner, L. Holland 4:14
B5 It's You My Heart Beats For
Written-By – Frances, L. Holland, Frances 4:30
Label: Jive – 1298-1-J
Format: Vinyl, LP, Album
Country: US
Released: 1990
Genre: R&B Soul, Hip Hop, Funk
Style: RnB/Swing, Synth-pop, Disco
Ruby Turner's 1989 album Paradise is a significant R&B/Soul release, her only album to hit the Billboard 200, known for strong vocal performances, particularly on its hit single "It's Gonna Be Alright," blending R&B, soul, and reggae, showcasing her powerful voice and roots, earning praise for its authentic feel, though some fans find it less powerful than her work with Jools Holland.
A mix of R&B, contemporary soul, and reggae, reflecting Turner's Jamaican heritage, Featured singles include "It's Gonna Be Alright" (a #1 R&B hit), "Paradise," and "It's a Cryin' Shame".
The album highlights Turner's "jawdropping delivery" and vocal versatility, a consistent strength in her career. The album reached #194 on the Billboard 200 and #39 on the R&B charts in the US, notes Wikipedia.
Fans appreciate the album's soulful depth, with many praising the title track and powerful performances like "I'd Rather Go Blind".
Turner revisited reggae on the album, connecting with her childhood and Jamaican roots, resonating with listeners who love her blend of styles.
Some listeners feel it doesn't quite capture the raw energy of her live performances with Jools Holland, though it's still highly regarded.
In essence, Paradise is a critically noted album that solidified Ruby Turner's place as a significant R&B/soul voice, offering powerful vocals and a rich blend of genres, even if her live shows often reach even greater heights for some fans.
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.
Passion
Written-By – N.M. Walden, R. Belle
5:56
2 Quiet Time
Written-By – S. Grissette, S. Grissette, T. Gant, T. Dickerson
5:09
3 If I Could
Written-By – K. Hirsch, M. Sharron, R. Miller
4:03
4 Do You Wanna Get Serious
Written-By – D. Thomas
5:34
5 Dream In Color
Written-By – A. Lang, S. Peiken
4:13
6 My Man
Lyrics By [English] – C. Pollack
Lyrics By [French] – A. Willemetz, J. Charles
4:50
7 The Deeper I Love
Written-By – P.L. Stewart, III, T. Haynes
4:55
8 A Whole New World (Aladdin's Theme)
Lead Vocals – Peabo Bryson, Regina Belle
Lyrics By – T. Rice
4:07
9 Love
Written-By – C. Lieberman, D. Champ, L. Armor
5:55
10 Heaven's Just A Whisper Away
Written-By – A. Smith, K. Diamond, L. Henley
3:56
11 Tango In Paris
Written-By – K. Beethoven, M. Mani, M. Dewese, N.M. Walden, V. Black
4:12
12 One Love
Written-By – B. Russell, N.M. Walden
5:49
Label: Columbia – CK 48826
Format: CD, Album
Country: US
Released: 1993
Genre: R&B Soul, Soft Rock
Style: Soul, Contemporary R&B
Regina Belle's Passion album, her most commercially successful, is praised for showcasing her captivating vocals across soulful R&B, jazz, and pop tracks, with critics highlighting her mesmerizing delivery, particularly on the suited ballads and mid-tempo songs that convey deep emotion, making it a strong, enjoyable collection for fans of classic R&B.
The album fully utilizes Belle's vocal talents, with every song considered worthy of attention, notes AllMusic editor Craig Lytle. It seamlessly blends soulful R&B, jazz, and pop-oriented tunes, offering variety within its focus on heartfelt emotion.
As the title suggests, Belle pours passion into each performance, with many tracks being ballads or mid-tempo songs perfect for her style.
Passion became Belle's biggest hit, reaching #63 on the Billboard 200 and #13 on the Top R&B/Hip-Hop Albums chart, eventually earning Gold certification, says joesrecords.com.
Many listeners consider it a classic, with some loving it so much they bought multiple copies, appreciating the mix of soulful singing and danceable moments, notes Amazon.com.be.
In essence, Passion is seen as a stellar collection where Belle delivers mesmerizing vocals and heartfelt performances, solidifying her place in R&B and soul music.
Passion
Bass – Kevin Jenkins
Drums – Paul Mills
Guitar – Rhon Lawrence
Percussion – Steve Thornton
Written-By – Jacques Burvick, Marion Meadows
6:04
A2 You're My One And Only Love
Percussion – Daoyde Woods
Written-By – Jacques Burvick, Marion Meadows
4:40
A3 Heaven In Your Eyes
Drums – Leon Chancler
Keyboards – Jerry Peters
Percussion – Myoungo Daryl Jackson
Programmed By [Keyboards] – Diane Louie
Written-By – Gerald Veasley, Mark Knox
4:31
A4 Private Stock
Guitar – Nate Winfield
Programmed By [Keyboards] – Diane Louie
Written-By – Jacques Burvick, Kristan K. Alexander
4:41
A5 Passion
Guitar [Acoustic, Electric] – Freddie Ramos
Keyboards [Electric] – Joey Melotti
Percussion – Myoungo Daryl Jackson
Written-By – Joey Melotti, Marion Meadows
5:15
B1 Lovin' You
Drums – Leon Chancler
Keyboards – Jerry Peters
Percussion – Myoungo Daryl Jackson
Programmed By [Keyboards] – Diane Louie
Trumpet, Soloist – Duke Jones
Written-By – Minnie Riperton, Richard Rudolph
5:06
B2 Shabba
Guitar, Soloist – O'Donnell Levy
Percussion – Steve Thornton
Written-By – Jacques Burvick, Marion Meadows
3:45
B3 That's The Way Of The World
Guitar – O'Donnell Levy
Percussion – Steve Thornton
Written-By – Charles Stepney, Maurice White, Verdine White
5:13
B4 Welcome To My Life
Percussion – Steve Thornton
Written-By – Jacques Burvick, Marion Meadows
6:07
B5 Samba For Maria
Guitar [Acoustic, Electric] – Freddie Ramos
Percussion – Adam Rudolph, Myoungo Daryl Jackson
Trumpet – Charles Moore
Trumpet, Soloist, Featuring – Freddie Hubbard
Vocals – Norman Connors
Written-By – Jacques Burvick, Norman Connors
4:45
Label: Capitol Records – C1-48515
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre:R&B Jazz, Soul
Style: Soul-Jazz
Norman Connors' Passion album (1977) is a beloved fusion of jazz-funk and Quiet Storm, praised for its sensual vocals (especially by Spencer Harrison on "That's the Way of the World" & "I Am Your Melody"), smooth grooves, and strong musicianship featuring guests like Freddie Hubbard; it's considered a must-have for collectors, balancing upbeat tracks with soulful ballads, showcasing Connors' skill as a bandleader.
Spencer Harrison's vocals on tracks like "That's the Way of the World" and "I Am Your Melody" are frequently highlighted as deeply affecting and a major draw.
A blend of jazz-funk, soul, and smooth R&B, fitting the Quiet Storm genre, with a focus on strong melodies and grooves that demonstrate Connors' talent for bringing together top musicians to create a cohesive sound.
Fans consider it a valuable addition to any Norman Connors or 70s jazz-funk collection, often hard to find but worth seeking out.
While some find it leans more mid/up-tempo than his other albums, the overall musical experience is consistently positive. The album delivers on its title, offering a warm, passionate, and often sexy musical journey.
In essence, Passion is celebrated as a quintessential Norman Connors record, offering deep grooves, stellar vocals, and that signature blend of jazz and soul that defined his successful career as both a drummer and producer.
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.
Patience Is A Virtue
Written-By – Sam Taylor
6:41
A2 I Fooled You (Didn't I)
Written-By – George Kerr, Ray Walker*
3:31
A3 I Did It For Real
Written-By – Larry Alexander
3:42
A4 Can You Imagine That
Written-By – George Kerr
3:48
B1 Gimme Some (Of Your Love)
Written-By – Mark Barkan, Sam Taylor
4:35
B2 Reachin' Out In Darkness
Written-By – Sam Taylor
3:13
B3 It's All Over Now
Written-By – Kenny Seymour
3:11
B4 You've Been Here Since Then
Written-By – Kenny Seymour
4:55
Label: Desert Moon Records – DMS-3200
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Norma Jenkins' 1976 album, Patience Is a Virtue, is widely regarded as a high-quality example of mid-70s soul and is highly coveted by rare soul collectors. Produced by George Kerr, the album showcases Jenkins' "rich and robust" voice, which critics often compare to the style of southern soul singers.
Jenkins is praised for a versatile and "extremely versatile classic soul voice". Her delivery on the album is noted for being richer and more robust than many of her East Coast contemporaries.
The album balances mid-tempo groovers with mellow, melodic tracks. The production, led by George Kerr with arrangements by Bert Keyes and Andrew Smith, captures a "dark, heady dance-floor drama" characteristic of the era.
While Jenkins is from New Jersey, the album's "deep soul groove" is frequently cited as having a Southern soul feel. It has also become a staple in the UK's Northern Soul scene.
Key Tracks... "Love Jones": A standout nearly seven-minute track often cited as a highlight; "Gimme Some (Of Your Love)": An uptempo "brass-belter" that serves as a high-energy centerpiece; "Reachin' Out in Darkness": A notable soul track written and produced by Sam Taylor.
The album maintains high average ratings on collector sites, typically between 4.0 and 4.5 out of 5 stars based on listener reviews.
Original vinyl copies are highly coveted by rare soul collectors, particularly within the UK Northern Soul scene, where Jenkins remains a celebrated figure. In 2012 and 2019, expanded digital and CD editions were released, often including bonus tracks such as her earlier singles "Puzzle Man (Figure Me Out If You Can)" and "The Airplane Song".
Patrice
Acoustic Guitar – Abraham Laboriel
Alto Saxophone – Kim Hutchcroft
Backing Vocals – Pauline Wilson, Roy Galloway, Syreeta Wright Robertson
Backing Vocals, Electric Piano [Rhodes], Synthesizer – Patrice Rushen
Bass – "Ready" Freddie Washington
Bass Trombone – Maurice Spears
Concertmaster – Jerry Vinci
Drums – James Gadson
Guitar – Al McKay, Marlo Henderson
Percussion – Paulinho Da Costa
Tenor Saxophone – Larry Williams
Trombone – Bill Reichenbach
Trumpet – Oscar Brashear, Raymond Lee Brown
Written-By – Angela Rushen 3:58
A2 When I Found You
Alto Saxophone – Kim Hutchcroft
Backing Vocals – Jim Gilstrap, Roy Galloway, Syreeta Wright Robertson
Backing Vocals, Electric Piano [Rhodes], Lead Vocals, Percussion – Patrice Rushen
Bass – "Ready" Freddie Washington
Bass Trombone – Maurice Spears
Concertmaster – Jerry Vinci
Drums – James Gadson
Flugelhorn – Oscar Brashear, Raymond Lee Brown
Guitar – Al McKay
Guitar [Ovation] – Marlo Henderson
Horns [Baritone] – Bill Reichenbach
Tenor Saxophone – Larry Williams
Written-By – Angela Rushen, Tony Coleman 5:20
A3 Changes (In Your Life)
Backing Vocals – Jim Gilstrap, Roy Galloway, Stephanie Spruill, Syreeta Wright Robertson
Backing Vocals, Clavinet, Lead Vocals, Synthesizer [Bass], Tambourine – Patrice Rushen
Bass – "Ready" Freddie Washington
Drums – James Gadson
Guitar – Al McKay
Guitar, Guitar [Fuzz Lead] – Marlo Henderson
Written-By – Angela Rushen 4:08
A4 Wishful Thinking
Acoustic Guitar, Backing Vocals, Lead Vocals – Patrice Rushen
Backing Vocals – Sheree Brown, Syreeta Wright Robertson
Bass – Abraham Laboriel
Bassoon – David Riddles
Clarinet – Larry Williams, Bill Green
Concertmaster – Charles Veal, Jr.
Drums – James Gadson
Electric Piano [Rhodes] – Charles Mims, Jr.
Flute – Valarie King
Oboe – Jeff Clayton (3)
Percussion – Paulinho Da Costa
Whistle – Kenneth Yerke 5:08
A5 Let's Sing A Song Of Love
Alto Saxophone – Kim Hutchcroft
Arranged By, Conductor, Written-By – Reggie Andrews
Backing Vocals – Jim Gilstrap, Oren Waters, Roy Galloway, Sheree Brown
Bass – "Ready" Freddie Washington
Bass Trombone – Bill Reichenbach
Concertmaster – Charles Veal, Jr.
Drums – James Gadson
Electric Piano [Grand, Rhodes] – Patrice Rushen
Guitar – Al McKay, Marlo Henderson
Percussion – Paulinho Da Costa
Tenor Saxophone – Larry Williams
Trombone – George Bohannon
Trumpet – Jerry Hey, Raymond Lee Brown 3:43
B1 Hang It Up
Alto Saxophone – Kim Hutchcroft
Backing Vocals – Charles Mims, Jr., Oren Waters, Reggie Andrews, Roy Galloway, Sheree Brown, Syreeta Wright Robertson
Backing Vocals, Electric Piano [Rhodes], Piano [Acoustic] – Patrice Rushen
Bass – "Ready" Freddie Washington
Bass Trombone – Maurice Spears
Drums – James Gadson
Guitar – Al McKay, Marlo Henderson
Percussion – Bill Summers
Tenor Saxophone – Larry Williams
Trombone – Bill Reichenbach
Trumpet – Jerry Hey, Raymond Lee Brown 5:11
B2 Cha-Cha
Backing Vocals, Electric Piano [Rhodes], Lead Vocals – Patrice Rushen
Bass – "Ready" Freddie Washington
Drums – James Gadson
Guitar – Al McKay, Marlo Henderson
Percussion – Bill Summers, Paulinho Da Costa
Written-By – Angela Rushen, Sheree Brown 3:22
B3 It's Just A Natural Thing
Alto Saxophone – Kim Hutchcroft
Arranged By, Piano [Acoustic] – Charles Mims, Jr.
Backing Vocals – Jim Gilstrap, Maxine Waters Willard, Oren Waters, Stephanie Spruill
Backing Vocals, Clavinet, Drums, Guitar [Lead, Rhythm] – Patrice Rushen
Bass Trombone – Bill Reichenbach
Bass, Written-By – "Ready" Freddie Washington
Tenor Saxophone – Larry Williams
Trombone – George Bohannon
Trumpet – Jerry Hey, Raymond Lee Brown 3:20
B4 Didn't You Know
Acoustic Guitar [Rhythm], Guitar [High Strung] – Paul M. Jackson, Jr.
Backing Vocals – Roy Galloway, Syreeta Wright Robertson
Backing Vocals, Bass, Celesta, Drums, Electric Piano [Rhodes], Lead Vocals, Percussion – Patrice Rushen
Backing Vocals, Written-By – Sheree Brown
Concertmaster – Charles Veal, Jr.
Flugelhorn – Raymond Lee Brown
Guitar – Marlo Henderson
Horns [Baritone] – Clay Lawrey 5:17
B5 Play!
Alto Saxophone – Kim Hutchcroft
Arranged By, Synthesizer, Written-By – Charles Mims, Jr.
Backing Vocals – Jim Gilstrap, Roy Galloway, Syreeta Wright Robertson
Backing Vocals, Clavinet, Electric Piano [Grand, Rhodes], Percussion – Patrice Rushen
Bass – "Ready" Freddie Washington
Bass Trombone – Maurice Spears
Drums – James Gadson
Guitar – Al McKay, Marlo Henderson
Percussion – Bill Summers
Tenor Saxophone – Larry Williams
Trombone – Bill Reichenbach
Trumpet – Jerry Hey, Raymond Lee Brown 4:36
Label: Elektra – 6E-160
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk
Style: Jazz-Funk, Disco
Patrice Rushen's 1978 self-titled album, Patrice, marked a pivotal shift from pure jazz to a rich blend of R&B, funk, and pop, showcasing her evolving artistry with strong songwriting, piano skills, and smooth vocals, featuring tracks like the soulful "Didn't You Know" and funky "Hang It Up," ultimately proving her prowess as a versatile artist ready for broader pop success, even if critics initially offered mixed views, as documented in retrospective reviews of her classic Elektra years.
While previously known for jazz fusion, Patrice fused her jazz foundation with burgeoning R&B and funk sounds, moving towards radio-friendly appeal.
Notable songs include the ballad "Didn't You Know?", the funky "Hang It Up," and the socio-political "Changes (In Your Life)".
Reviewers note its solid songwriting, expressive vocals, and impressive piano work, with Allmusic praising it as a rewarding R&B/pop effort that highlighted her charm as a singer.
The album demonstrated Rushen's growth as a singer and writer, showcasing her ability to craft emotionally mature and musically sophisticated songs that resonated across jazz, soul, and pop audiences.
Patrice set the stage for her later, even bigger hits like "Forget Me Nots," establishing her as a major talent in black popular music during a transitional era of soul, funk, and disco.
The album is seen as a strong entry in her catalog, balancing danceable grooves with heartfelt ballads, cementing her unique sound.
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.
Paul Johnson
Written-By – Giscombe, Smith
3:53
A2 Fear Of Falling
Written-By – Lendor, Johnson
3:59
A3 New Love
Written-By – Giscombe, Smith
5:59
A4 Every Kinda People
Written-By – Fraser
3:15
A5 Intimate Friends
Written-By – Glenn
4:19
A6 Where Can You Be
Written-By – Jackson, Moore.
4:42
B1 Burnin'
Written-By – Johnson, Powell, Carter
4:55
B2 Heaven Is 10 Zillion Light Years Away
Written-By – Wonder
5:35
B3 Are We Strong Enough
Written-By – Giscombe, Johnson, Powell
4:43
B4 Half A World Away
Written-By – Roy Scott, Payne
4:00
B5 Don't Pass Me By
Written-By – Paul Johnson
4:31
Label: Epic – BFE 44038
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Soul, Funk
Style: Eighties Soul, Swing
Released in 1987, the self-titled debut album by British singer Paul Johnson is a work of soulful, gospel-infused contemporary R&B. Distributed by CBS Records, the album showcased Johnson’s distinct high falsetto, which critics often compared to Philip Bailey of Earth, Wind & Fire.
The album is described as orchestrated contemporary R&B and soul with strong gospel influences. Johnson, a former member of the gospel-funk group Paradise, was noted for his "great voice" and soulful delivery.
The album features 1980s-style orchestration and production, which some contemporary reviewers described as a "hidden jewel" of the era.
Johnson attracted the attention of Paul Weller (The Jam, The Style Council), whose enthusiasm for Johnson's talent helped lead to his recording contract with CBS.
While the album did not make him a mainstream "superstar," it earned significant praise from influential figures like BBC DJ John Peel, who hosted Johnson for a session in late 1987.
The album was available on Vinyl LP, Cassette, and CD. Some editions included a booklet with full lyrics.
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.
Junior Walker Jr Walker
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.
Phase 2
Written-By – Eltesa Weathersby, Frank Fuchs, Gavin Spencer 4:10
A2 Heart To Heart
Written-By – Charles Williams, Eban Kelly 4:13
A3 One More Chance For The Fool
Written-By – Arlye Matza, Bobby Eli 4:10
A4 Say You Will
Written-By – Samm Culley 5:08
B1 Expressway To Your Heart
Written-By – Kenny Gamble & Leon Huff 4:22
B2 Now
Written-By – Allee Willis, Patrick Henderson 3:35
B3 Even In The Darkest Night
Written-By – Arlye Matza, Bobby Eli 4:05
B4 Foreplay
Written-By – Bobby Eli, Jeff Prusan 5:01
B5 I Found Someone
Written-By – Timothy Wright 3:46
Label: Cotillion – SD 5234
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Philly
Ronnie Dyson's Phase 2 (1982) is a solid, consistent soul/R&B album, praised for showcasing his powerful voice with a blend of dance-friendly tracks ("You Better Be Fierce") and heartfelt ballads ("Tender Loving Care," "Say You Will"), featuring smooth Philly soul production by Bobby Eli and notable for its uplifted, ballad-heavy sound with a Broadway flair that balanced pop and deep soul well for the era.
Produced by Bobby Eli, the album features lush, Philly-soul-influenced arrangements, supporting Dyson's strong vocals.
Dyson's background as a Broadway performer shines through, adding a theatrical, emotive quality to both uptempo and ballad tracks.
The album leans into the late 70s/early 80s soul sound, balancing danceable grooves with heartfelt, smooth R&B.
Tracks like the smooth "Heart to Heart," the powerful ballad "Say You Will," and the danceable "You Better Be Fierce" are often cited as standouts.
It's considered a strong entry in his catalog, often reissued with his album Brand New Day, offering a consistent listening experience.
In essence, Phase 2 is regarded as a quality effort from a great voice, successfully navigating pop and soul with strong ballads and uptempo numbers, making it a must-listen for fans of classic soul and Dyson's rich tenor.
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.
Phil Fearon and Galaxy
A2 Dancing Tight 4:25
A3 Fantasy Real 4:14
A4 Do You Want More? 5:17
A5 Wait Until Tonight (My Love) 4:58
B1 What Do I Do? (Carnival Mix) 3:50
B2 Head Over Heels 5:55
B3 Before You Throw Love Away 5:28
B4 Still Thinking Of You 4:17
B5 Anything You Want 4:00
Written by P. Fearon, J. Tambimuttu, M. Burns, S. Glenn
Label: Island Records – 206 345
Format: Vinyl, LP, Album
Country: Europe
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Dance-Pop
Released in 1984, Phil Fearon & Galaxy is the self-titled debut studio album by the British group Phil Fearon & Galaxy. The album features a blend of Britfunk, soul, and pop characterized by heavy use of synthesizers and upbeat tempos typical of the early 1980s.
The album was a commercial hit in the UK, peaking at number 8 on the UK Albums Chart. It was primarily written, produced, and performed by Phil Fearon, who served as a multi-instrumentalist. He was supported by backing vocalists Dorothy Galdes and Julie Gore.
The album includes several singles that achieved Top 10 status on the UK Singles Chart: "Dancing Tight" (Top 5 hit in 1983); "What Do I Do?"; "Everybody's Laughing". Fans frequently mention the vocal contributions of Dorothy Galdes and Julie Gore, noting that their harmonies give the upbeat pop songs a distinct, classy soul edge.
Many listeners highlight the album's ability to "transport you back" to the 1980s, often describing it as a collection of "superb dancefloor fillers" and "happy memories". While some contemporary critics at the time found it "slick but boring," modern user reviews often praise its clean, "fresh" sound quality and the effective use of synthesizers.
Unlike many 80s pop albums that rely on one or two hits, user reviews generally describe it as a classic of the Britfunk and 80s dance-pop era, praised for its upbeat, "feel-good" energy, that still sound fresh decades later.
Phil Upchurch
Arranged By – John Tropea
Written-By – Shuggie Otis 5:12
A2 Free
Arranged By – John Tropea
Written-By – June Williams, Henry Reed, Nathan Watts, S. Greene 5:25
A3 Good Times
Arranged By – Leon Pendarvis
Written-By – Kenneth Gamble-Leon Huff 4:07
A4 Church Street Music
Arranged By – Leon Pendarvis
Written-By – John Tropea, Leon Pendarvis 6:30
B1 It's Almost Five
Written-By – Phil Upchurch 4:47
B2 Foolin' Around
Written-By – Phil Upchurch 3:36
B3 Cyrenna
Written-By – Phil Upchurch 5:30
Label: Marlin – MARLIN 2209
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Jazz, Funk
Style: Jazz-Funk
Phil Upchurch’s 1978 self-titled album is widely regarded as one of the finest moments in the guitarist's long career. Moving away from the heavy fuzz tones found on some of his earlier work, this release highlights his deep melodic sensibilities and sophisticated jazz-funk style.
Critics describe the album as a sleek, "late-night" collection of jazz-funk and soulful fusion. It is noted for its polished production by John Tropea and its clean, sensual guitar lines.
Upchurch showcases a "chromatic lyricism" in his soloing, blending traditional jazz chops with the rhythmic drive of R&B and funk.The album currently holds a high user rating of 4.71 / 5 on platforms like Discogs.
Standout Tracks
"You've Lost That Lovin' Feelin'": Frequently cited as a masterpiece of soulful interpretation, challenging vocal versions of the song with its emotive guitar work.
"Strawberry Letter #23": A deeply funky instrumental cover of the Shuggie Otis classic.
"Church Street Station": Noted for its "slow crawling stomp" and gritty, soulful feel.
"Another Funky Tune": Considered an Upchurch standard that defines his mid-to-late 70s sound.
"Sitar Soul": Highlights the use of sparse horn and string arrangements to frame Upchurch’s more adventurous soloing.
The album features a sophisticated backdrop where strings and horns are used selectively, often taking a backseat to keyboard-driven rhythms in up-tempo numbers like "Washing Machine". This allows Upchurch to shift seamlessly from clean, lyrical lines to "wah-wah saturated overdrive".
It's considered a sweet, soulful jazz-fusion set that balances tight grooves with cool guitar lines, making it a highlight in Upchurch's extensive career as a versatile session musician and artist.
Phyllis Hyman
Written-By, Composed By – T. Bell
7:41
A2 No One Can Love You More
Written-By, Composed By, Keyboards – Skip Scarborough
4:20
A3 One Thing On My Mind
Written-By – Evie Sands, Richard Germinaro
5:30
A4 I Don't Want To Lose You
Written-By – Linda Creed, Thom Bell
5:31
B1 Deliver The Love
Written-By – Ausar Sahw, Rachim
Written-By, Piano – Onaje Allan Gumbs
4:02
B2 Was Yesterday Such A Long Time Ago
Written-By – B. Scott, M. Goode
4:55
B3 The Night Bird Gets The Love
Written-By – C. Carter, M. Shakoor
5:20
B4 Beautiful Man Of Mine
Written-By, Composed By – Larry Alexander
6:56
B5 Children Of The World
Composed By, Piano, Synthesizer [Moog Bass Arp], Written-By – H. Eaves
2:55
Label: Buddah Records – BDS 5681
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul, Jazz
Style: Seventies Soul, Disco
Phyllis Hyman's 1977 self-titled debut on Buddah Records is a highly regarded, sophisticated soul-jazz album featuring her rich, mature contralto vocals. Showcasing standout tracks like "No One Can Love You More" and "Loving You, Losing You," the album established her as an emotive interpreter, despite minor inconsistencies in material.
Critics praise the album for showcasing Hyman's incredible range and emotional maturity, often described as a blend of sensuality and dramatic flair.
The album is a mix of mainstream soul and relaxed jazz tones, with production by Skip Scarborough, Thom Bell, and Linda Creed.
Key Tracks:- "No One Can Love You More": Highlighted for its lush, fluid sound and sensual charm; "Loving You, Losing You": A vibrant, filmic track that gained notice for its, deep, soulful rhythm; "I Don't Want to Lose You": Noted as a classic, emotional, and melodic performance; "Betcha by Golly Wow": A notable, well-executed cover.
The album is considered a strong, 5-star debut that introduced her as a major talent, although some reviews suggest the material varies from classic to unformed.
The album solidified her reputation as a formidable singer-songwriter in the late 70s, setting the stage for her subsequent success at Arista Records. The album peaked at #107 on the Billboard 200 and #49 on the R&B charts.
Contemporary user reviews are highly positive, with average ratings typically between 4.3 and 4.7 out of 5 on platforms like Discogs. Critics often highlight Hyman's "uncommon maturity"—she was only in her mid-20s during recording—and her ability to glide through complex material with "sensual charm".
Pick Of The Litter
Written-By – P. Pugh, S. Marshall, T. Bell
4:00
A2 I Don't Want To Lose You
Written-By – L. Creed, T. Bell
3:42
A3 Love Or Leave
Written-By – B. Hawes, C. Simmons, J. Jefferson
4:59
A4 Sweet Love Of Mine
Written-By – B. Eli, V. Barrett
4:20
B1 All That Glitters Ain't Gold
Written-By – P. Terry, T. Conway, T. Life
3:47
B2 You Made A Promise To Me
Written-By – B. Hawes, C. Simmons, J. Jefferson
3:56
B3 They Just Can't Stop It The (Games People Play)
Written-By – B. Hawes, C. Simmons, J. Jefferson
4:41
B4 Just As Long As We Have Love
Written-By – B. Hawes, V. Barrett
4:06
Label: Atlantic – SD 18141
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Philly
Released in August 1975, Pick of the Litter is the sixth studio album by The Spinners. It is widely celebrated as the final installment in a quartet of classic albums produced by the "architect of Philly Soul," Thom Bell, marking the peak of the group's creative and commercial success.
The album is a definitive example of Philadelphia Soul, characterized by polished, sophisticated orchestral arrangements involving sweeping strings and smooth horns.
It features the group’s iconic lineup—Philippé Wynne, Bobby Smith, Henry Fambrough, Billy Henderson, and Pervis Jackson. While Wynne was the prominent lead, this record emphasizes the group's tight, angelic harmonies and the "velvety" contributions of Smith and Fambrough.
Backing was provided by the legendary house band MFSB (Mother Father Sister Brother), known for their impeccable groove and rich textures.
Key Tracks & Chart Success:-
"Games People Play": Also known as "(They Just Can't Stop It) The Games People Play," this signature song features bass singer Pervis Jackson’s famous "12:45" line. It hit #5 on the Billboard Hot 100 and topped the R&B charts.
"Just as Long as We Have Love": This closing duet features an uncredited guest appearance by Dionne Warwick, adding a layer of superstar "richness" to the project.
"Love or Leave": The album’s second single, which also reached the R&B Top 10.
The album reached #8 on the Billboard 200, making it the group's highest-charting LP on that specific chart. Critics view it as one of the last major "old-school" romantic soul albums before the industry shifted toward disco-heavy dance anthems.
Original vinyl copies featured a unique "Duo-Pak" gimmick cover with perforated cut-outs of the band members meant to be used as standees or mobiles.
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.
Pieces Of A Man
2:59
A2 Save The Children
4:55
A3 Lady Day And John Coltrane
3:10
A4 Home Is Where The Hatred Is
3:15
A5 When You Are Who You Are
3:01
A6 I Think I'll Call It Morning
3:45
B1 Pieces Of A Man
4:22
B2 A Sign Of The Ages
4:05
B3 Or Down You Fall
3:08
B4 The Needle's Eye
4:01
B5 The Prisoner
8:39
Written by Gil Scott-Heron (tracks: A1 to A4), Gil Scott-Heron, Brian Jackson (tracks: A5 to B5)
Label: Flying Dutchman – FD 10143
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Soul
Released in 1971, Gil Scott-Heron’s Pieces of a Man is a seminal soul-jazz masterpiece that blends socially conscious poetry with infectious grooves, featuring Brian Jackson on keys. It is widely recognized as a foundational, pre-rap album that influenced neo-soul, featuring iconic tracks like "The Revolution Will Not Be Televised" and the poignant title track.
The album moves beyond simple spoken word into fully arranged, jazz-infused soul. It features tight backing, including drummer Bernard Purdie, creating a warm, sophisticated sound that contrasts with the urgent lyrical content.
Scott-Heron delivers incisive, heartbreaking commentary on urban life, racism, and personal struggles, including the raw emotion of "Home Is Where The Hatred Is" and the family-focused title track.
Key Tracks:
"The Revolution Will Not Be Televised": An iconic, satirical spoken-word piece.
"Lady Day and John Coltrane": An uplifting, jazz-infused tribute to musical healing.
"Pieces of a Man": A narrative song about the collapse of a family due to unemployment.
"Home Is Where The Hatred Is": A raw look at drug addiction and broken homes.
Considered a 5-star essential, it is often compared to Marvin Gaye’s What’s Going On for its timely commentary, blending political awareness with deep, personal vulnerability.
The album is praised for its timeless relevance and remains a high point in 1970s soul music. Critics often cite the album as a major influence on hip-hop due to its lyrical style and rhythmic delivery.
While only modestly successful upon release, it has received unanimous retrospective acclaim, with the 50th-anniversary reissue rendered as a definitive version for modern listeners.
Pieces Of Peace
A2 Pollution 7:35
A3 Flunky For Your Love 3:05
A4 I Still Care
Lead Vocals – Ben Wright 3:16
B1 Peace & Blessings 7:13
B2 Yesterday's Visions
Label: Cali-Tex Records – CT-104-1
Format: Vinyl, LP, Album
Country: US
Released: 2007
(Originally recorded in Chicago in 1972, this LP was due to be released on the Scarab Records imprint. However, due to the band's breakup during a stint in the Far East it was shelved indefinitely and has now been released for the first time.)
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Funk, Soul
The 2007 self-titled release by Pieces Of Peace is a archival unearthing of a "lost" 1970s Chicago soul-funk album, released via Cali-Tex Records. Originally recorded in the early 1970s but shelved for decades, the album was rediscovered by DJ Shadow and brought to daylight for modern audiences.
Critics describe the album as a high-precision fusion of agitated "head funk" and psychedelic soul, drawing comparisons to legendary bands like Tower of Power, Cold Blood, and Blood, Sweat & Tears.
he band is praised for its "precision and passion," functioning as a powerful 10-piece ensemble that included notable Chicago session musicians like saxophonist Jerry Wilson and bassist Bernard Reed.
Key Tracks:
"Yesterday's Visions": A nearly 11-minute "miniature suite" that moves from ghostly smoothness to high-speed dance grooves and wild acid-funk.
"Peace and Blessings": A percussive standout featuring African percussion, described as a "garage-funk version of Miles Davis' On the Corner".
"Pollution": An eco-themed track; the 2007 release includes an instrumental version as a bonus track.
The album provides a crucial missing link in the Chicago soul scene of the 1970s. Before being sidelined by industry misfortune, the band members were prolific session players. Notably:
They were the uncredited backing band for Young-Holt Unlimited's massive hit "Soulful Strut", and provided the musical foundation for Syl Johnson’s landmark song "Is It Because I'm Black".
Reviews highlight that while the album might not be "revolutionary" to seasoned funk collectors, it is a "soul sender" that benefits from its sense of mystery. It holds a high reputation among listeners, maintaining an average rating of 4.8/5 on platforms like Discogs.
Planets of Life
Written-By – Dee Ervin
2:42
A2 Seems Like I Gotta Do Wrong
Written-By – Dee Ervin, Lynn Farr
2:45
A3 Planets Of Life
Written-By – Ron Carson
2:47
A4 They're Gonna Hear From Me
Written-By – Robert Stewart
1:38
A5 A Singer Of Songs
Written-By – Robert Stewart
2:30
A6 I Can Remember
Written-By – Robert Stewart
2:31
B1 Needle In A Haystack
Written-By – Gordy Harmon, Nicholas Caldwell
2:14
B2 Creation Of Love
Written-By – Ron Carson
2:24
B3 I'm The One
Written-By – Alex Brown, Dee Ervin
2:44
B4 You Made Me So Very Happy
Written-By – Berry Gordy, Brenda Holloway, Frank Wilson, Patrice Holloway
2:54
Label: Janus Records – JLS 3055
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul
Planets of Life by The Whispers, released in 1973 on Janus Records (JLS 3055), is considered a vocal soul-funk masterpiece that showcases the group's tight, flawless harmonies. The album marked a transitional period for the group and is praised by fans for its excellent R&B sound and strong vocal performances.
Reviewers consistently highlight the group's exceptional four- and five-part harmonies, describing them as "magically crazy" and "flawless". The album is seen as a prime example of great group vocals in classic soul music.
The album is praised as a "vocal soul-funk masterpiece" that marked the group's shift towards an "electric funk vibe with a clear Temptations twist". The band's R&B combination is described as excellent, with some comparisons made to the Isley Brothers due to vocal similarities.
Specific songs like "Seems Like I Gotta Do Wrong", "Needle in a Haystack," and the title track "Planets of Life" are noted as highlights, with the latter's edit described by some as one of the best funk songs they'll ever hear.
Overall, the album holds an average rating of over 4 out of 5 stars on community music sites like Discogs, with users calling it a "must have for those who really do enjoy classic soul music" and "one of the greatest R&B albums of all time".
Pleasure
A2 Laid It 3:00
A3 Pride And Vanity 4:22
A4 Walt's First Trip 3:08
B1 Varee Is Love 2:43
B2 Walked Away From You 2:29
B3 Paint Me 2:02
B4 Funky Worm 2:35
B5 Our Love Has Died 4:45
Written by Ohio Players
Label: Westbound Records – WB 2017
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul, Funk
Style: Seventies Soul, Funk
Ohio Players' Pleasure (1972) is a landmark funk album, the most influential of their career, featuring massive hits like "Funky Worm," known for its innovative synth sounds by Junie Morrison, and establishing their blend of soulful funk and smooth grooves, solidifying their chart dominance after their debut Pain and setting the stage for their 70s success with iconic Joel Brodsky cover art.
Its groundbreaking sounds, particularly the high-pitched ARP synth from "Funky Worm," became foundational elements in West Coast Rap, making Pleasure a staggeringly influential record.
Like its predecessor, it featured iconic photography by Joel Brodsky, continuing their signature sensual imagery. The album's success kicked off a three-year run of chart dominance for the Ohio Players, establishing them as a premier act in funk and soul.
In essence, Pleasure wasn't just another album; it was the pivotal record that propelled the Ohio Players from successful newcomers to funk legends, thanks to its irresistible grooves and the unforgettable "Funky Worm".
Point Of Pleasure
Featuring – Bootsy Collins, George Clinton
Written-By – J. Mitchell, R. Harris, R. Hunt,Jr., T. Philips
6:56
A2 Rock Me, Sock Me
Written-By – M. Dunlap, R. Harris
5:25
A3 Dial The Love Man (634-5789)
Written-By – E. Smith, R. Harris
5:22
B1 Do It To The Max
Featuring – Bootsy Collins, George Clinton
Written-By – A. Little, E. Smith, R. Harris, T. Philips
5:56
B2 What Goes Around
Written-By – B. Wilson, R. Harris
4:39
B3 Truly Devoted
Written-By – Rahni Harris
4:28
B4 Love Is On The One
Written-By – A. Little, R. Harris, T. Philips
4:42
Label: Liberty – 1A 064-400075
Format: Vinyl, LP, Album
Country: Europe
Released: 1982
Genre: R&B, Funk / Soul
Style: P.Funk, Funk, Disco
Xavier's Point of Pleasure (1982) is a highly-regarded, essential funk/soul album known for its infectious mid-tempo grooves, P-Funk leanings, and standout tracks like "Work That Sucker To Death" and "Do It To The Max," featuring George Clinton & Bootsy Collins; critics love its consistent quality and danceability, though some lament it was their only album, cementing its cult status in funk collections.
Genre & Sound: Smooth, commercial-leaning soul/funk with P-Funk influences, heavy on catchy hooks and mid-tempo rhythms. Guest spots from funk legends George Clinton and Bootsy Collins on key tracks.
Standout Tracks: "Work That Sucker To Death," "Do It To The Max," "Rock Me, Sock Me," and "Love Is On The One" are frequently praised.
Considered a must-have for funk enthusiasts, often called an essential album. Though it was a one-album project for the band, it remains popular and sought-after by '80s funk fans.
It's a rare album with not one weak track, offering consistent danceable grooves. The basslines, especially on "Love Is On The One," are compared to Michael Jackson's Off the Wall era. It's a testament to quality funk that remains in demand despite being out of print for years.
Positive-Negative
Written-By – Tommy McGee 3:02
A2 It's You
Written-By – Tommy McGee 6:18
A3 We Ought To Be Together
Written-By – Tommy McGee 2:45
A4 To Make You Happy
Written-By – Palmer James 3:10
B1 Guilty
Written-By – Robert Williams 5:15
B2 Take Me Home
Written-By – Tommy McGee 4:33
B3 Make Sure
Written-By – Tommy McGee 2:15
B4 Takes A Little Time
Written-By – Tommy McGee 3:05
Label: MTMG Records – U-60421
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Funk
Released in 1976, Positive-Negative is the debut and only solo studio album by soul singer Tommy McGee. It is considered a rare "private press" masterpiece of mid-70s underground soul and funk.
A blend of smooth Memphis-style soul, funk, and tender ballads featuring elements like guitar wah, seductive bass lines, congas, and celeste.
The album draws heavy inspiration from the Howard Grimes school of soul drumming and the guitar style of Teenie Hodges.
Unlike many independent records of the era, it features the Grand Rapids Symphony Orchestra, which adds a polished, cinematic backdrop to McGee’s falsetto and vibrato.
Only 500 copies of the album were originally pressed on McGee’s own MTMG Records imprint. Distribution was localized, stretching primarily across western Michigan and Chicago’s South Side.
The album received significant renewed critical interest after being reissued by the Chicago-based label Numero Group in 2016 and featured in the career retrospective I'm A Stranger (2020).
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.
Pray For The Lion
Written-By – Eugene McDaniels
3:19
A2 Open Book
Written-By – Lenny Williams
2:54
A3 Sometimes Love
Written-By – Eugene McDaniels, Lenny Williams
4:07
A4 There's Always Mystery (When You're Making History)
Lyrics By, Music By – Lenny Williams
Music By – David Stallings
3:26
A5 We're Gonna See It Through
Lyrics By, Music By – Lenny Williams
Music By – David Stallings
3:59
B1 River
Written-By – Eugene McDaniels
5:06
B2 Problem Solver
Lyrics By, Music By – Lenny Williams
Music By – David Stallings
3:25
B3 All That's Love
Music By – Mike Melvoin
Words By – Milo Adano
3:10
B4 Money
Written-By – Eugene McDaniels
4:28
B5 Keep On Keeping On
Lyrics By, Music By – Lenny Williams
Music By – David Stallings, Pearl Williams
4:24
Label: Warner Bros. Records – BS 2797
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Lenny Williams’ 1974 debut solo album, Pray for the Lion (Warner Bros.), showcases his transition from Tower of Power lead singer to a powerhouse soul artist, blending R&B, gospel, and blues with high-energy vocals. Produced by Eugene McDaniels, the album features a strong, versatile vocal performance and includes notable tracks like a cover of "Compared to What" and "Money".
The album is noted for its high-powered, emotional, and versatile vocal style, with a mix of soul, funk, and gospel influences. It features acclaimed drummer Lenny White and guitarist Dean Parks.
Produced by Eugene McDaniels, the album features a mix of high-energy soul and mid-tempo, reflective tracks. It marked a transition from his funk-heavy work with Tower of Power to a more varied, solo sound.It is generally well-regarded by fans of 70s soul and funk, often praised for its "classic" sound and raw vocal talent.
While the 1974 release did not sell well initially, it was recognized for its musicality and vocal performance, and served as a bridge in his career, released while he was still establishing his solo identity following his time with Tower of Power (1972-1975).
Precious Wilson
Written-By, Producer – Jon Astrop
5:27
A2 Love Can't Wait
Producer – Bryan "Chuck" New
Written-By – R. J. Smith
4:50
A3 She Don't Really Wanna Know
Written-By, Producer – M. Moir
4:18
A4 The Letter
Written-By, Producer – M. Moir
3:40
B1 Nice Girls Don't Last
Producer – Jon Astrop
Written-By – J. Skinner, J. Astrop, J. Butler
4:50
B2 State Of Relations
Written-By, Producer – Monte Moir
3:45
B3 The Jewel Of The Nile (From The Soundtrack Album "The Jewel Of The Nile")
Producer – Bryan "Chuck" New
Written-By – G. Lyle, T. Britten
5:25
B4 New Moon In The Summer
Written-By, Producer – Monte Moir
4:40
B5 Don't Take It Away
Producer – Keith Diamond, Richard Jon Smith
Vocals – Richard Jon Smith
Written-By – K. Diamond, R. J. Smith
4:08
Label: Jive – HIP 37
Format: Vinyl, LP, Album
Country: UK
Released: 1986
Genre: R&B Soul, Funk
Style: Synth-pop, Disco, Funk, Boogie
Released in 1986, Precious Wilson is the fourth solo studio album by the Jamaican-born British soul and disco singer Precious Wilson. After rising to fame with the group Eruption and releasing several solo projects with producer Frank Farian, Wilson signed with Jive Records for this self-titled release.
The album marked a shift toward contemporary mid-80s R&B, soul, and dance-pop. It featured a diverse team of producers, most notably:- Monte Moir: A member of The Time, known for his work in the Minneapolis soul scene; Keith Diamond: A prominent R&B producer of the era; Jon Astrop: Contributed to the bass and songwriting, having also worked with Samantha Fox.
The album includes several singles that achieved chart success or appeared in popular media:
"I’ll Be Your Friend": A significant U.S. Top 40 R&B hit.
"The Jewel of the Nile": The theme song for the Michael Douglas film sequel to Romancing the Stone.
"Nice Girls Don’t Last": Released as a single; known as "Love Can't Wait" in the U.S. market.
"Only the Strong Survive": A dance cover of the Jerry Butler classic, later produced by the hit-making team Stock Aitken Waterman in 1987 (often associated with this era of her career).
Originally released on Vinyl LP and Cassette, the album has seen various reissues, including a CD release in 1999. Expanded versions have been released in subsequent years, sometimes featuring bonus tracks and remixes from the original 12" singles.
Pressure Sensitive
Percussion [Flexitone], Congas – Joe Clayton
Written-By – Ronnie Laws, William Jeffery 4:52
A2 Momma
Vocals – Side Effect
Written-By – Roland Bautista 4:20
A3 Never Be The Same
Electric Piano – Joe Sample
Synthesizer [String Ensemble] – Jerry Peters
Written-By – Mike Cavanaugh, Roland Bautista, Ronnie Laws 4:23
A4 Tell Me Something Good
Clavinet – Joe Sample, Mike Cavanaugh
Electric Piano – Mike Cavanaugh
Synthesizer [Arp] – Jerry Peters
Written-By – Stevie Wonder 4:50
B1 Nothing To Lose
Guitar – John W. Rowin, Jr.
Piano, Clavinet – Joe Sample
Written-By – Ronnie Laws 4:54
B2 Tidal Wave
Drums – Michael Willars
Electric Bass [Fender] – Wilton Felder
Guitar – John W. Rowin, Jr.
Synthesizer [String Ensemble], Piano – Jerry Peters
Written-By – William Jeffery 4:08
B3 Why Do You Laugh At Me
Piano – Joe Sample
Synthesizer [String Ensemble] – Jerry Peters
Written-By – Wayne Henderson 3:55
B4 Mis' Mary's Place
Piano, Clavinet – Joe Sample
Written-By – Ronnie Laws 3:32
Label: Blue Note – BN-LA452-G
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Jazz
Style: Jazz-Funk, Jazz Fusion
Ronnie Laws' 1975 debut, Pressure Sensitive, is widely hailed as a jazz-funk masterpiece and a cornerstone of the 70s funk-fusion scene, featuring killer grooves, standout tracks like "Always There" and "Mis' Mary's Place," a brilliant Earth, Wind & Fire meets Crusaders vibe with stellar musicians (Joe Sample, Wilton Felder), and a blend of soulful sax and funky clavinet/Rhodes, making it essential listening for funk/jazz fans despite some critics finding its production slightly dated.
A quintessential jazz-funk album, blending smooth jazz with deep funk rhythms, it boasts legendary session players like Joe Sample, Wilton Felder, Wayne Henderson (producer), and Roland Bautista, giving it a rich, collaborative feel.
The album aptures the essence of the 70s with prominent clavinet, Fender Rhodes, and soulful, yet funky, saxophone work.
Praised for maintaining high energy and quality throughout, with standout mellower grooves like "Why Do You Laugh At Me".
Many listeners and reviewers consider it a "masterpiece," a "must-have," and one of the best debuts in jazz-funk.
While universally praised for its funk, some find the sound (especially the synth) very '70s, and its production less deep than contemporaries like Donald Byrd's work on Blue Note, though still highly regarded.
In essence, Pressure Sensitive is a landmark album, celebrated for its infectious grooves, top-tier musicianship, and status as a high point in 70s jazz-funk fusion.
Prince
A2 Why You Wanna Treat Me So Bad? 3:49
A3 Sexy Dancer 4:18
A4 When We're Dancing Close And Slow 5:18
B1 With You 3:59
B2 Bambi 4:22
B3 Still Waiting 4:24
B4 I Feel For You 3:24
B5 It's Gonna Be Lonely 5:30
Written by Prince
Label: Warner Bros. Records – BSK 3366
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul, Pop
Style: Seventies Soul, Disco, Funk
Prince's self-titled 1979 album is widely reviewed as the "true genesis" of his signature sound, marking a significant evolution from his debut, For You. Critics generally view it as a polished, commercial success that established him as a major talent before he transitioned to the rawer, more provocative style of the 1980s.
Reviewers often describe the album as more confident and diverse than its predecessor. It balances smooth R&B ballads with high-energy funk and rock, showcasing Prince's versatility as a writer, producer, and multi-instrumentalist—he famously performed nearly every part himself at age 20.
The record is noted for merging funk, soul, and pop, with "Bambi" serving as a standout for its aggressive hard-rock guitar, a rarity in mainstream R&B at the time.
While later albums like Dirty Mind are considered "sexual romps," this self-titled effort is often described as "sensual" or "audio foreplay"—it hints at his future erotic themes but remains more refined and radio-friendly.
Key Track Highlights
"I Wanna Be Your Lover": Cited as his first "absolute classic" and major pop crossover hit, reaching No. 11 on the Billboard Hot 100.
"Bambi": Frequently praised as one of Prince's best guitar-led tracks, though some modern reviews note its lyrics have not aged well.
"I Feel For You": Recognized as a "pure pop-soul perfection" original that later became a massive hit for Chaka Khan.
"It's Gonna Be Lonely": Praised as a strong, cinematic ending to the album and a personal favorite for many long-term fans.
Generally holds high scores, such as 3.5 out of 5 stars from Goldies Parade and is often ranked in the top 10 of Prince’s extensive discography by retrospective lists.
The album was a commercial breakthrough, eventually selling over three million copies and earning RIAA Platinum certification.
While some critics feel the middle portion can drag or that certain ballads like "With You" are "cloying," it is considered an essential stepping stone that proved Prince could meet the commercial demands of a major label while maintaining creative control.
Princess
7:18
A2 I'll Keep On Loving You
7:15
A3 After The Love Has Gone
3:43
A4 Say I'm Your Number One
3:29
B1 If It Makes You Feel Good
6:03
B2 Tell Me Tomorrow
4:31
B3 Any Time's The Right Time
4:34
B4 Just A Teaze
3:39
Written-By – Stock / Aitken / Waterman* (tracks: A1 to B3) Written-By – Princess (track: B4)
Label: Supreme Records – SU1
Format: Vinyl, LP, Album
Country: UK
Released: 1986
Genre: R&B Soul, Pop
Style: Eighties Soul, Disco
Princess (1986) is the debut studio album by British singer Princess, produced by Stock Aitken Waterman (SAW). It is highly regarded for its polished Hi-NRG/pop sound, featuring hit singles like "Say I'm Your Number One" and "After The Love Has Gone". It achieved silver certification in the UK, peaking at No. 15.
The album is a prime, early example of the SAW production style, featuring strong, melodic pop with dance-oriented beats.
Described as "pure class" with "catchy tunes", it includes the hits "Say I'm Your Number One," "After The Love Has Gone," and "I'll Keep On Loving You".
Later, expanded, and remastered editions (such as from Cherry Red Records) include various remixes and demo versions, including a notable alternative version of "Say I'm Your Number One".
The album is considered a quintessential, early Stock Aitken Waterman success, delivering a polished sound that defined part of the 1980s pop music scene. Fans generally regard it as a strong, nostalgic 80s pop album.
Some collectors on Discogs have noted that while the bonus tracks are essential, certain versions of the remaster have received criticism for sound quality issues or for featuring "edited" versions of the original songs.
Private Line
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas, Marc Gordon 5:41
2 School Me
Bass Guitar – Clifford Colson
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas
Saxophone – Russell Thompson 5:55
3 Baby Hold On To Me
Bass Guitar – Clifford Colson
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas
Vocals – Eddie Levert 5:42
4 Can You Handle It
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas 4:50
5 Shootin' The Breeze
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas
Percussion – Bill Ransome 4:06
6 I Wanna Be Bad
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas 4:43
7 Just A Little Something
Arranged By [Strings] – John Brinson
Bass Guitar – Clifford Colson
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Marc Gordon 5:41
8 Hurting For You
Arranged By [Strings] – John Brinson
Drums, Programmed By [Keyboard], Sequenced By – Tony Nicholas
Keyboards – Edwin Nicholas 6:02
9 Just Because I'm Wrong
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas 4:42
10 Hugs & Kisses
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Edwin Nicholas 4:12
11 You Oughta Be With Me
Guitar – Randy Bowland
Keyboards, Drums, Programmed By [Keyboard], Sequenced By – Marc Gordon 4:37
Bonus Track
12 Private Line (Radio Club Remix)
Remix [Additional Production] – Martin Van Blockson 4:55
Label: EastWest Records America – 7 91777-2
Format: CD, Album
Country: US
Released: 1991
Genre: R&B Soul, Funk
Style: Soul, Contemporary R&B
Gerald Levert's 1991 debut solo album, Private Line, is widely hailed as a classic, marking a successful transition from the group LeVert, blending New Jack Swing with soulful slow jams, featuring huge hits like the title track and "Baby Hold On to Me" (a duet with dad Eddie Levert), and showcasing his powerful, heartfelt vocals that set a new standard for adult contemporary R&B with its mature, relatable storytelling and platinum success.
A smooth mix of contemporary R&B, Quiet Storm, and New Jack Swing, noted for its velvety vocals and "lover man" persona, showcasing Levert's immense talent and kept "soul" in R&B, establishing him as a top vocalist and songwriter of his generation, proving he was "ahead of his time".
Often called his best solo work, praised for its brilliant production and Levert's "monster" vocals and songwriting. The album went platinum, hitting #1 on Top R&B/Hip-Hop Albums and Top Heatseekers charts, solidifying his solo power.
Hit Singles: Produced hits like the clever, service-line-themed "Private Line," "School Me," "Can U Handle It," and the iconic duet "Baby Hold On to Me".
Levert's distinct, powerful, and sincere voice is the centerpiece, effortlessly navigating complex emotions. Songs like the title track offered fresh, "keep it real" perspectives on relationships, a departure from typical romance songs. Despite being a '90s album, its soulful depth and production quality give it lasting appeal.
In essence, Private Line was a phenomenal solo debut that confirmed Gerald Levert's status as a powerhouse in R&B, delivering hit after hit with unmatched vocal artistry and emotional depth.
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.
Proud Mary
Written-By – J. Fogerty
3:17
A2 These Arms Of Mine
Written-By – Otis Redding
2:54
A3 I'll Be Doggone
Written-By – Marv Tarlin, William Robinson, Warren Moore
2:56
A4 How Big A Fool (Can A Fool Be)
Written-By – Solomon Burke
2:15
A5 Don't Wait Too Long
Written-By – Mickey Buckins
3:10
B1 That Lucky Old Sun
Written-By – Beasley Smith, Haven Gillespie
3:00
B2 Uptight Good Woman
Written-By – Penn, Jimmy Johnson (4), Oldham
2:42
B3 I Can't Stop (No No No)
Written-By – Dan Penn, Roger Hawkins
2:17
B4 Please Send Me Someone To Love
Written-By – Shirlee Kaplan
3:02
B5 What Am I Living For
Written-By – Art Harris, Fred Jay
2:55
Label: Bell Records – BELL-6033
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Country Soul, Southern Soul, Funk/Soul
Solomon Burke's Proud Mary album (1969) showcases his powerful voice blending gospel, soul, and country, recorded with legendary Muscle Shoals musicians, featuring his iconic, soulful take on the CCR hit and deep cuts like "That Lucky Old Sun," delivering a dynamic Southern soul sound with big gospel choruses and raw emotion, representing a significant period in his career for Bell Records.
A powerful mix of gospel fervor, country storytelling, and raw Southern R&B, featuring Burke's commanding vocals and expressive delivery. Cut in the famed Muscle Shoals, Alabama, studios with session legends like Dan Penn and Spooner Oldham, capturing the vibrant Muscle Shoals sound.
His cover of Creedence Clearwater Revival's "Proud Mary" transforms the rock tune into a soulful, conscious declaration, notes Wikipedia. Includes standout performances on covers like Otis Redding's "These Arms of Mine" and classic standards like "That Lucky Old Sun," building from quiet intimacy to explosive gospel release, notes Sundazed Music.
Proud Mary is a quintessential Soul record, cementing Burke's status as the "Daddy of Soul" and a bridge between gospel and secular music. Co-produced by Burke and his manager/fiancée Tamiko Jones, it blends stripped-down moments with fully produced, choir-backed gospel arrangements.
The reissue of Proud Mary entitled The Bell Sessions adds bonus tracks, offering a comprehensive look at this rich period.
Queen Of Soul
Written-By – Ed Townsend, Etta James
3:40
A2 I Wish Someone Would Care
Written-By – Irma Thomas
2:35
A3 That Man Belongs Back Here With Me
Written-By – Angela Riela, Clint Ballard Jr.
2:23
A4 Somewhere Out There
Written-By – B.Davis, C.Smith, W. McKinley
2:43
A5 Breaking Point
Written-By – Maurice McAlister
2:26
B1 Flight 101
Written-By – Cathy Lynn, Robert Higginbotham
3:25
B2 Loving You More Every Day
Written-By – Ronny Mitchell
3:17
B3 Do Right
Written-By – Fred Johnson, Leroy Kirkland, Pearl Woods
1:57
B4 I Worry About You
Written-By – Norman Mapp
3:15
B5 Mello Fellow
Written-By – Ed Townsend
3:03
Label: Argo – LP-4040
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul
Etta James's 1964 Queen of Soul album is a powerful showcase of her dynamic vocal range and compelling soul, featuring gripping tracks like "Bobby Is His Name" and "I Worry About You," demonstrating her command over aggressive R&B and soulful ballads, though it's seen as a compilation of material from 1962-1964 that, despite its quality and potent claim to the "Queen" title, was somewhat overlooked upon release but remains essential for its raw emotion and versatility.
The album highlights James's exceptional voice, shifting between forceful "I'm the boss" delivery and tender, emotive ballads, proving her versatility. Tracks span from country-tinged numbers to jazzy standards and raw R&B, showcasing her ability to master different styles.
It's compiled from sessions recorded between late 1962 and late 1964, effectively capturing her sound during the burgeoning soul era.
While a powerful statement, especially for its time, it didn't achieve massive commercial success initially but is now recognized as a significant work in her catalog, especially in reissued versions with bonus tracks.
The title itself is seen as a confident claim to the throne, even as Aretha Franklin would soon claim it, with James providing ample evidence for her right to the title.
While modern reissues have garnered high praise—including a 4/5 star rating from AllMusic—the album was not a major commercial success upon its initial release. Critics often view it as a "mixed bag" that captures James between her early R&B roots and the powerhouse soul style she would later perfect at Fame Studios.
In essence, Queen of Soul is a vital, emotionally resonant collection that cemented Etta James's status as a soul music giant, even if it wasn't her most famous record at the time of its release.
Quiet Fire
Backing Vocals – Arif Mardin, Jim Bailey, Joel Dorn, Ronald Bright, Sammy Turner
Bass – Chuck Rainey
Congas – Ralph McDonald
Drums – Bernard Purdie
Guitar – Hugh McCracken
Organ – Richard Tee
Percussion – Grady Tate
Written-By – Joel Dorn, Jesse Jackson, Roberta Flack 5:20
A2 Bridge Over Troubled Water
Arranged By [String & Voice] – Eumir Deodato
Backing Vocals – Cissy Houston, The Newark Boys Chorus
Cello – George Ricci, Kermit Moore, Seymour Barab, Ted Hoyle
Written-By – Paul Simon 7:13
A3 Sunday And Sister Jones
Alto Saxophone, Flute – Joe Farrell
Arranged By [Horns] – William Eaton
Bass – Chuck Rainey
Bassoon – Wally Kane
Drums – Bernard Purdie
Guitar – Hugh McCracken
Harmonica – Buddy Lucas
Percussion – Ralph McDonald
Soprano Saxophone, Flute – Romeo Penqué
Tenor Saxophone – Seldon Powell
Written-By – Eugene McDaniels 4:48
A4 See You Then
Arranged By [String & Flute] – Arif Mardin
Bass – Chuck Rainey
Drums – Bernard Purdie
Flute – Hubert Laws, Joe Farrell, Billy Slapin
Guitar – Hugh McCracken
Harp – Corky Hale
Percussion – Ralph McDonald
Written-By – Jim Webb 3:40
B1 Will You Still Love Me Tomorrow
Arranged By [Strings] – William Eaton
Bass – Ron Carter
Written-By – Carole King & Gerry Goffin 3:59
B2 To Love Somebody
Backing Vocals – Eugene McDaniels, Hilda Harris, Joshie Armstead, Les McCann, Tasha Thomas
Bass – Chuck Rainey
Drums – Bernard Purdie
Guitar – Hugh McCracken
Organ – Richard Tee
Written-By – Maurice, Robin & Barry Gibb 6:41
B3 Let Them Talk
Acoustic Bass – Terry Plumeri
Drums – Grady Tate
Electric Bass – Chuck Rainey
Tenor Saxophone – Joe Farrell
Vibraphone – David Carey
Written-By – Sonny Thompson 3:50
B4 Sweet Bitter Love
Arranged By [Strings] – William Eaton
Written-By – Van McCoy 6:06
Label: Atlantic – SD 1594
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
Roberta Flack's Quiet Fire (1971) is a highly acclaimed soul album, praised for its "measured intensity," stunning vocal performances, gospel undertones, and seamless production, particularly highlighting her iconic cover of "Bridge Over Troubled Water" and other gems like "See You Then" and "Sweet Bitter Love". While some contemporary critics found it overly gentle, retrospective reviews and fans laud it as a masterful showcase of Flack's talent, balancing deep emotion with sophisticated musicianship.
The album leans heavily into gospel influences, providing uplifting and reflective moments.
Flack uses her voice to convey deep feeling through "sighing, elongated phrases" rather than full-throttle belting, creating a unique power.
The varied tracks blend smoothly, creating a cohesive listening experience, notes AllMusic.
Standout Tracks
"Bridge Over Troubled Water": A fan-favorite, this extended cover is often cited as a definitive, goosebump-inducing rendition.
"See You Then": A beautiful Jimmy Webb ballad showcasing Flack's pure vocal talent.
"Sweet Bitter Love": Described as pushing the album to another level.
"Will You Still Love Me Tomorrow": A recognizable and soulful take on the Carole King classic.
AllMusic calls it "one of Flack's best," while fans call it "stunning" and "a must for any fan of good music".
Quiet Fire is considered a classic of 70s soul, a testament to Roberta Flack's artistry, and a must-listen for lovers of quality vocal performances and emotional depth.
R.J.’s Latest Arrival
RJs Latest Arrival RJ s Latest Arrival R.J.s Latest Arrival
A1 Keep Dancin'
A2 Stay With Me
B1 Serenade
B2 War
B3 Fantasy
Label: Zoo York Recordz – 5W-38231
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Funk, Soul
Style: Funk, Disco, Boogie
R.J.'s Latest Arrival's 1982 self-titled album is a solid, lesser-known gem in the Boogie/Electro-Funk/Post-Disco scene, praised for its prominent vocals, tight grooves, and strong entry-level appeal, particularly tracks A1 and A2, making it a recommended find for fans of early 80s dance music. While not a massive mainstream hit, it's considered a strong regional favorite from Detroit, blending soulful R&B with nascent hip-hop/electro sounds popular in the club scene, notes this Discogs user and this eBay seller.
The group is known for bouncing between labels; while they had a different self-titled debut in 1979 on Ariola, this 1982 Zoo York release is the definitive marker of their independent Detroit era before moving to major labels like Atlantic.
A blend of Funk, Soul, Disco, Boogie, Electro, and Post-Disco, characteristic of the vibrant early 80s Detroit scene. Features prominent vocals, tight funk melodies, and strong danceable rhythms, with good breakdowns in key tracks.
A significant hit in the Detroit area, notably on WGPR radio, and considered almost hip-hop by some DJs in other regions. Key Tracks: Tracks A1 and A2 are highlighted as strong points, along with cuts like "Heaven in Your Arms".
In essence, it's a well-regarded record for genre enthusiasts, offering authentic 80s dance vibes with a distinct Detroit flavor. A sought-after gem from the heyday of the boogie sound, offering a great blend of accessible tracks and deeper cuts. A solid, affordable entry point into the Boogie genre, still reasonably priced as of early 2025.
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.
Rainbow Seeker
A1 Rainbow Seeker 6:23
A2 In All My Wildest Dreams 4:07
A3 There Are Many Stops Along The Way 5:52
A4 Melodies Of Love 5:36
B1 Fly With Wings Of Love 8:30
B2 As Long As It Lasts 4:05
B3 Islands In The Rain 4:50
B4 Together We'll Find A Way 6:37
Label: ABC Records – ABCL 5245
Format: Vinyl, LP, Album
Country: UK
Released: 1978
Genre: R&B Jazz, Funk
Style: Jazz Fusion, Instrumental
Joe Sample's Rainbow Seeker (1978) is a highly regarded jazz fusion album, praised for its sophisticated grooves, catchy melodies, and Sample's distinctive, fluid piano playing that blends funk, jazz, and Latin influences, effectively bridging his work with The Crusaders and his later solo career, standing as a strong, enjoyable classic in contemporary jazz. Reviewers highlight its irresistible rhythms, melodic hooks, and Sample's signature touch, calling it a benchmark in piano-driven fusion with no filler.
A blend of funky, energetic grooves and smooth, ballad-like sections, featuring electric and acoustic piano, synth, and tasteful guitar complemented by strong songwriting with deceptively fluid harmonies and memorable, catchy melodies.
Sample's playing is noted for its articulation, unique melodic sense, and "golden light touch," while Stix Hooper provides signature rhythmic support.
Considered a strong, enduring album that captures the essence of 70s jazz-funk and influenced many contemporary players. Often cited by fans as one of his best, alongside Carmel, offering "chilled and extremely satisfying" piano-strings fusion.
Overall, Rainbow Seeker is seen as a standout release, showcasing Joe Sample's versatility and talent as both a player and composer in the jazz fusion landscape, making it a highly recommended listen.
Raw Spitt
Written-By – Jackie DeShannon, Jimmy Holiday, Randy Myers 2:58
A2 Raw Spitt
Written-By – Jerry Williams Jr., Troy Davis 2:37
A3 Call Me Nigger
Written-By – Jerry Williams Jr. 2:41
A4 The Freedom Under Certain Konditions Marching Band
Written-By – Jerry Williams Jr., Troy Davis 2:54
A5 Midnight Rider
Written-By – Jerry Williams Jr., Troy Davis 2:33
B1 Who Do They Think They Are
Written-By – Jerry Williams Jr., Troy Davis 2:43
B2 I Dig Black Girls
Written-By – Jerry Williams Jr., Troy Davis 2:37
B3 This Old Town
Written-By – Don Corey, William Stevenson, Wilson Pickett 3:00
B4 Sweet Bird Of Success
Written-By – Jerry Williams Jr., Troy Davis 2:31
B5 Excuses
Written-By – Jerry Williams Jr., Troy Davis 2:40
Label: Canyon Records – LP-7710
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Southern Soul, Funk
The 1970 album Raw Spitt by Raw Spitt (the alias of Charlie Whitehead) is a highly regarded, sought-after, and influential Southern Soul and funk record, considered a "lost classic" by many fans and critics. It is praised for its powerful vocals, tight musicianship, and socially conscious lyrics produced by the eccentric genius Swamp Dogg.
Reviewers widely praise the album for its unique blend of Southern soul, funk, and biting social commentary.
The album is described by Amazon.de as highly sought after due to its "unconventional southern soul" sound. It delivers "swampy soul funk" with a distinct edge.
According to Penny Black Music, Whitehead delivers the lyrics with "feeling and power", showcasing just how "hugely talented a vocalist he is". PopMatters notes that while Whitehead's voice is a "strong voice", it is a little more conventional than Swamp Dogg's, which can make the political songs more accessible to a larger crowd.
The lyrics, largely penned by producer Swamp Dogg, tackle themes of racial injustice and societal ills of the time, such as in tracks like "Who Do They Think They Are" and "Call Me N****r". PopMatters describes the lyrics as both amusing and sobering, with an ironic approach to societal rules.
Recorded at Capricorn Studios in Macon, Georgia in 1970, the album features a "potent combination" of Whitehead's vocals and Swamp Dogg's arrangements, including a tight rhythm section and braying horns. Reviewers note that the remastered versions stand the test of time, transporting listeners back to the classic soul era of the early 70s.
The album is considered an important release because Whitehead never achieved the mainstream success his talent deserved, making the record a "hidden gem" of Southern soul music.
Overall, the album is a critical success among soul music connoisseurs, with high ratings on platforms like Discogs (an average of 4.6/5 stars). Reviewers universally recommend it to any fan of 70s soul music who is looking to discover a "lost" classic.
Raydio
Written-By – Ray Parker Jr.
6:16
A2 You Need This (To Satisfy That)
Written-By – Ray Parker Jr.
4:34
A3 Betcha You Can't Love Me Just Once
Written-By – Ray Parker Jr.
4:38
A4 Honey I'm Rich
Written-By – Ray Parker Jr., Thurlene Johnson
3:10
B1 Jack & Jill
Written-By – Ray Parker Jr.
4:33
B2 Me
Written-By – Ray Parker Jr.
4:58
B3 Let's Go All The Way
Written-By – Ray Parker Jr.
3:27
B4 Get Down
Written-By – Ray Parker Jr.
4:20
Label: Arista – AB 4163
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The 1978 self-titled debut album by Raydio, led by session guitarist Ray Parker Jr., is widely regarded as a significant funk and soul record that bridged the gap between the styles of Stevie Wonder and Prince.
Robert Christgau (The Village Voice) Gave the album an A-, praising it as a "flair"-filled collection of pop-soul at a time when such high-quality "black pop music" was becoming rare.
Modern critics highlight the album's "Detroit-minded sound" despite being recorded in L.A., noting its skilled use of synthesizers in place of traditional horns—an innovation that anticipated future R&B trends.
Listeners on platforms like Discogs consistently rate the album highly (averaging 4.1/5), frequently citing its "sophistifunk" production and smooth grooves.
Key Tracks and Highlights:-
"Jack and Jill": The album’s breakout hit (No. 8 on Billboard Hot 100), noted for its layers of Moog synthesizer and its "clever" use of nursery rhyme imagery to tell a story of relationship neglect.
"Is This a Love Thing": Cited by critics as one of the standout tracks that surpassed the lead single in quality.
"Honey I’m Rich" & "Get Down": "Honey I'm Rich" is praised for its Smokey Robinson-style wordplay, while "Get Down" is considered a top-tier instrumental funk groove.
"When You're In Need Of Love": Highlighted by fans for its rapid-fire, impressive bass play.
The album reached No. 8 on Billboard's R&B albums chart and was certified Gold in the U.S.. It established Ray Parker Jr. as a bandleader and hitmaker, laying the groundwork for his later solo success and iconic 80s hits.
In essence, the Raydio album was a well-crafted, commercially successful debut that delivered danceable, funky pop-soul, perfectly capturing the late '70s musical vibe.
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.
Real Eyes
Alto Saxophone – Stemsy Hunter
Music By, Lyrics By – Gil Scott-Heron
Trumpet – Harry Kim
Written-By – Gil Scott-Heron
4:46
A2 Not Needed
Words By, Music By – Gil Scott-Heron
Written-By – Gil Scott-Heron
3:55
A3 Waiting For The Axe To Fall
Music By, Lyrics By – Gil Scott-Heron
Written-By – Gil Scott-Heron
4:47
A4 Combinations
Arranged By [Horn Arrangements] – Carl Cornwell
Bass – Danny Bowens
Drums – Reggie Brisbane
Music By, Lyrics By – Gil Scott-Heron
Piano – Brian Jackson
Written-By – Gil Scott-Heron
3:37
B1 A Legend In His Own Mind
Alto Saxophone – Stemsy Hunter
Music By, Lyrics By – Gil Scott-Heron
Trumpet – Harry Kim
Written-By – Gil Scott-Heron
3:40
B2 You Could Be My Brother
Music By, Lyrics By – Gil Scott-Heron
Written-By – Gil Scott-Heron
6:21
B3 The Klan
Music By, Lyrics By – A Gray, D Gray
Written By – A & D Gray
4:48
B4 Your Daddy Loves You (For Gia Louise)
Music By, Lyrics By – Gil Scott-Heron
Written-By – Gil Scott-Heron
3:18
Label: Arista – AL 9540
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk
Released in 1980, Gil Scott-Heron’s Real Eyes is a politically charged R&B and soul-jazz album marking a transition in his career following Brian Jackson's departure. Featuring the Amnesia Express band, it blends sharp social commentary with soulful, sometimes slick production, highlighted by "Your Daddy Loves You" and "The Klan".
The album is noted for its R&B focus, with tight,horn-heavy arrangements. It is sometimes perceived as a step down in consistency from previous work, though it contains strong, poignant material. Co-produced with Malcolm Cecil, the sound is refined, with critical praise for Carl Cornwell's saxophone and flute work.
It is generally seen as a solid, if slightly uneven, effort in his extensive catalog, with some critics noting it feels more like a collection of songs rather than a cohesive concept.
The album addresses serious themes, including political commentary and personal reflection, featuring standout tracks like "Waiting For The Axe To Fall" and the deeply personal "Your Daddy Loves You (For Gia Louise)".
Real Eyes remains a testament to Scott-Heron's ability to blend urgent political messages with soulful melodies during a pivotal time in American history. Some critics viewed it as a slight "step down" in quality or "unfocused" compared to his early 70s masterpieces, others consider it his most complete and cohesive album due to the high standard of songwriting.
Despite being a high-quality release, it failed to produce a major hit, even as Scott-Heron promoted it as the opening act for Stevie Wonder’s Hotter Than July tour.
Reality
Written-By – F.Wesley, G. Wesley, J. Brown
4:14
A2 Funky President (People It's Bad)
Written-By – J. Brown
4:01
A3 Further On Up The Road
Written-By – Bill Mack
3:47
A4 Check Your Body
Written-By – F. Wesley, J. Brown
4:04
A5 Don't Fence Me In
Written-By – C. Porter
3:26
B1 All For One
Written-By – F. Wesley, J. Brown
6:09
B2 I'm Broken Hearted
Written-By – J. Brown
4:09
B3 The Twist
Written-By – H. Ballard
3:53
B4 Who Can I Turn To (When Nobody Needs Me)
Written-By – A. Newley, L. Bricusse
4:02
Label: Polydor – PD 6039
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul, Funk
Style: Seventies Soul, Funk
James Brown’s 1974 album Reality is a polished, socially conscious funk record that, while featuring strong tracks like the title song and "Funky President (People It's Bad)," represents a slight artistic plateau or dip in quality compared to his peak early-70s work. Critics noted a darker, more cynical tone reflecting the era's issues, with some uneven, over-produced, or slower-paced ballads.
"Reality" and "Funky President" are considered highlights, with the latter being a major funk success. The album features a more "super slick" and heavily orchestrated production compared to the raw, hard funk of the late 60s.
The lyrics are surprisingly introspective and socially aware, covering topics like unemployment and politics.
The production is described as slicker and more orchestrated than his raw late-60s work, featuring flute arrangements and polished funk grooves. While high-energy, it lacks the consistent brilliance of predecessors like The Payback.
While Rolling Stone listed it as the 46th best album of 1974, AllMusic noted it as a sign of Brown hitting an artistic impasse due to an intense schedule.
Reality is generally regarded as a solid, enjoyable record for fans, though not essential for new listeners compared to his earlier, more kinetic material.
Redd Hott
A2 You're The One 6:20
A3 Send Your Love 6:57
B1 Beat The Street 5:40
B2 In The Name Of Love
Written-By – R. Williams 6:30
B3 Takin' A Chance On Love
Written-By – G. Redd, R. Carson 5:02
B4 We're Friends Again 4:43
Label: Prelude Records PRL 25056
Format: Vinyl, LP, Album
Country: UK
Released: 1982
Genre: R&B Soul, Funk
Style: Disco, Soul
Sharon Redd's Redd Hott (1982) is a classic disco/boogie album, known for its energetic, electronic-infused dance tracks like the massive club hit "Never Give You Up," showcasing her powerful vocals over synthesizers and drum machines, solidifying her status on Prelude Records with catchy grooves that bridged classic disco with early house sounds. It's a must-have for early dance music fans, featuring other staples like "Beat the Street" and "Send Your Love," and remains a vibrant collection of soulful, funky tunes that defined 80s club culture.
The album features several of Redd's most enduring club hits:
"Never Give You Up": A major UK hit, peaking at number 20 on the singles chart.
"Beat the Street": Reached number 41 on the Hot R&B/Hip-Hop Songs chart and became an essential dancefloor staple.
"In the Name of Love": Another standout track often included in dance music compilations.
"Takin' A Chance On Love": Noted for being a softer, "lovely ballad" contrast to the upbeat tracks.
It's considered essential for early dance music fans, a perfect example of disco evolving in the early 80s. Redd's strong vocals and the stellar production make it a standout album from the era.
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.
Rejuvenation
A2 Love Is For Me 3:49
A3 Just Kissed My Baby 4:42
A4 What'cha Say 3:27
A5 Jungle Man 3:23
B1 Hey Pocky A-Way 4:01
B2 It Ain't No Use 11:48
B3 Loving You Is On My Mind 3:13
B4 Africa 3:56
Written by Art Neville, George Porter, Jr., Joseph Modeliste, Leo Nocentelli
Label: Reprise Records – MS 2200
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Bayou Funk, Soul
Rejuvenation, released in 1974 by New Orleans funk legends The Meters, is a landmark funk album known for its deep, infectious grooves, tight musicianship, and fusion of funk, R&B, and soul with Mardi Gras/swamp rock influences, produced by Allen Toussaint. It marks a peak in their career, featuring hit tracks like "Just Kissed My Baby," "People Say," and "Hey Pocky-A-Way," showcasing a richer, more vocal-focused sound while maintaining their signature rhythmic precision that heavily influenced future genres.
The album is defined by the powerful rhythm section of George Porter Jr. (bass) and Zigaboo Modeliste (drums) creating an irresistible "pocket".
Infused with local sounds, including gospel, jazz, and Mardi Gras Indian chants, especially heard in "Africa" and "Hey Pocky-A-Way".
This album expanded on their earlier work with more prominent vocals (Art Neville) and subtle horns, creating a fuller sound that blended raw funk with soul.
It is considered a masterpiece and one of the greatest funk albums ever, praised for its musicianship and timeless feel. Rejuvenation remains an essential listen for funk, soul, and R&B fans, cementing The Meters' legacy as masters of the groove.
Rendezvous
A2 Fire Fly 5:43
A3 If I'm Still Around Tomorrow 4:20
A4 Cool Breeze 4:43
B1 Here's To Love 4:37
B2 Maraval 4:30
B3 Love Me As I Am 4:57
B4 I'm Yours 4:44
Written by Ralph MacDonald (tracks: A1, A3, B1, B2), Sadao Watanabe (tracks: A4, B3, B4), William Eaton (tracks: A2), William Salter (tracks: A1, A3, B1, B2)
Label: WEA – 250 804-1
Format: Vinyl, LP, Album
Country: UK & Europe
Released: 1984
Genre: R&B Jazz
Style: Contemporary Jazz-Funk, Smooth Jazz
Sadao Watanabe's Rendezvous, released in 1984, is a smooth, crossover jazz album blending saxophone with R&B and pop, featuring top session musicians like Steve Gadd & Marcus Miller, and notable vocalists like Roberta Flack, offering a polished, commercially appealing sound with catchy, often nostalgic tunes ideal for easy listening or background music, showcasing Watanabe's accessible sax work.
Sadao Watanabe's saxophone leads, supported by prominent American session players on bass (Marcus Miller), drums (Steve Gadd), and keyboards (Richard Tee), with guest vocals from Roberta Flack on key tracks like "If I'm Still Around Tomorrow" and "Here's to Love".
Produced by Ralph MacDonald, it was recorded in New York in 1984, aiming for a broadly appealing, polished, high-fidelity, melodic sound, with a strong 80s feel, often described as having "80s sitcom theme vibes".
Rendezvous is celebrated as a fun, smooth, and highly listenable album, bridging traditional jazz with contemporary pop sensibilities for a wide audience, making it a popular choice for vinyl collectors seeking nostalgic, clean-sounding instrumental jazz.
Rich Love, Poor Love
A2 I'll Try Love Again 4:17
A3 Let's Make A Deal 5:09
A4 Station Break For Love 3:39
B1 Made From Love 5:46
B2 Love To The Rescue 3:26
B3 All Things Happen For A Reason 4:25
B4 Rich Love, Poor Love.....To Be Continued.....
Written by Don Daniels (tracks: A2), G.C. Cameron (tracks: A2), Michael L. Smith, Syreeta Wright (tracks: A2)
Label: Motown – M6-891S1
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco, Ballad
Rich Love, Poor Love by Syreeta & G.C. Cameron is generally considered a lost Motown gem, praised for showcasing two powerful, underrated voices with Syreeta's sweet tones complementing Cameron's gruffness, blending soulful ballads and disco, though it surprisingly flopped commercially despite initial trade buzz, with fans loving tracks like "I Wanna Be By Your Side" and the disco gem "Live for Love".
The album excels in its vocal interplay, a smart pairing by Motown for two artists who deserved bigger solo careers. It features a mix of lush, emotional ballads and up-tempo disco-infused tracks typical of late 70s Motown. Stevie Wonder was involved, co-writing several tracks and providing vocals, adding to its quality.
Many fans and reviewers call it a classic and a lost treasure, highlighting the strong chemistry and vocal talent.
Despite positive early attention from publications like Billboard, the album and its single "Let's Make A Deal" didn't find a wide audience, leading to Cameron's departure and Syreeta's later massive hit "With You I'm Born Again".
In essence, Rich Love, Poor Love is a critically appreciated album that fell through the cracks commercially but remains a highlight for soul fans, celebrating the beautiful voices of Syreeta Wright and G.C. Cameron.
Right Back Where We Started From
Written-By – Tim Moore 3:29
A2 Bless You
Written-By – John Lennon 4:30
A3 Right Back Where We Started From
Written-By – Edwards, Tubbs 3:11
A4 In Love We Grow
Written-By – D. Belfield 2:39
A5 Gotta Be The One
Written-By – Tubbs 2:50
A6 One Last Ride
Written-By – Tubbs 2:33
A7 Reasons
Written-By – C. Stepney, M. White, P. Bailey 4:23
B1 If I Ever Lose This Heaven
Written-By – Ware, Sawyer 3:59
B2 Love Enough
Written-By – Tim Moore 3:35
B3 You Got The Love
Written-By – C. Kahn, R. Parker Jr. 4:35
B4 Life Has Just Begun
Written-By – G. Nightingale 3:38
B5 Everytime I See A Butterfly
Written-By – Tiny Barge 3:37
B6 Goodbye Again
Written-By – Edwards, Tubbs 3:25
Label: United Artists Records – UA-LA626-G
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
Maxine Nightingale's Right Back Where We Started From album (1976) is best known for its iconic title track, a bouncy disco-soul hit, but contemporary reviews found the full album uneven, featuring engaging soul/pop alongside weaker ballads and uninspired disco, often seen as a quick cash-in on the hit single's success, though it captures that late-70s UK Northern Soul-influenced vibe.
The title track is a standout, described as catchy, upbeat, and a supreme disco classic that defined the album's spirit. Critics felt the rest of the album didn't match the single, containing "mild, unexciting ballads" and "listless disco forays".
The album reflects the UK's Northern Soul scene and Motown revival, blending soul, pop, and early disco with a distinct feel.
Track Highlights (Beyond the Title): "Gotta Be the One" was another single, reaching the Top 40, while tracks like "Reasons" were considered decent, contrasting with weaker cuts like "Life Has Just Begun".
Overall Sentiment: While the album birthed a timeless classic and captures a specific era of UK music, many contemporary critics viewed it as inconsistent, with its strengths concentrated in its hit singles rather than the overall cohesive album experience. It's a project where the parts (singles) were often greater than the whole.
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.
Robbery
Bass – Nathan East
Electronic Drums [Simmons Drums] – John Robinson
Guitar – Keith Alexander
Percussion – Paulinho Da Costa
Synthesizer – Eric O'Neal, Todd Cochran
Voice [Monologue] – Alicia Gladden, Anthony Allan Brockert
Written-By, Arranged By [Rhythm, Vocals, Synthesizer], Backing Vocals – Teena Marie 5:45
A2 Playboy
Backing Vocals – Carmen Twillie, Darryl Phinnessee, James Allen, Julia Waters - Tillman, Maxine Waters - Willard, Recco Philmore
Backing Vocals [Additional Backgrounds] – Car Johnson
Bass – Anthony Jackson
Drums – Steve Ferrone
Electric Piano [Rhodes] – John Bokowski, Jr.
Guitar – Paul Jackson Jr.
Synthesizer – Todd Cochran
Written-By, Arranged By [Rhythm, Vocals, Synthesizer] – Teena Marie 5:30
A3 Shadow Boxing
Acoustic Guitar – Greg Poree
Bass – Abraham Laboriel
Drums – Paul Hines
Percussion – Paulinho Da Costa
Soloist, Guitar – Paul Jackson Jr.
Soloist, Saxophone – Daniel LeMelle
Written-By, Arranged By [Rhythm, Vocals], Backing Vocals – Teena Marie 7:02
A4 Midnight Magnet
Arranged By [Rhythm, Vocals] – Teena Marie
Arranged By [Synthesizer] – Dwayne Wedlaw, Teena Marie
Backing Vocals – Carmen Twillie, Julia Waters - Tillman, Maxine Waters - Willard, Teena Marie
Bass – Nathan East
Electric Piano [Rhodes] – John Bokowski, Jr.
Electronic Drums [Simmons Drums] – John Robinson
Guitar – Keith Alexander, Marlo Henderson
Percussion – Paulinho Da Costa
Synthesizer – John Bokowski, Jr., Todd Cochran
Written-By – P. J., Teena Marie 5:32
B1 Fix It
Arranged By [Strings] – Paul Riser, Teena Marie
Arranged By [Synthesizer] – Eric O'Neal, Teena Marie
Backing Vocals – Darryl Phinnessee, James Allen, Julia Waters - Tillman, Maxine Waters - Willard, Recco Philmore, Teena Marie
Concertmaster – Harry Bluestone
Conductor [Strings] – Paul Riser
Drums – James Allen
Guitar – Charles Fearing, Keith Alexander
Synthesizer – Eric O'Neal, Teena Marie, Todd Cochran
Voice [Monologue] – P. J.
Written-By, Arranged By [Rhythm, Vocals] – Teena Marie 4:57
B2 Ask Your Momma
Arranged By [Strings] – Fred Mirza, Teena Marie
Backing Vocals – Teena Marie
Bass – Anthony Jackson
Concertmaster – Harry Bluestone
Conductor [Strings] – Paul Riser
Drums – Ricky Lawson
Electric Piano [Rhodes] – John Bokowski, Jr.
Guitar – Paul Jackson Jr.
Percussion – Paulinho Da Costa
Synthesizer – Patrice Rushen, Teena Marie, Todd Cochran
Voice [Monologue] – Mickey Boyce Hearn, Teena Marie
Written-By, Arranged By [Rhythm, Vocals, Synthesizer] – Teena Marie 5:34
B3 Dear Lover
Arranged By [Strings], Conductor [Strings] – Paul Riser
Backing Vocals – Carmen Twillie, Julia Waters - Tillman, Maxine Waters - Willard, Teena Marie
Bass – Anthony Jackson
Concertmaster – Harry Bluestone
Drums – Steve Ferrone
Piano [Acoustic] – John Bokowski, Jr.
Written-By, Arranged By [Rhythm, Vocals] – Teena Marie 5:19
B4 Stop The World
Arranged By [Rhythm] – Nathan Watts, Teena Marie
Arranged By [Strings], Conductor [Strings] – Paul Riser
Backing Vocals – Julia Waters - Tillman, Maxine Waters - Willard, Teena Marie
Bass – Nathan Watts
Concertmaster – Harry Bluestone
Drums – John Robinson
Electric Piano [Rhodes] – John Bokowski, Jr.
Guitar – Paul Jackson Jr.
Percussion – Paulinho Da Costa
Soloist, Saxophone – Daniel LeMelle
Steel Drums – Vincent Charles
Written-By, Arranged By [Vocals] – Teena Marie 4:14
B5 Cassanova Brown
Arranged By [Horns, Strings], Conductor [Strings] – Paul Riser
Concertmaster – Harry Bluestone
Double Bass [Upright Bass] – Stanley Clarke
Drums – Nick Ceroli
Guitar – Nick Brown (3)
Piano [Acoustic] – John Bokowski, Jr.
Written-By, Arranged By [Rhythm, Vocals] – Teena Marie 8:00
Label: Epic – FE 38882
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul
Style: Eighties Soul, Funk
Teena Marie's 1983 album Robbery is a critically acclaimed triumph, marking her bold shift from Motown to Epic Records with a sound that fused funky R&B, synth-funk, and pop, showcasing her incredible voice and songwriting, featuring standout tracks like "Fix It," "Casanova Brown," and "Midnight Magnet," and is considered a potent, diverse, and essential part of her legendary catalog. While not as commercially massive as her Motown hits, it's praised for its fearless energy, rich musicianship, and embodying her "Queen of Ivory Soul" magic at its peak.
Robbery moved towards a leaner, synth-heavy sound with new wave touches, yet stayed true to her funky roots, capturing a new artistic freedom after leaving Motown.
Teena's signature, free-spirited, and soulful vocals shine, even if her unconventional style sometimes struggled with slower, more traditional jazz attempts, making her perfect for high-energy grooves.
Highlights include the energetic "Fix It," the soulful "Dear Lover," the rock-infused "Robbery," the jazz-infused "Casanova Brown," and the catchy "Midnight Magnet".
A stellar lineup including Patrice Rushen, Stanley Clarke, and Steve Ferrone contributed, creating a rich soundscape with crisp rhythms and lush arrangements.
Seen as an "uncontested triumph," it's celebrated for its depth, variety (from slow jams to party funk), and showcasing Marie's immense talent and personality, solidifying her status as a unique R&B force.
Robbery is a dynamic, fun, and powerful album, full of passion and spirit, perfectly balancing hard-driving funk with heartfelt soul, making it a favorite for longtime fans and a must-listen for discovering her genius.
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)
Rock Me Tonight
Producer – Barry Eastmond
Written-By – B. Eastmond, K. Diamond
4:44
A2 Love Is Just A Touch Away
Producer – Barry Eastmond
Written-By – B. Eastmond, F. Jackson
5:15
A3 I Wanna Say I Love You
Producer – Barry Eastmond
Written-By – B. Eastmond, F. Jackson
4:38
A4 You Are My Lady
Producer, Written-By – Barry Eastmond
4:42
B1 Rock Me Tonight (For Old Times Sake)
Backing Vocals – Paul Laurence, Reggie King
Bass – Timmy Allen
Producer, Written-By, Drum Programming, Keyboards [& D X 7, Kurtzweil] – Paul Laurence
7:06
B2 Sing A Song Of Love
Producer, Written-By – Barry Eastmond
5:05
B3 Calling
Producer – Barry Eastmond
Written-By – B. Eastmond, K. Diamond
5:30
B4 Good Morning Heartache
Producer – Robert Aries
Soloist, Saxophone – Stanley Turrentine
Written-By – Fisher, Drake, Higginbotham
4:26
Label: Capitol Records – ST-12404
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B
Released in 1985, Freddie Jackson’s Rock Me Tonight is a definitive 1980s quiet storm masterpiece, featuring a platinum-selling blend of romantic, synth-heavy ballads and uptempo funk, highlighted by hits like the title track and "You Are My Lady". The album established Jackson as a premiere R&B balladeer, earning a Grammy nomination for Best New Artist.
The album captures the essence of mid-80s R&B, combining lush, sentimental balladry with, in some tracks, an aggressive, dance-oriented funk sound.
Rock Me Tonight was a massive success, spending 63 weeks on the U.S. R&B chart, with four top-10 hits, including the 6-week number-one title track.
Jackson is recognized for his smooth tenor, utilizing signature vibrato to deliver romantic, heartfelt performances.
Key Tracks:
"Rock Me Tonight (For Old Times Sake)": A slow, rhythmic ballad with nostalgic lyrics.
"You Are My Lady": A signature, highly romantic ballad.
"He'll Never Love You (Like I Do)": A high-energy, danceable track.
"Good Morning Heartache": A jazz standard cover showcasing his versatility, featuring a saxophone solo by Stanley Turrentine.
With backing from top industry talents, the album solidified Jackson as a 1980s heartthrob, competing directly with contemporaries like Luther Vandross.
The album is highly regarded by critics and fans, often cited for its "all killer, no filler" quality within the R&B genre.It remains his most celebrated work, with fans on Discogs giving it high average ratings (approx. 4.3 to 4.5 out of 5).
Rock Your Baby
A2 I Can't Leave You Alone (I Keep Holdin' On) 3:10
A3 You Got My Heart 2:35
A4 You Can Have It All 2:40
B1 Look At You 4:55
B2 Make It Right 2:57
B3 I Need Somebody Like You 3:34
B4 I Get Lifted 2:50
B5 Rock Your Baby (Reprise) 2:05
Written by – H. W. Casey - R. Finch
Label: T.K. Records – T.K. 501
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Disco
George McCrae's Rock Your Baby album, built around the iconic, gentle disco hit, is celebrated for its smooth, infectious Miami soul/funk grooves, pioneering use of drum machines, and McCrae's sweet falsetto, offering a dreamy, upbeat, and foundational sound for early disco that's both simple and sophisticated. Reviews praise its "hard seasoned Miami Funk Band grooving," catchy hooks, and how the low-tech production created a fresh, danceable vibe, making it a timeless gem despite its simple structure.
"Rock Your Baby" was a disco pioneer, using the Roland TR-77 drum machine to create a steady, accessible beat that "democratized the dance floor". The production, by KC & The Sunshine Band's Harry Wayne Casey and Richard Finch, features sleek arrangements and precise instrumentation, creating a soft, dreamy, yet funky atmosphere.
McCrae's soft, slightly fragile falsetto delivers playful, sweet vocals, even on suggestive lyrics, making the tracks feel intimate and club-friendly.
The album is noted for its authentic Miami funk sound, with seasoned musicians providing a solid groove without being overly heavy or bloated. It perfectly blends soulful vocals with the emerging electronic elements of disco, influencing artists and shaping the genre.
Many reviewers call it a classic for its uplifting, fresh sound, perfect for adding sunshine to any day. While some find the song structures simple or the vocals one-note, its beauty lies in its uncomplicated catchiness and "cheap DIY sophistication". The album's sound influenced many, from John Lennon to Yo La Tengo, solidifying its importance in music history.
In essence, Rock Your Baby is seen as a quintessential early disco album, a feel-good record with a distinctive smooth sound and a landmark title track that defined a moment in dance music.
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.
Rough Riders
Written-By – Stephen Shockley
4:45
A2 All In My Mind
Written-By – Otis Stokes, Stephen Shockley, Tiemeyer McCain
4:42
A3 If You Like Our Music (Get Up And Move)
Written-By – Otis Stokes, Stephen Shockley
4:33
A4 I Can't Get You Out Of My Head
Written-By – Norman Beavers
5:36
B1 Pull My Strings
Written-By – Fred Lewis
6:54
B2 I'll Never Leave You
Written-By – Bryan Evans, Tiemeyer McCain
6:15
B3 From 9:00 Until
Written-By – Otis Stokes
6:04
Label: Solar – BXL1-3490
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre:R&B Soul, Funk
Style: Seventies Soul, Disco
Lakeside's 1979 album Rough Riders is a funk/R&B record known for its cohesive Western theme, dynamic harmonies, and strong dance tracks like "Pull My Strings," solidifying the band's place in the late 70s funk scene with slick production and infectious energy, praised for its irresistible grooves and cinematic feel despite some critics finding the material a bit formulaic compared to later hits.
The album features a full-blown Western concept, reflected in its dynamic, cowboy-themed cover art by Drew Struzan, creating a cinematic experience.
It blends funk and R&B with strong vocal harmonies, pinpoint rhythms, and power funk chords, showcasing a versatile show band adept at various grooves.
Rough Riders helped establish Lakeside as a leading funk unit, building on their previous work and paving the way for their breakout hit "Fantastic Voyage". Notable songs include "Pull My Strings" and "If You Like Our Music (Get Up and Move)".
While fans loved its catchy tunes and danceable numbers, some critics found the material a bit uninspired, though still competent for the era.
In essence, Rough Riders is considered a classic funk record that delivered infectious, listen-friendly tracks and solidified Lakeside's reputation as a premier funk band, even if it wasn't their biggest commercial success.
Ruth Brown ’65
Written-By – Whiting, Clare 2:57
A2 Help A Good Girl Go Bad
Written-By – Brandt, Haimes 2:49
A3 He's A Real Gone Guy
Written-By – Lutcher 2:55
A4 Porgy
Written-By – Fields-McHugh 3:00
A5 What Am I Looking For
Written-By – Devens 2:29
A6 Here's That Rainy Day
Written-By – Burke-Van Heusen 2:47
B1 Hurry On Down
Written-By – Lutcher 2:39
B2 Table For Two
Written-By – Rankin, Batchelor 2:56
B3 What Do You Know (Que Sabes Tu)
Written-By – Salva, Vaughn 2:59
B4 Whispering Grass
Written-By – Doris Fisher, Fred Fisher 2:48
B5 Watch It
Written-By – Heyman 2:57
B6 I Know Why
Written-By – Warren, Gordon 2:52
Label: Mainstream Records – S6034
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul, Blues, Pop
Style: Rhythm & Blues, Soul, Rock & Roll
Ruth Brown '65 is an underrated, nicely produced mid-'60s album that sees the acclaimed R&B vocalist exploring a jazz vocal style with excellent performances throughout.
Reviewers on Amazon and other platforms generally praise the album as an "Excellent Mid 60's Vocal Outing".
Expert opinions highlight Brown's formidable voice, comparing her in presence and tone to Dinah Washington, and note her venture into jazz vocal outings on this record.
The sound quality of reissued versions, particularly from Japan and some vinyl reissues, is often noted as excellent and vibrant, bringing out individual instruments and percussion.
A pivotal album that demonstrated Brown's evolution beyond her 1950s R&B hits, proving her talent across genres and cementing her status as a versatile vocalist.
S.O.B.
A2 Lie Number Two 4:02
A3 He Didn't Leave Me A Name 2:53
A4 Little Girl 1:58
A5 Ho-Hum World 3:17
B1 Man's Worst Enemy 2:57
B2 Girl I'm Coming Home 3:10
B3 Falling In Love Too Hard 3:15
B4 The Soil I Tilled For You 3:20
B5 Garbage Man 3:57
Written by Bobby Miller
Label: Cadet – LPS-843
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Funk
The album S.O.B. by Shades Of Brown is a highly regarded, cult-favorite Chicago soul album from 1970, praised for its tight harmonies, excellent arrangements, and range of soul styles. It is considered a "lost nugget" of '70s soul and has been famously sampled by artists like A Tribe Called Quest.
Reviewers widely praise S.O.B. as a "stone classic" of its genre. It is noted for blending traditional crooning Chicago soul with harder-driving psychedelic soul and funk, drawing comparisons to the tightness and emotional depth of groups like The Dells and The Temptations.
The album's strength is attributed to the arrangements by the legendary Richard Evans and Charles Stepney, and production by Bobby Miller, which "tie the whole thing together beautifully".
The harmony vocals are described as "simply mindblowing" and rivaling the best vocal groups of the era.
All tracks are originals and considered "completely fresh," avoiding the typical filler found on some albums.
According to Thom Jurek of AllMusic, the album masterfully incorporates strings, a prominent horn section, and low-end strings, creating a high-class, uptown soul sound.
The album features ten tracks, all written by Bobby Miller. The single "The Soil I Tilled For You" is particularly famous for its breakbeat, which has been repeatedly sampled over the years.
Key Tracks and Highlights:-
"The Soil I Tilled For You": Features a prominent breakbeat that has made it a favorite in the sampling circuit.
"Little Girl": Noted for elegant vocal harmonies, dramatic tom-toms, and a rich string arrangement.
"He Didn't Leave Me a Name": Highlights the group's ability to handle a furious tempo and socially conscious lyrics.
"Man's Worst Enemy": Praised as "high-class uptown soul at its best," featuring a big horn section and a clear, rolling bassline.
in summary, S.O.B. is an essential album for fans of 1970s Chicago and psychedelic soul. Its blend of tight musicianship, brilliant arrangements, and powerful vocals makes it a highly-rated and sought-after record in the rare groove community. The album holds an average user rating of around 4.02 out of 5 on platforms like Discogs.
Sad Sweet Dreamer
Written-By – D.E.S. Parton
4:33
A2 Eyes In The Back Of My Head
Written-By – Trent, Hatch
3:15
A3 Emptiness Filled With Love
Written-By – D.E.S. Parton
3:45
A4 That Same Old Feeling
Written-By – Trent, Hatch
3:29
A5 Sad Sweet Dreamer
Written-By – D.E.S. Parton
3:24
B1 Yes Miss, No Miss
Written-By – King, Shaughnesy
2:48
B2 Fancy Woman
Written-By – D.E.S. Parton
6:50
B3 Please Excuse Me
Written-By – Ron Kersey Smith
2:54
B4 Snow Fire
Written-By – D.E.S. Parton
3:26
B5 Purely By Coincidence
Written-By – D.E.S. Parton
2:54
Label: Pye Records – PYE 12110
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Pop
Style: Seventies Soul
Sweet Sensation’s 1974-1975 self-titled album, riding on the success of the UK No. 1 title track "Sad Sweet Dreamer," is a quintessential Philly-soul-influenced pop record featuring Marcel King’s distinctive falsetto.
While producing a top-tier soul ballad, the album and subsequent singles struggled to replicate that success in the UK, often regarded as pleasant but lacking lasting impact.
The album is characterized by "pillow" Philly-style orchestration, smooth vocals, and a polished, sometimes glossy, production sound. It aimed for a romantic, soulful vibe, with lead singer Marcel King providing a "butter-smooth" falsetto.
Key Tracks:- "Sad Sweet Dreamer": A UK No. 1 and US Top 20 hit that established their sound; "Purely by Coincidence": Followed the hit with a No. 11 spot in the UK; "Mr Cool" & "Mail Train": Further singles released in 1975–1976 that failed to match the debut's success.
The title track is noted for its high-quality, romantic, and "airy" feel, heavily influenced by The Stylistics. Some retrospective reviews suggest the production was overly polished, bordering on monotonous or "samey," which caused the album to make a limited lasting impression.
Despite being a "great lost hit" for the era in some circles, the album did not sustain the group’s popularity. While the single was a smash, the album had limited success, reaching only 163 in America, and the group disbanded by 1978.
The album is best remembered for its lead single—a shining example of 1970s British-soul-pop—rather than the depth of the overall album, which often failed to reach the same heights.
The album is noted for being the first UK #1 by a predominantly Black British group, though it struggled to find a major audience in America, peaking at #163 on the US Billboard charts.
Sands Of Time
The SOS Band
A1 Even When You Sleep 4:08
A2 Sands Of Time 4:28
A3 Borrowed Love 5:26
A4 Nothing But The Best 4:48
B1 The Finest
Guest Vocals – Alexander O'Neal, Cherrelle 6:09
B2 No Lies 4:58
B3 Two Time Lover
Written-By – J. Bryant, Jr., J. Thomas, Lloyd Oby 4:30
B4 Do You Still Want To?
Written-By – J. Bryant, Jr., J. Thomas, R. Bryant 4:57
B5 Sands Of Time (Reprise) 0:28
Written by T. Lewis-J. Harris III (tracks: A1 to B2, B5)
Label: Tabu Records – FZ 40279
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Soul, Funk
Style: Eighties Soul, Contemporary R&B
Released on April 9, 1986, Sands of Time is widely regarded as one of The S.O.S. Band's most polished and sophisticated works. Produced primarily by Jimmy Jam and Terry Lewis, it serves as the final studio effort to feature the group's original lead vocalist, Mary Davis, before her temporary departure.
Retrospective reviews from 2025 and 2026 continue to highlight the album as a high-water mark for mid-80s R&B:-
Production Excellence: Critics praise the "Flyte Tyme" production for its thick, lush, and "nocturnal" hues, blending synth-funk with sophisticated electro-soul. It is often compared to Janet Jackson’s Control (released the same year), but noted for having a "moodier" and "richer" sound.
Vocal Performance: Mary Davis’s "husky" and "magnetic" vocals are cited as the album's emotional core, particularly on tracks like "Even When You Sleep" and "The Finest".
Consistency: Unlike previous efforts that were sometimes criticized for having "filler" B-sides, Sands of Time is lauded for its focused consistency, with some fans calling it their "most complete" album.
Key Tracks:-
"The Finest": The album's centerpiece, featuring guest appearances by Alexander O'Neal and Cherrelle. It reached #2 on the Billboard R&B charts and remains an anthem of 80s synth-funk.
"Borrowed Love": A hard-hitting, funky single that performed well in both the US and UK.
"Even When You Sleep": A mellow, mesmeric opener that sets a sophisticated tone for the record.
"No Lies": A propulsive dance track that reached #2 on the Hot Dance Club Play chart.
"Sands of Time": A sublime duet ballad between Mary Davis and Abdul Ra'oof.
The album achieved RIAA Gold certification and peaked at #4 on the Billboard Top R&B/Hip-Hop Albums chart. While it represented a slight commercial step back from their earlier platinum peaks, it is celebrated as the band "quitting at their absolute peak" creatively.
In summary, Sands of Time is widely regarded as a pinnacle of 80s R&B, synth-funk, and dance music, celebrated for its tight musicianship, sophisticated production, and timeless appeal.
Save The Children
Arranged By – Lenny Pakula
Written-By – Gil Scott-Heron
6:58
A2 Mother And Child Reunion
Arranged By – Lenny Pakula
Written-By – Paul Simon
4:04
A3 I Wanna Know Your Name
Arranged By – Norman Harris
Written-By – K. Gamble, L. Huff
5:49
A4 To Be Happy Is The Real
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
3:28
B1 I'll Always Love My Mama
Arranged By – Bobby Martin
Written-By – G. McFadden, J. Whitehead, K. Gamble, L. Huff
6:36
B2 Memories Are Here To Stay
Arranged By – Bobby Martin
Written-By – P. Terry, T. Conway, T. Life
3:15
B3 Teardrops
Arranged By – Bobby Martin
Written-By – B. Goldner, C. Calhoun, E. Charles, H. Stanley
5:07
B4 Hang On In There
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
3:21
Label: Philadelphia International Records – ZX 31991
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Philly
The Intruders' Save The Children (1973) is widely hailed as a Philly Soul masterpiece, blending poignant social commentary with lush, signature Gamble & Huff production, featuring Little Sonny Brown's amazing falsetto, MFSB's tight musicianship, and standout tracks like the iconic "I'll Always Love My Mama," making it a classic of smooth, danceable soul music that foreshadowed disco.
It's considered a near-perfect example of the mid-70s Philadelphia International sound, with rich orchestration and solid rhythms. Little Sonny Brown's lead vocals and the group's smooth background harmonies are consistently praised.
Iconic Songs: "I'll Always Love My Mama" is a standout, noted for being both heartwarming and a rousing funk tune. Other favorites include "Memories Are Here to Stay" and "To Be Happy Is the Real Thing". The title track, a cover of Gil Scott-Heron's song, offers powerful social consciousness, enhanced by the Philly production.
The album showcases the MFSB Orchestra's excellent musicianship, providing lush backdrops for the soul. The energetic guitar and horn work on tracks like "Mama" are seen as early indicators of the coming disco sound.
Critics and fans view Save The Children as one of The Intruders' best albums, a consistently satisfying listen, and an essential record for fans of 70s soul, marked by its emotional depth, danceability, and impeccable production quality.
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.
David Fathead Newman
Searching for My Love
A2 Mr. Starlight 2:00
A3 Follow Me 2:57
A4 The Hamburger Song 2:00
A5 Hey, Mr D.J. 2:53
A6 When I Get This Feeling 2:06
B1 We've Got That 2:25
B2 How Can You Do It, Baby 2:44
B3 Alone 5:05
B4 Jenny, Jenny 1:50
B5 I Will Never Trust Love Again 2:45
B6 Come Back Baby 2:25
Written by Robert Moore
Label: Checker – LP 3000
Format: Vinyl, LP, Album
Country: Canada
Released: 1966
Genre: R&B Soul, Pop
Style: Sixties Soul, Rhythm & Blues
Bobby Moore & The Rhythm Aces' "Searching For My Love" album (debuting with the hit single) is a classic mid-tempo soul record known for its New Orleans flavor, prominent organ, swaying horns, and passionate vocals by Chico Jenkins, delivering heartfelt pleas for a lost love, making it a significant early soul gem from the Muscle Shoals era with tracks like the iconic title song that crossed over to pop charts.
Features a distinctive blend of Soul and R&B with strong Southern Soul/Muscle Shoals elements, characterized by insistent organ, brass, and a solid rhythm section.
While Bobby Moore led, the distinctive, persuasive vocals often attributed to the group were actually by singer Chico Jenkins, giving the record its unique sound, though many assumed Moore sang.
The title track was a major hit, reaching #7 on the R&B charts and #27 on the Billboard Hot 100 in 1966, establishing the group. The music conveys deep passion and longing, perfectly matching the lyrical themes of searching for a returned lover. Considered a "splendid" and essential soul gem, it's praised for its raw emotion and catchy, danceable groove.
The album is celebrated as an unearthed classic, showcasing pure, heartfelt soul music from a pivotal period in Southern Soul, with the title track remaining a beloved staple for soul fans.
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.
Secrets
Horns – Con Funk Shun, S. Scarborough
Keyboards [Additional] – Skip Scarborough
Strings – David Crawford
Written-By, Arranged By – F. Pilate
3:24
A2 Who Has The Time
Keyboards [Additional] – Skip Scarborough
Strings, Horns – S. Scarborough
Written-By – J. Simpson
Written-By, Arranged By – F. Pilate
4:42
A3 Indian Summer Love (Interlude)
Arranged By – Con Funk Shun
Synthesizer – F. Pilate
Written-By, Arranged By – C. Martin
Written-By, Arranged By, Synthesizer – S. Scarborough
0:40
A4 Tears In My Eyes
Keyboards [Additional] – Skip Scarborough
Strings – David Crawford
Written-By, Arranged By – F. Pilate
4:01
A5 Ffun
Written-By, Arranged By, Horns – M. Cooper
4:08
B1 Secrets
Written-By, Arranged By – F. Pilate, S. Scarborough
4:15
B2 ConFunkShunizeYa
Horns – Con Funk Shun
Written-By, Arranged By – M. Cooper
4:24
B3 I'll Set You Out O.K.
Alto Saxophone, Soloist – Paul Harrell
Keyboards [Additional] – Skip Scarborough
Synthesizer – F. Pilate, S. Scarborough
Written-By, Arranged By – M. Cooper
4:10
B4 Indian Summer Love (Instrumental)
Arranged By – Con Funk Shun
Synthesizer – F. Pilate
Written-By, Arranged By – C. Martin
Written-By, Arranged By, Synthesizer – S. Scarborough
4:52
Label: Mercury – SRM-1-1180
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Con Funk Shun's Secrets (1977) is a pivotal R&B/funk album that propelled the band to stardom with its blend of smooth melodies and infectious grooves, featuring the massive #1 R&B hit "Ffun" and the popular "ConFunkShunizeYa," showcasing the group's tight musicianship, vibrant horns, and signature sound bridging classic funk with dance-funk, cementing its status as a genre classic.
The album launched the group into the mainstream with the universally acclaimed "Ffun," a chart-topper, and the catchy horn-driven "ConFunkShunizeYa".
Secrets is praised for its melodic, singable tracks, representing a crucial transition from 70s "united funk" to the later "dance funk" era, with its interplay of rhythms, synths, and horns.
Beyond the hits, the album offers diverse tracks, including soulful ballads like "Tears in My Eyes" and socially conscious numbers such as "Who Has the Time," demonstrating the band's depth.
Produced by the band with assistance from legendary soul producer Skip Scarborough, giving it a polished yet authentic feel, Secrets earned gold status and became a beloved album, recognized for its vibrant spirit and importance in late 70s funk.
In essence, Secrets is a gold-certified, quintessential album that captured the essence of late 70s funk and soul, making Con Funk Shun a household name.
Seeekret
Guitar – Richard Lee
Synthesizer [Mini Moog Bass, D X - 7, O B X Expander] – Norman Durham
Written-By – W. Cunningham 6:14
A2 You Got Me Rockin'
Lead Vocals, Synthesizer [O B 8, O B 8 Bass, D X 7] – Norman Durham
Soloist, Tenor Saxophone – Bob Malach
Written-By – N. Durham, P. Crutchfield 5:13
A3 Lay Ya Down Ez
Backing Vocals – Woody Cunningham
Soloist, Flute – E. Deodato
Synthesizer [D X 7, D S H] – E. Deodato
Synthesizer [Emulator 11] – Bob "Wall" Ross
Synthesizer [O B 8, O B 8 Bass, D X 7] – Norman Durham
Written-By – N. Durham, W. Cunningham 5:07
B1 Seeekret
Guitar – Richard Lee
Synthesizer [O B 8, Emulator 11] – E. Deodato
Synthesizer [O B 8, O B 8 Bass, D X 7, Emulator 11] – Norman Durham
Written-By – N. Durham, W. Cunningham 6:07
B2 Do Not Lie To Me
Lead Vocals, Synthesizer [O B 8, Mini Moog Bass, D X 7] – Norman Durham
Soloist, Guitar – Richard Lee
Written-By – W. Cunningham 4:57
B3 Never Cry Again
Bass, Synthesizer [O B 8, O B 8 Expander, D X 7] – Norman Durham
Synthesizer [Emulator 11] – E. Deodato
Written-By – N. Durham, W. Cunningham 4:49
B4 Call My Name
Guitar – Richard Lee
Synthesizer [O B 8, O B 8 Bass, D X 7] – Norman Durham
Written-By – R. Lee, W. Cunningham 4:23
Label: Atlantic – 81254-1
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul, Funk
Style: Boogie, Funk, Soul
Seeekret is the seventh and final studio album by the New York City-based R&B/funk band Kleeer, released in 1985 on Atlantic Records a smooth, synth-heavy funk/soul record produced with Eumir Deodato, showcasing tight grooves, rich harmonies, and killer basslines on tracks like the title track and "Take Your Heart Away," balancing their signature sound with 80s electronic textures, making it a standout in their catalog despite mixed reception at the time.
A blend of classic Kleeer funk with prominent 80s synthesizers, drum machines (LinnDrum), and sparkling keyboard sounds, all layered over deep bass and tight vocals.
Co-produced by legendary Eumir Deodato (known for Kool & the Gang), adding a polished, jazzy finish and balancing the electronic elements with soulful depth.
Standout Tracks: "Take Your Heart Away" (with its irresistible hook), the bass-heavy "Seeekret," the funky "You Got Me Rockin'," and the slow groove "Lay Ya Down EZ".
While not a huge chart success in the US, it's considered a fan favorite, representing a high point in their sound and a fitting, funky legacy after the band's conclusion.
Think warm, soulful grooves with a distinct early-to-mid-80s electronic funk feel, featuring complex arrangements, sweet harmonies, and dancefloor-ready tracks that highlight the band's musicianship.
Send Your Love
Written-By – J. Ivory, P. Fields, S. Young
5:55
A2 Send Your Love
Written-By – J. Ivory, P. Fields, S. Young
4:35
A3 Kingston Lady
Written-By – J. Ivory
4:31
A4 Forever
Written-By – J. Ivory, S. Young
4:58
B1 Are You Single
Written-By – J. Ivory, P. Fields, S. Young
6:30
B2 Keep Doin' It
Written-By – J. Ivory, P. Fields, S. Young
4:57
B3 Living Too Fast
Written-By – P. Fields, S. Young
4:55
B4 Party Time
Written-By – P. Fields, S. Young
3:44
Label: Salsoul Records – SA 8538
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
Aurra's 1981 album Send Your Love is widely regarded as a classic of the early '80s funk and R&B era, earning an average rating of 4.4/5 across Discogs and Amazon reviews.
Fans of the band Slave will recognize the heavy basslines and "fine wine groove" characteristic of the Dayton funk scene.
The most praised songs include the party anthem "Send Your Love," the hit "Are You Single," and the heavy-bass favorite "Nasty Disposition".
Reviewers highlight the album's strong funk rhythms, melodic vocal harmonies, and sophisticated bass guitar work that "got the parties jumping back in the day".
Unlike many single-heavy albums of the era, listeners often note that this record can be played "straight through" without skips.
While most reviews are glowing, some "old school" junkies note that while the title track and "Are You Single" are undisputed bangers, a few middle tracks may feel more like "likable" filler compared to their strongest hits.
The album is often cited as the group's best LP, showcasing a more mature sound than their debut.
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, her second album from 1969, is a Chicago soul classic on the Brunswick label, known for hits like "Am I the Same Girl" and "Just Ain't No Love," showcasing her unique voice and songwriting, often paired with Eugene Record, in a collection of heartfelt, swinging soul tracks reissued by Demon Records.
Produced by Carl Davis and Eugene Record, with direction by Willie Henderson, it features the iconic track "Am I The Same Girl," a "loping soul groover" whose backing track famously became the instrumental hit "Soulful Strut" by Young-Holt Unlimited after Acklin's vocals were removed.
This album established Acklin as a major talent beyond her work as a songwriter for others, blending catchy melodies with deep soul feeling. Remains a beloved album in soul music circles, frequently reissued on vinyl for modern fans. Features plenty of soul, emotion, and often incorporates saxophone and lush arrangements typical of Brunswick Records in that era, with contributions from writers like Eugene Record.
Critics highlight the album as a perfect demonstration of Acklin's unique talent, balancing her "cute charm" as a singer with her sophisticated abilities as a songwriter. It remains a favorite for "rare-groove" collectors. Reissues, including high-quality 180-gram vinyl editions, are available for audiophiles through labels like Demon Records.
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).
Shades of Blue
Written-By – D. Moore
3:30
A2 Cottage For Sale
Written-By – L. Conley, W. Robinson
4:00
A3 Be Anything (But Be Mine)
Written-By – I. Gordon
3:45
A4 You've Lost That Lovin' Feelin'
Written-By – B. Mann, C. Weil, P. Spector
5:19
B1 I Go Crazy
Written-By – P. Davis
3:45
B2 Think
Written-By – A. Franklin, T. White
3:30
B3 Hoochie Coochie Man
Written-By – W. Dixon
7:50
B4 Baby What You Want Me To Do
Written-By – J. Reed
3:34
Label: Philadelphia International Records – JZ 36774
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul
Style: Eighties Soul
Lou Rawls’s Shades of Blue (1980) is often celebrated as a smooth, sophisticated fusion of classic soul, jazz-inflected phrasing, and breezy R&B. Released during his tenure with Philadelphia International Records, the album captures Rawls in a mature, elegant state, utilizing his signature baritone to navigate both laid-back grooves and lush orchestrations.
Reviewers describe the album as "effortlessly elegant" and compare its vibe to a "velvet conversation" at a smoky supper club. It leans more toward blues and jazz-influenced arrangements than his standard high-energy Philly Soul tracks.
A young Whitney Houston (then 16 or 17) provides background vocals on the record, with her mother, Cissy Houston, receiving special thanks in the album credits.
The album maintains a solid reputation among collectors, typically holding an average rating of 4.0/5 to 4.6/5 across major music databases like Discogs.
While some fans of pure Philadelphia Soul might find it less "poppy" than hits like "You'll Never Find Another Love Like Mine," others praise it as one of the best examples of Atlantic-style jazz/soul/blues fusion.
For those looking to explore this era of his career, Shades of Blue is frequently paired with the album Family Reunion in modern CD reissues. You can find various editions and vinyl copies through Amazon or Discogs.
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 A Hand
Written-By – Morris
A2 That's All Right
Written-By – Dixon, Banks
A3 It Can't Be Wrong
Written-By – Gannon, Steiner
A4 Look Around
Written-By – Jay, Orbrecht
A5 If You Love Me
Written-By – Pilgrim, Adams
A6 It Hurts Me To My Heart
Written-By – Singleton, McCoy
B1 I'll Be True To You
Written-By – McLemore
B2 It Made Me Cry
Written-By – Covay, Berry
B3 I Waited So Long
Written-By – Livingston & Evans
B4 I'm So Happy
Written-By – Adams
B5 Somebody, Somewhere
Written-By – Roberts, McCoy
B6 I Don't Want Your Love
Written-By – Pilgrim, Adams
Label: Warwick – W 2031
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B Soul, Pop
Style: Rhythm & Blues
Faye Adams’ Shake A Hand (Warwick W2031) is a 1961 compilation that captures the "little gal with the big voice" during her peak years. It serves as a definitive look at her transition from gospel to secular R&B, a sound that influenced icons like Elvis Presley and Little Richard.
The Title Track: "Shake a Hand" is the undisputed centerpiece. Originally released as a single in 1953, it topped the R&B charts for 9–10 weeks. It is widely regarded as one of the first recorded examples of soul music, blending a secular vow of devotion with a "scorching" gospel-inspired vocal delivery.
Critics praise Adams for her powerful, "towering" vocals that remain deeply rooted in her upbringing as a gospel singer in New Jersey.
The album features a mix of slow-to-midtempo R&B ballads and jump blues, characterized by attractive melodies and prominent piano work.
The release maintains high marks among collectors, often earning between 4/5 and 5/5 stars on enthusiast platforms like Discogs.
Original pressings of the Warwick W2031 mono LP are highly sought after by Northern Soul and R&B collectors, with rare copies selling for over $230 in auction.
While Adams was seen as an artist whose peak had passed by the late 1950s, this 1961 release preserved her status as a pioneer who bridged the gap between religious and popular music.
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.
Shango
2 Prisoner Of Law 5:41
3 Mr Lonely Wolf 6:55
4 Freedom Dance 4:14
5 Go Go's Feast 7:46
6 Mystery Tour 6:17
7 Now I'm A Man 3:37
8 Watusi 4:46
Label: Afro Strut – STRUTACD 006
Format: CD, Album
Country: UK
Released: 2002
Recorded at Camden Town Studio, London 1974.
Genre: R&B Jazz, Funk, Soul
Style: Afrobeat, African, Funk
Peter King's Shango (originally 1974) is a landmark Nigerian Afro-funk/jazz album, praised as a "lost classic" for its electrifying blend of hard African rhythms, funky grooves, potent political messages, and stunning horn/flute work, offering deep, raw energy rivaling Fela Kuti at the time, with memorable tracks like "Mr Lonely Wolf" and "Watusi" showcasing psychedelic keyboards and intense sax. Reissued by Mr Bongo, it's celebrated for its powerful, danceable sound, combining global influences with Nigerian soul and a unique, joyful swing.
A compelling mix of Afrobeat, Funk (James Brown-esque), Jazz, and highlife, creating a unique "sweet Afro casserole" sound. Features deep grooves, soulful saxophone solos, vibrant horn arrangements, psychedelic keyboard work (like Chick Corea influences), and lush flute melodies.
The album carries strong political messages, calls for freedom in Africa, and channels the energy of the Yoruba deity Shango (thunder, fire). Considered a classic of its era, showcasing King's talent as a multi-instrumentalist (sax, flute) and bandleader.
It remained unreleased for decades before being released on CD in 2002 and re-released in 2013, bringing it to a wider audience.
Track Highlights: "Mr Lonely Wolf": Features intricate guitar licks, haunting sax, soulful flute, and a driving beat; "Watusi": Known for its psychedelic keyboard work; "Shango": The epic, high-energy title track.
Reviewers describe it as "hard hitting," "riveting," and a "boiling pot of hip-shaking sexiness and rage," making it an essential listen for fans of African funk and jazz
Sharing
Written-By – P. Smith
5:02
A2 Newsroom
Written-By – G. Levias, P. Smith, T. Tillman
2:46
A3 Back Here Again
Written-By – P. Smith
3:53
A4 Laughter In The Rain
Written-By – N. Sedaka, P. Cody
3:13
B1 Kiss Away
Written-By – R. Lucas/Mtume
4:57
B2 Last Night
Written-By – B. Thornton, F. Boone, H. Oden
4:54
B3 Pretty Girls
Written-By – J. Newman, P. Smith
3:33
B4 Snake Woman
Written-By – H. Eaves
4:02
Label: Buddah Records – BDS 5690
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Vitamin E is a soul/funk vocal group whose 1977 debut album, Sharing, is widely regarded by collectors as a "rare groove" gem. Released on Buddah Records and produced by Norman Connors, the album is noted for its smooth soul harmonies and high production value.
The album holds a high reputation among enthusiasts, with an average rating of 4.49/5 on Discogs and 5/5 on Amazon UK. It is categorized as Smooth Soul and Funk. Listeners often highlight its "Eightiestastic" feel (despite its late 70s release) and catchy, dreamlike basslines.
Produced by Norman Connors, known for his jazz-fusion and sophisticated R&B arrangements, which gives the album a polished, professional sound often compared to the work of groups like Pleasure or LeRoy Hutson.
Highly sought after by collectors, it has received strong praise, including a 5/5 star rating on Amazon UK and high ratings on Discogs (approx. 4.5/5). The album is noted for its quality soul sound. Original 1977 pressings are considered rare, with median prices around $33.39, though high-quality copies can exceed $64.
Sharon
Arranged By, Barrel Organ, Lead Guitar – Geoffrey Chung
Arranged By, Electric Piano – Robert Bailey
Cowbell – Allan Sharp
Guitar – Winston Deleandro
Harmonica – Del Richardson
Written-By – G Chung, M Cooper, S Forrester
A2 Holly
Acoustic Guitar, Electric Piano, Vocals – Geoffrey Chung
Arranged By – Robert Bailey
Congas – Allan Sharp
Guitar – Winston Deleandro
Written-By – Wm Robinson
A3 Put A Little Love Away
Arranged By – Robert Bailey
Arranged By, Electric Piano, Glockenspiel, Lead Guitar, Organ, Percussion, Rhythm Guitar, Vocals – Geoffrey Chung
Percussion – Allan Sharp
Written By – B Potter, D Lambert
A4 Funny
Arranged By, Electric Piano, Synthesizer [Moog] – Robert Bailey
Arranged By, Organ – Geoffrey Chung
Congas, Tambourine – Allan Sharp
Electric Guitar – Winston Deleandro
Written-By – John Coleman
A5 Clothe My Lonely Body
Arranged By, Organ – Robert Bailey
Electric Piano, Piano [Acoustic] – Mike Moran
Mandolin [Acoustic] – Graham Preskett
Organ [Bass] – Geoffrey Chung
Written-By – Sharon Forrester
B1 Words With No Meaning
Arranged By – Robert Bailey
Congas – Allan Sharp
Electric Piano – Geoffrey Chung
Guitar – Winston Deleandro
Written-By – G Chung, R Cunningham
B2 Don't Let Me Be Lonely Tonight
Arranged By, Backing Vocals, Lead Guitar, Organ, Rhythm Guitar – Geoffrey Chung
Arranged By, Electric Piano – Robert Bailey
Written-By – James Taylor
B3 This Masquerade
Arranged By, Electric Piano, Synthesizer [Moog] – Robert Bailey
Lead Guitar, Organ, Vocals – Geoffrey Chung
Tambourine – Allan Sharp
Written-By – Leon Russell
B4 Silly, Wasn't I?
Arranged By, Flute, Trumpet – Clive Hunt
Arranged By, Rhythm Guitar, Vocals – Geoffrey Chung
Bass – Val Douglas
Drums – Michael Richards
Lead Guitar – Michael Chung
Organ – Earl "Wire" Lindo
Piano [Acoustic] – Robert Lyn
Tenor Saxophone – Fitzbert Martin, Glen Da Costa
Trombone – Jerome Francisque
Trumpet – "Spinners" Graham, David Madden, Elnathan Brackenridge
Written-By – Valerie Simpson, Nick Ashford, Joshie Armstead
Label: Ashanti – SHAN 105
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Reggae
Style: Lovers Rock
Sharon Forrester's self-titled 1974 album, Sharon, is a rare British and Jamaican soul/lovers rock album known for its laid-back, soulful grooves and gentle vocals. The album features a blend of original tracks and covers, with production handled by Geoffrey Chung.
The album is a notable example of 1970s British soul with significant Jamaican music influences, recorded largely in the UK due to a musicians' strike in Jamaica at the time. It is praised by reviewers for its warm, soulful style and features a gentle vocal delivery by Sharon Forrester that complements the midtempo, Fender Rhodes and organ-heavy arrangements. The record has a unique sound that some describe as being akin to early Minnie Riperton mixed with early lovers rock reggae. The album was released on labels such as Vulcan and Ashanti.
It includes Silly, Wasn't I?, the single that brought her initial success in 1973, produced by Chung and featuring the Now Generation Band.
The album is generally well-received for its unique sound and Forrester's vocal talent. Reviewers note a "brilliantly hypnotic mix of soul, funk and disco in every song". The record is seen as a key example of "proto-lovers," offering a soulful take on reggae.
Sharon Forrester is celebrated for her "illimitable talent" and "wide vocal range". The album features a big sound created by a strong backing band.
The album features several tracks that have received attention:
"Silly, Wasn't I?": This track was Forrester's first recording and topped the British Charts in 1974. It was named Melody Maker's reggae single of 1974.
"Love Don't Live Here Anymore": While a cover, this track became a bestseller and is considered "something else" by fans, contributing to her status as a key lovers rock singer.
"Here Come the Sun": Forrester's interpretation of the George Harrison song garnered rave reviews after she performed it on the British television show Aquarius.
On platforms like Discogs and RateYourMusic, the album holds an average rating of approximately 4.45 out of 5 stars, indicating a strong positive reception among listeners.
The album is considered worth seeking out by publications like Record Collector Magazine and has high "want" statistics on collector sites, suggesting its rarity and desirability.
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.
Shine Me Up
Written-By – Bobby Parker
5:23
2 Kick It Around With You
Written-By – Bobby Parker
5:43
3 It's Unfair
Written-By – Bobby Parker
5:05
4 Stamps On Your Letter
Written-By – Bobby Parker
5:33
5 Shine Me Up
Written-By – Bobby Parker
5:48
6 Wild Thing
Written-By – Bobby Parker
4:56
7 Skeezer
Written-By – Bobby Parker
4:21
8 Somebody's Comin' In My Back Door
Written-By – Bobby Parker
6:32
9 Splib's Groove
Written-By – Bobby Parker
5:35
10 Drive Me Home
Written-By – Henry Glover
6:28
11 Get Hip
Written-By – Bobby Parker
5:30
Label: Black Top Records – CD BT-1119
Format: CD, Album
Country: US
Released: 1995
Genre: R&B Blues
Style: Rhythm & Blues, Modern Electric Blues
Bobby Parker's Shine Me Up, released in 1995 via Black Top Records, is a contemporary blues-rock album that highlights his technical mastery of the guitar while maintaining an upbeat, brass-heavy sound.
Critics and listeners generally view the album as a solid showcase of blues guitar, though some find the vocal and lyrical content less impactful than Parker's instrumentation:
Parker's guitar work is frequently cited as the album's highlight, described as "great" and "powerful". His ability to blend soulful blues with energetic riffs is a core appeal.
Some reviews suggest the album lacks variety, noting that almost every track features brass arrangements and follows an upbeat tempo, leaving a gap for those seeking "slow, dark" blues. Lyrics on specific tracks, such as "Stamps on Your Letter," have been criticized as subpar.
It is described as a "barn burner" of an album that captures a legendary blues figure in "mega form," though it may lean toward "average" for those looking for deep emotional or lyrical complexity.
Key Tracks and Highlights:- "Kick It Around With You": Often called a standout "tube" or hit from the record; "Wild Thing": Noted for its strong rhythm and blues influence; "Somebody's Comin' In My Back Door": Identified as one of the few tracks that approaches a slower, darker blues style; "It's Unfair" and "Skeezer": Cited as enjoyable, high-energy tracks.
Long-time listeners frequently compare it to his debut, Bent Out of Shape, noting that while the first album summarized his past, Shine Me Up felt like a forward-looking progression that remains a "permanent fixture" on their playlists.
Listener reviews reflect a high level of appreciation for his technical skill, often characterizing him as a "master" and a "legend" of the genre. As of 2026, the album maintains strong community ratings across several platforms. The album holds a 4.2/5 average on Discogs based on community feedback. Primarily available on CD (catalog BT-1119).
Ship Ahoy
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
4:07
A2 Ship Ahoy
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
9:41
A3 This Air I Breathe
Arranged By – Lenny Pakula
Written-By – B. Sigler, K. Gamble
3:53
A4 You Got Your Hooks In Me
Arranged By – Bobby Martin
Written-By – B. Sigler
5:34
B1 For The Love Of Money
Arranged By – Bobby Martin
Written-By – A. Jackson, K. Gamble, L. Huff
7:19
B2 Now That We Found Love
Arranged By – Norman Harris
Written-By – K. Gamble, L. Huff
4:41
B3 Don't Call Me Brother
Arranged By – Bobby Martin
Written-By – B. Sigler, K. Gamble
8:58
B4 People Keep Tellin' Me
Arranged By – Norman Harris
Written-By – G. McFadden, J. Whitehead, L. Huff
Label: Philadelphia International Records – KZ 32408
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
The O'Jays Ship Ahoy (1973) is widely acclaimed as a soul masterpiece, building on Back Stabbers with powerful social commentary, iconic hits like "For the Love of Money" and "Put Your Hands Together," and the epic, haunting slave trade narrative of the title track, showcasing Gamble & Huff's genius and the group's masterful vocals on themes of greed, love, and justice. It's praised as "all killer no filler," a definitive album in the Philly Soul genre, blending poignant messages with irresistible grooves, solidifying its legendary status.
The lyrics address racism, greed, hypocrisy, and calls for universal understanding, particularly in "For the Love of Money," "Don't Call Me Brother," and the powerful title track. The Gamble & Huff production, with arrangements by Bobby Martin, creates a rich, soulful sound that balances anger with sweetness.
Features enduring classics like the funky "For the Love of Money," the uplifting "Put Your Hands Together," and the romantic "Now That We Found Love". The title track is a ten-minute journey exploring the horrors of slavery, delivering a chilling and poignant experience.
The album received near-universal praise, with high ratings from outlets like AllMusic and Rolling Stone, often cited as a perfect album. Praised for its maturity, strong songwriting, and flawless execution, establishing The O'Jays as major forces in soul music.
Ship Ahoy is celebrated as a seamless, start-to-finish album (an "all killer no filler" experience) that combines deep messages with irresistible Philly Soul sound, making it a timeless work of art and social expression.
Ship On
A2 Surer Than Yesterday 3:43
A3 Ode To Freddie Harris 3:53
A4 I Love You Baby 2:42
A5 Can’t Get Over You 4:07
B1 Our Sweet Refrain 3:19
B2 Sad Man 2:55
B3 Bird Song 3:10
B4 The Sweetest Life’s
The Life Of A Lover 2:49
B5 Time Rolls On 3:42
Label: Stone Groove – LS 4351
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Funk
Janet Helms’ Ship On is a highly regarded yet obscure soul album originally released in 1974. Contemporary reviews and archival retrospectives describe it as an "absolutely superb soul LP".
Critics highlight Helms’ soulful delivery and the album's overall high quality, noting it is an "undiscovered masterpiece" that often lacks the wider recognition it deserves.
While the record is a favorite among soul collectors, it is frequently cited for being "criminally underrated," with some reviewers feeling that standard online ratings do not give it sufficient credit. The album holds a high audience rating of approximately 4.1 / 5 on Discogs.
The album delivers warm, rich soul sounds with strong funk elements, perfect for fans of authentic 70s R&B, often praised for its smooth vocals and tight instrumentation.
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.
Shout!
Written-By – Traditional
2:29
A2 St. Louis Blues
Written-By – Handy
2:55
A3 Yes Indeed
Written-By – Oliver
2:01
A4 How Deep Is The Ocean
Written-By – Berlin
1:50
A5 Ring-A-Ling-A-Ling
Written-By – Jackson
2:55
A6 Rock Around The Clock
Written-By – DeKnight, Freedman
2:10
B1 He's Got The Whole World In His Hands
Written-By – Love
2:02
B2 That Lucky Old Sun
Written-By – Smith, Gillespie
2:30
B3 Respectable
Written-By – O. Isley, R. Isley, R. Isley
2:10
B4 Without A Song
Written-By – Rose, Eliscu, Youmans
2:00
B5 Shout Part 1
Written-By – O. Isley, R. Isley, R. Isley
2:15
B6 Shout Part 2
Written-By – O. Isley, R. Isley, R. Isley
2:10
Label: RCA Victor – LPM 2156
Format: Vinyl, LP, Album
Country: US
Released: 1959
Genre: Rock, Funk, Soul, Pop
Style: Rhythm & Blues, Soul, Rock & Roll
The Isley Brothers' 1959 debut album, Shout!, is widely regarded by critics as a high-energy transition point between gospel and rock 'n' roll, though it is often characterized more as a collection of singles than a cohesive long-player.
Reviewers frequently highlight the album's "exuberance" and "dedicated verve," noting that it captured a raw live sound rarely found in studio recordings of the late 1950s.
The record is praised for its "gospel-laced" approach to rock and R&B, blending the wailing vocal styles of artists like Ray Charles and Little Richard with traditional spiritual themes.
Ronald Isley’s lead vocals are consistently cited as a standout, described as strong, flexible, and powerful enough to anchor the group's frantic energy.
Track Highlights & Critique:-
"Shout (Parts 1 & 2)": The title track is the undisputed centerpiece. Critics describe it as a "bursting ball of rhythmic energy" and a "masterpiece of American musical history". Its call-and-response format, originally inspired by a performance of Jackie Wilson's "Lonely Teardrops," became a blueprint for future R&B and garage rock.
"Respectable": Often considered the album's other major achievement, this original track is lauded for its "breakneck tempo" and "hysterical lead vocal".
Cover Material: Some critics find the album’s reliance on standards like "Rock Around the Clock" or "Without A Song" to be underwhelming or "stiff," viewing them as attempts by the label to appeal to adult record-buyers of the era.
Innovative Reworks: Other covers are better received, such as the gospel-rock version of "He's Got the Whole World in His Hands" and the "up-tempo jaunt" of "How Deep Is the Ocean".
While the album itself did not achieve massive commercial success upon its initial release, it solidified the Isley Brothers' reputation as a premier R&B act. It remains a historically significant debut, marking the start of a career that would later span soul, funk, and psychedelic rock.
Sign Of The Times
Written-By – R. Temperton
5:49
A2 The Steamin' Feelin'
Written-By – R. Temperton
5:19
A3 Enchanted Forest
Written-By – B. James
5:30
B1 Unicorn
Written-By – B. James
9:00
B2 Sign Of The Times
Written-By – R. Temperton
5:35
B3 Love Power
Written-By – B. James
5:30
Label: Tappan Zee Records – FC 37495
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Fusion, Jazz-Funk
Bob James' Sign of the Times (1981) is a well-regarded smooth jazz/jazz-funk album, praised for its catchy melodies, strong collaborations (especially with composer Rod Temperton on tracks like "Hypnotique"), and polished production, though some critics find it overly commercial or dated, with its strong 80s synth sound sometimes overshadowing deeper jazz elements. It earned high marks (like 5 stars from AllMusic and Rolling Stone) for its accessible fusion of funk, disco, and jazz, making it a favorite for fans of early smooth jazz, despite polarizing views on its commercialism.
The album features an elite lineup of session musicians and vocalists... Musicians: Marcus Miller (bass), Grover Washington Jr. (saxophone), Ralph MacDonald (percussion), and Eric Gale (guitar). Vocals: Features prominent backing and lead vocals from Luther Vandross, Patti Austin, and Valerie Simpson.
The album blends crossover jazz, jazz-pop, and smooth jazz, featuring synthesizers, funk rhythms, and classic jazz-fusion elements. Tracks like "Hypnotique," "That Steamin' Feelin'," and the title track are standout pieces, benefiting from Rod Temperton's pop/funk sensibility.
It received acclaim from major publications like AllMusic and Rolling Stone, but some listeners find it too commercial or sterile. Some feel the focus on commercial appeal results in generic or "soulless" music, contrasting it with James' more ambitious work. The heavy 80s synth sound can feel dated to some, even on otherwise strong compositions.
Key Tracks and Highlights:-
"Sign of the Times": The standout title track, written by Rod Temperton, is a heavy, bass-driven groove that became a staple in clubs and on urban radio.
"Hypnotique": Noted for its "eerie," atmospheric vocalese and cinematic arrangement.
"Unicorn": A nine-minute jazz fusion piece that is frequently cited as the album’s most musically ambitious track.
"The Steamin' Feelin'": A "spongy" and "synth-spiked" funk number that showcases Temperton’s signature style.
Overall, Sign of the Times is considered a classic in the smooth jazz genre, appealing to those who enjoy polished, melodic, and funk-infused jazz. While it might not satisfy hardcore jazz purists seeking complex improvisation, its strong songwriting and high production value make it a beloved record for many.
Silk N’ Soul
Written-By – Barrett Strong, Norman Whitfield, Rodger Penzabene
2:46
A2 The Look Of Love
Written-By – Burt Bacharach, Hal David
3:56
A3 Goin' Out Of My Head
Written-By – Bobby Weinstein, Teddy Randazzo
2:36
A4 Yesterday
Written-By – John Lennon, Paul McCartney
3:23
A5 Groovin'
Written-By – Eddie Brigati, Felix Cavaliere
2:50
A6 You've Lost That Lovin' Feelin'
Written-By – Barry Mann, Cynthia Weil, Phil Spector
3:26
B1 Theme From 'Valley Of The Dolls'
Written-By – André Previn, Dory Previn
2:33
B2 Baby I Need Your Loving
Written-By – Brian Holland, Lamont Dozier, Edward Holland, Jr.
2:53
B3 Together
Written-By – Kenny Gamble, Leon Huff
2:42
B4 The Tracks Of My Tears
Written-By – Marv Tarplin, William "Smokey" Robinson, Warren Moore
2:48
B5 You're My Everything
Written-By – Cornelius Grant, Norman Whitfield, Rodger Penzabene
3:02
B6 Every Little Bit Hurts
Written-By – Ed Cobb
2:50
Label: Soul – SS-711
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul, Motown
Silk 'N' Soul is a classic 1968 Motown album by Gladys Knight & the Pips, showcasing their powerful R&B/soul sound with signature smooth harmonies, heartfelt vocals from Gladys Knight, and tracks like "I Heard It Through the Grapevine," solidifying their iconic status with its soulful melodies and emotive depth.
It features the quintessential Motown production with rich instrumentation, tight arrangements, and the distinctive, commanding voice of Gladys Knight, supported by the Pips' harmonies.
A pivotal album in their career, following their signing to Motown, and includes their early hits, establishing them as major artists.Described as a "timeless classic" and a "perfect summation of the genius of Gladys Knight," offering a nostalgic journey into classic soul music.
Critics describe the album as a "glimpse of the way life used to be," highlighting Knight’s ability to make every song she sings her own, much like contemporaries Elvis Presley or Aretha Franklin. The performances are noted for being "lively, sparky, and quick-footed," while showcasing a "compressed vocal delivery" typical of 1960s soul recordings. While not always cited as their most commercially dominant record, it is considered a "thoroughly enjoyable" and "timeless classic" for soul music enthusiasts.
In essence, Silk 'N' Soul captures Gladys Knight & the Pips at the height of their Motown era, delivering soulful anthems that remain beloved by R&B fans and collectors.
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.
Skull Snaps
Written-By – Wesaline Kerr
4:02
A2 Having You Around
Written-By – D. Smith
4:30
A3 Didn't I Do It To You
Written-By – E. Waters, S. Culley
3:15
A4 All Of A Sudden
Written-By – E. Waters, S. Culley
3:23
A5 It's A New Day
Written-By – I. Woods
3:04
B1 I'm Your Pimp
Written-By – G. Kerr
4:03
B2 I Turn My Back On Love
Written-By – E. Waters, S. Culley
2:45
B3 Trespassing
Written-By – Dutch Robinson
4:03
B4 I'm Falling Out Of Love
Written-By – E. Waters, S. Culley
2:46
Label: GSF Records – GSF-S-1011
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Funk
Skull Snaps (1973) is a legendary, high-energy funk/soul album renowned for its gritty, horn-heavy sound, intricate vocal harmonies, and iconic drumming, particularly on the opening break of "It’s a New Day". Though originally overlooked, this cult classic is now considered an essential, raw funk masterpiece with strong, consistent tracks.
The album is noted for its high-energy, tight, and polished production despite its "underground" feel, offering a blend of raw funk, soul, and proto-disco with "wannap" guitars, and strong brass/string arrangements. The opening drum break on "It’s a New Day" is one of the most sampled in hip-hop history.
It adeptly merges various styles, from "sizzling, blaxploitation-ready" tracks like "I'm Your Pimp" to softer, more relaxed American soul tunes. While some find the album to be an all-around classic, others note that it is not a "track-for-track masterpiece" and features a mix of great funk cuts and good pop songs.
Reviewers praise the band's excellent musicianship, particularly the crisp, in-the-pocket drums, funky guitars, and strong horn breaks. The vocals are noted for their "gruff, unpolished" quality and "gospel-soaked call and response dynamic". The album is considered a "lost" masterpiece that gained massive appreciation years after its release, often compared in quality to acts like Funkadelic or Curtis Mayfield.
Skyy Line
Written-By – Tommy McConnell
5:32
A2 Call Me
Written-By – Randy Muller
6:21
A3 Girl In Blue
Written-By – Randy Muller
4:24
B1 Jam The Box
Written-By – Solomon Roberts Jr.
4:54
B2 When You Touch Me
Written-By – Solomon Roberts Jr.
3:38
B3 Gonna Get It On
Written-By – Gerald Lebon, Solomon Roberts Jr.
4:13
B4 Get Into The Beat
Written-By – Randy Muller
4:28
Label: Salsoul Records – SA-8548
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Skyy’s 1981 album Skyy Line, produced by Randy Muller, is a quintessential post-disco/funk masterpiece that reachedGold status, driven by hits like the No. 1 R&B smash "Call Me" and "Let's Celebrate". Featuring sophisticated, synth-heavy production and tight instrumentation, it is a dancefloor-focused album highlighted by "Girl in Blue," "Jam the Box," and the ballad "When You Touch Me".
The album represents the full maturity of the band's sound, moving away from space-themed imagery towards a more cosmopolitan, stylish, and funk-driven sound.
Standout Tracks:
"Call Me": The standout hit (No. 1 R&B, No. 26 Pop), featuring a Stevie Wonder-inspired riff and what fans call "killer" dance energy.
"Let’s Celebrate": A sleek, mid-tempo groove defined by Solomon Roberts’ "combatative picking" on guitar and a deep, melodic bassline.
"When You Touch Me": A smoldering, "sultry" ballad that showcases the depth of lead vocals from the Dunning sisters.
"Girl in Blue": Often highlighted as one of the best funk tracks of the early '80s, carrying a "Rick James feel".
Some reviewers find the track "Gonna Get It On" to be a weak point, noting its reggae influence felt out of place.
While the first half is often called "top-shelf disco," some critics find the second half a bit more "unexceptional" or "forgettable," specifically citing the reggae-infused track "Gonna Get It On" as a weaker point.
Skyy Line is considered a top-shelf funk album from the early 80s, offering a mix of danceable hits and soulful, mid-tempo tunes. Remastered versions by Big Break Records often include valuable 12" mixes and improved sound quality.
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.
Slick
Written-By – Leonard Caston, Ronald Matlock
5:07
A2 Baby
Written-By – Leonard Caston, Terri McFaddin
3:52
A3 I Want To Live (My Life With You)
Written-By – Diane Goosby, Leonard Caston
3:42
A4 You Got It
Written-By – Leonard Caston, Terri McFaddin
3:25
A5 Intimate Friends
Written-By – Gary Glenn
5:49
B1 Diamond Girl
Written-By – Jim Seals - Dash Cofts
4:25
B2 Then Came You
Written-By – Diane Goosby, Leonard Caston
7:31
B3 I'll Have To Let You Go
Written-By – Kathy Wakefield, Leonard Caston
4:34
B4 California Woman
Alto Saxophone – Larry Nozero
Written-By – Kathy Wakefield, Leonard Caston
3:31
Label: Tamla – T6-356S1
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Ballad
Slick (1977) is the ninth and final Tamla label studio album by former Temptations singer Eddie Kendricks, produced by Leonard Caston. Despite lack of promotion due to his imminent departure from Motown, the album delivers smooth, soulful, and sometimes spacey, mid-tempo R&B grooves. It reached No. 47 on the Billboard Soul Albums chart.
The album, produced by Leonard Caston, maintains the high-quality, polished R&B sound Kendricks was known for, featuring a mix of mellow, sophisticated soul and dance-oriented tracks.
Key Tracks:-
"Intimate Friends": Widely considered the album's standout "summertime slow jam," highly valued in the soul and R&B community.
"Then Came You": Described as a "surreal and spacey" track that creates a trance-like atmosphere for the listener.
"Something Shady (Is Going On)": A funky opener that highlights the collaboration between Kendricks and Terrell.
"California Woman": A groove-heavy track that rounds out the album's mix of cinematic soul and dance-floor ready tunes.
Features distinctive, high-tenor vocals from Kendricks with guest backing vocals from former Supreme, Jean Terrell (credited as Jean Thompson).
While it did not achieve the commercial success of his earlier work, Slick is considered a strong, overlooked entry in his catalog, representing a mature phase of his solo career before moving to Arista Records.
Smokin’
Arranged By [Horns] – McKinley Jackson
Written-By – Katie Davis 6:29
2 Melodie
Written-By – Zachary Perry 3:25
3 (I Can See The) Handwriting On The Wall
Written-By – Greg Perry 4:24
4 How's Your Love Life, Baby?
Arranged By [Horns, Strings] – H. B. Barnum
Written-By – Sidney Barnes, Steve Stein 4:16
5 I'll Always Be In Love With Love
Written-By – Billy Smith, Katie Davis 6:33
6 A Taste Of You (Is A Taste Of Love)
Written-By – Ernie Smith, T.S. Wynns 4:36
7 Come Fly With Me
Written-By – Zachary Perry 4:28
8 Let's Get Away From It All
Written-By – Steve Stein, T.S. Wynns 4:51
Label: RCA Victor – APL1-1914
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre:R&B Soul, Funk
Style: Seventies Soul
Released in 1977 on RCA Records, Smokin' is the second and final solo album by celebrated soul songwriter and producer Greg Perry. It is widely regarded as a high-quality example of "Modern Soul"—a term for refined soul music that maintained its identity during the height of the disco era.
Reviews highlight the album's sophisticated 1970s production, featuring full live instrumentation, lush string sections, and "monster" bass lines.
The album is classified as a blend of soul, funk, and smooth soul. Critics often compare its sound to the work of Lamont Dozier, reflecting Perry's background with the legendary Invictus/Hot Wax labels.
Listeners frequently praise Perry's vocals and the "real instruments" used throughout, describing the album as a "solid vintage" record that remains "pretty darn good start to finish".
The album features a mix of uptempo tracks and slow ballads. Key songs include:
"How’s Your Love Life Baby?" – Cited as a favorite among soul and funk enthusiasts.
"Where There’s Smoke (There’s Fire)" – A lengthy 6:42 opener often noted for its deep groove.
"Come Fly With Me" – A standout track that received separate attention in soul circles.
Originally released on vinyl in 1977, the album has since been reissued on CD, making it more accessible to modern collectors. It is available digitally on platforms such as Amazon.
So Full Of Love
Arranged By – Jack Faith
Producer – Kenneth Gamble And Leon Huff
Written-By – Kenneth Gamble And Leon Huff
4:25
A2 Use Ta Be My Girl
Arranged By – Jack Faith
Producer – Kenneth Gamble And Leon Huff
Written-By – Kenneth Gamble And Leon Huff
4:02
A3 Cry Together
Arranged By – John Usry Jr.
Producer – Kenneth Gamble And Leon Huff
Written-By – Kenneth Gamble And Leon Huff
5:36
A4 This Time Baby
Arranged By – Thom Bell
Producer – Thom Bell
Written-By – Casey James And LeRoy Bell
4:43
B1 Brandy
Arranged By – Thom Bell
Producer – Thom Bell
Written-By – Charles B. Simmons, Joseph B. Jefferson
4:14
B2 Take Me To The Stars
Arranged By – Dennis Williams
Producer – Dennis Williams, Eddie Levert, Walter Williams
Written-By – Al Boyd, Larry Hancock (2)
4:13
B3 Help (Somebody Please)
Arranged By – Dennis Williams
Producer – Dennis Williams, Eddie Levert, Walter Williams
Written-By – Eddie Levert, Robert Dukes
4:58
B4 Strokety Stroke
Arranged By – Jack Faith
Producer – Bunny Sigler
Written-By – Bunny Sigler
4:24
Label: Philadelphia International Records – JZ 35355
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco, Philly
Released in 1978, The O'Jays' So Full Of Love is a prime example of Philadelphia soul, featuring a mix of romantic ballads and funk-driven tracks produced by Gamble & Huff. While departing from the group's earlier political commentary, the platinum-certified album is praised for hits like "Use Ta Be My Girl" and "Brandy".
The album delivers sophisticated Philadelphia soul, featuring lush arrangements and a polished, funky sound reminiscent of 1970s soul and disco.
Track Highlights:-
"Use Ta Be My Girl": A massive #1 R&B hit, this track is described by dereksmusicblog as a joyous, hook-laden classic and one of the best songs the group ever recorded.
"Brandy": This ballad is famous for its "beautiful melody" but carries a quirky backstory—while many listeners originally thought it was a breakup song for a woman, songwriters later revealed it was actually written about a dog.
"Cry Together": An "absolute standout" ballad known for its dramatic, gut-wrenching emotional delivery.
"Strokety Stroke": A funky, upbeat closer that critics identify as a "funk treasure" and a "straight-up get down joint".
The album features production from Gamble & Huff, with contributions from Thom Bell and Bunny Sigler, highlighting the best of the Philadelphia International Records era.
It was a departure from their previous, more socially conscious albums, focusing instead on themes of love.
So Full Of Love is regarded as a high-quality, quintessential 70s soul record, often described as a "smoky" and enduring classic.
Modern and retrospective reviews generally view the album as a polished, high-quality entry in the Philly Soul canon, though some critics argue it lacks the experimental edge or social urgency of earlier masterpieces like Ship Ahoy or Back Stabbers.
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.
So Many Rivers
Written-By – H. Payne, J. Eubanks, P. Luboff 3:54
A2 So Baby, Don't Leave Home Without It
Written-By – Bobby Womack, Harold Payne 4:02
A3 So Many Rivers
Written-By – Bobby Womack, Jim Ford 4:22
A4 Got To Be With You Tonight
Guest [Special Guest] – Wilton Felder
Written-By – Bobby Womack, Harold Payne 4:00
A5 Gypsy Woman
Written-By – Curtis Mayfield 4:23
B1 Whatever Happened To The Times?
Written-By – Bobby Womack, Jim Ford 4:16
B2 Let Me Kiss It Where It Hurts
Guest [Special Guest] – Wilton Felder
Written-By – Bobby Womack 4:45
B3 Only Survivor
Written-By – Cecil Womack, Linda Womack 3:49
B4 That's Where It's At
Written-By – Sam Cooke 3:42
B5 Check It Out
Written-By – Bobby Womack 3:48
Label: MCA Records – MCA-5617
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Contemporary R&B
Bobby Womack's 1985 album So Many Rivers is a strong entry in his 80s catalogue, blending his signature soulful grit with contemporary electronic sounds organically, featuring hits like "I Wish He Didn't Trust Me So Much" and funky grooves on the title track, showcasing a mature artist adapting well to the era's production while delivering heartfelt, often gritty soul with standout tracks such as "Whatever Happened To The Times?".
Reviews praise its organic fusion of live and electronic elements, solid material, and Womack's enduring vocal power, marking it as a key album in his late-career resurgence.
The album successfully incorporates electronic textures common in the mid-80s (synths, drum machines) but maintains a warm, band-oriented feel, avoiding the pitfalls of purely disco-driven soul.
It produced major R&B hits, most notably the iconic "I Wish He Didn't Trust Me So Much," a classic tale of temptation and friendship, and the funky title track.
Beyond the hits, tracks like "So Baby, Don't Leave Home Without It," "Gypsy Woman," and the extended version of "Whatever Happened To The Times?" are frequently mentioned as highlights.
While noted for its "heavy-handed 1985 production," reviewers feel Womack's experience allows him to elevate the material, making it a captivating listen.
Considered a strong album, it helped solidify Womack's relevance in the 80s, building on the success of his earlier 80s work like The Poet.
So Many Rivers captures Bobby Womack at a creative peak in the 80s, delivering powerful, mature soul that balances contemporary sounds with his timeless, blues-infused vocal delivery, making it a favorite for many fans of his later work.
Bobby Womack
So Much
Written-By – D. Burton, Jackie Wilson, J. Keyes, J. Dias, R. Dicks
A2 I Know I'll Always Be In Love With You
Written-By – Barbara Campbell
A3 Happiness
Written-By – Kenny Jacobson, Rhoda Roberts
A4 Only You, Only Me
Written-By – Benny Davis, Ted Murry
A5 The Magic Of Love
Written-By – Ben Raleigh, Don Wolf
A6 Wishing Well
Written-By – Jackie Wilson
B1 Talk That Talk
Written-By – Sidney J. Wyche
B2 Ask
Written-By – D. Serino, F. Tishman, W. Rowland
B3 I'll Be Satisfied
Written-By – Berry Gordy, Tyran Carlo
B4 It's All Part Of Love
Written-By – Benny Davis, Ted Murry
B5 Never Go Away
Written-By – Ben Raleigh, Don Wolf
B6 Thrill Of Love
Written-By – Berry Gordy, Tyran Carlo
Label: Brunswick – BL 54050
Format: Vinyl, LP, Album
Country: US
Released: 1959
Genre: R&B Soul, Rock
Style: Rhythm & Blues, Soul
Jackie Wilson's So Much (1959) is noted as a consistent, exuberant R&B record showcasing his powerful voice, blending energetic tracks like "Happiness" with soulful ballads, though some listeners find it less groundbreaking than his singles, with critics pointing to its "bombastic" production and lighter pop leanings compared to his harder R&B roots, making it a good showcase of his range but perhaps not his absolute peak, especially on reissues with bonus tracks.
The album highlights Wilson's incredible vocal talent, from gritty growls to smooth crooning, proving his versatility.
It leans into the popular sound of the era, drawing from Ray Charles's style but infused with Wilson's youthful energy, featuring both danceable numbers and sentimental ballads.
Some critics find the arrangements, while fitting for pop, overly "bombastic," while others appreciate the dynamic energy, especially on tracks like "I've Lost You".
Key Tracks: "Happiness," "Doggin' Around," "I Know I'll Always Be in Love with You," and bonus tracks like "Years from Now" are often highlighted.
While it's a strong display of his talent, some reviews suggest it's not his most essential work, especially compared to later hits or his grittier early records, though it's praised as a joyful collection of his style.
So Much offers a great look at Jackie Wilson's captivating voice and ability to deliver both energetic pop-soul and heartfelt ballads, making it a solid, enjoyable listen for fans, even if it sacrifices some of the raw R&B edge for broader appeal.
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.
Something Special
Written-By – B. Davis, G. Gordy, Hunter
2:49
A2 Let 'Em Down Baby
Written-By – D. Porter, H. Banks, I. Hayes
2:36
A3 I'm So Glad
Written-By – Chalmers, Rhodes
2:55
A4 Lay It On The Line
Written-By – Chalmers, Rhodes
2:31
A5 Sweet Things You Do
Written-By – A. Isbell, B. T. Jones, E. Floyd
2:17
B1 Chains Of Love
Written-By – M. Davis
3:13
B2 I'm Not Ashamed To Beg Or Plead
Written-By – A. Isbell, E. Floyd
2:53
B3 It's All Up To You
Written-By – Jimmy Holiday
3:01
B4 Lock Me Up
Written-By – H. Banks, R. Jackson
1:29
B5 What Side Of The Door
Written-By – I. Hayes, D. Porter
2:56
B6 Peeped Around Yonder's Bend
Written-By – H. Banks, R. Jackson
2:31
Label: Volt – VOS 6003
Format: Vinyl, LP
Country: US
Released: 1969
Genre: R&B Soul, Blues
Style: Sixties Soul, Southern Soul
Jimmy Hughes' Something Special (1969) is a highly-regarded Southern Soul album, considered by many critics and fans as his finest work, showcasing his powerful, heartfelt vocals, gritty blues, country soul fusion with Muscle Shoals/Stax musicians (Booker T, Isaac Hayes), featuring standout tracks like "I Like Everything About You," and cementing his legacy as a pioneer despite not achieving major hits, praised for its raw emotion and excellent instrumentation.
Hughes blended blues, R&B, and country, often called the "father of Southern Soul" for his early Steal Away sound, and Something Special captures this blend masterfully.
His vocals are consistently described as needy, longing, and full of heartbreak, perfectly conveying the pain and frustration in his lyrics.
The album features top-tier session players, including members of Booker T. & the M.G.'s and Isaac Hayes, delivering tight grooves, fat horns, and earthy guitars.
Standout Tracks:- "I Like Everything About You": A slow, country-soul ballad with powerful vocals; "I'm So Glad": A hard-socking romper with massive horns and sitar; "Lay It On the Line": A greasy, funky soul jam; "Chains of Love": Shows a Motown influence with its clavinet and tambourine; "Neighbor, Neighbor": A frustrated, angry tune showcasing his versatile delivery.
Fans and reviewers find the title fitting, calling it outstanding, even without big hits. Many feel Hughes was overlooked, with Something Special and his complete Volt recordings (on Something Extra Special) revealing a goldmine of soul that deserved more attention. The album is praised for its consistent quality, showcasing strong songwriting and credible, powerful performances.
In essence, Something Special is a must-have for Southern Soul fans, celebrating a unique voice and influential sound that defined the genre.
Something’s Going On
Written-By – Tony Henry 5:26
A2 I Do I Do
Written-By – Diane Charlemagne, John Dennison, Tony Bowry 4:18
A3 Something's Going On
Arranged By – Pete Levin
Written-By – Diane Charlemagne, John Dennison, Lenny White, Tony Bowry 4:52
A4 Seven
Written-By – Diane Charlemagne, John Dennison, Lenny White, Tony Bowry 5:03
A5 What Did I Do Wrong?
Written-By – Tony Henry 4:49
B1 Are You Receiving Me?
Written-By – Tony Henry 4:47'
B2 Tomorrow
Written-By – Diane Charlemagne, John Dennison, Tony Bowry 5:08
B3 Memories
Written-By – Diane Charlemagne, John Dennison, Tony Bowry 4:03
B4 Something To Remind Me
Written-By – Diane Charlemagne, John Dennison, Tony Bowry 4:30
B5 Tell The Truth
Written-By – Tony Henry 4:28
Label: MCA Records – MCA-42079
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Electronic
Style: Disco Funk, Synth-pop
Something's Going On was the second album by the British soul/funk band 52nd Street, a shift from their indie roots to a slicker, major-label sound with jazz-fusion/synth-pop elements, featuring Diane Charlemagne's vocals over electronic textures and breakbeats, but it failed commercially despite production by Lenny White, leading to the band's breakup after its release, notes Rate Your Music and Amazon UK.
A blend of jazz-funk with electronic, synth-pop, and R&B sounds, featuring glassy synths and tough breakbeats, a departure from their earlier work.
Produced by American jazz drummer Lenny White, who also played drums, with guest Michael Brecker on sax, but the songs were seen as weak, notes Rate Your Music and Discogs.
Diane Charlemagne's warm, subtle, jazz-inflected voice was a highlight, notes Rate Your Music.
After leaving Factory Records, the band signed to MCA in the US, aiming for a bigger sound, but the album flopped, causing the band to split, according to Amazon UK and Rate Your Music.
It was a commercial disappointment, failing to chart significantly in the UK or US, marking the end of 52nd Street before Charlemagne's later success with Goldie and the Urban Cookie Collective.
Something's Going On is generally viewed as a significant step down from 52nd Street's debut, a misguided attempt at a new sound that alienated fans and ultimately led to the band's demise
Sometimes
Written-By – B. Anderson
3:45
A2 Caught In The Act (Of Getting It On)
Written-By – C. Hampton, H. Banks
4:17
A3 Bitter Woman
Written-By – G. Jackson, R. Moore
4:11
A4 Lost Inside Of You
Written-By – B. Streisand, L. Russell
3:16
A5 Looks Like We Made It
Written-By – R. Kerr, W. Jennings
3:43
B1 A Hundred Pounds Of Pain
Written-By – L. Welch, R.M. McCoy
3:22
B2 Uphill Peace Of Mind
Written-By – F. Knight
3:52
B3 What Would Your Mama Say?
Written-By – C. Jackson, R. Moore
4:12
B4 Givin' Me Your Love
Written-By – K. terling, M. Jackson
3:55
B5 That Kind Of Fire
Written-By – J. Norman Scott
3:20
B6 Love Is The Final Truth
Written-By – V. Harper
4:12
Label: Kayvette – LPK-802
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Facts of Life's "Sometimes" album is a highly regarded 1977 Southern Soul/Deep Funk release, praised for its rich interplay between male/female vocals, mellow grooves, tight Muscle Shoals production, and storytelling lyrics, often compared to the Soul Children, featuring hits like "Caught in the Act" and the country-tinged title track, showing depth beyond raw soul with keyboards and background vocals enhancing the sound.
It features smooth, laid-back Southern Soul with a country flavor, recorded at Muscle Shoals with Brad Shapiro, allowing vocals to shine, with excellent interplay between the male (Keith Williams, Chuck Carter) and female (Jean Davis) leads, creating mature, narrative-driven songs.
The album ncludes the breakout hit "Sometimes" (a country cover) and "Caught in the Act (of Getting It On)," a classic cheating ballad. The group showed musical growth from their earlier gospel sound, adding keyboards and harmonies without losing soul.
Seen as a classic trio effort with unique talent for mellow, story-driven soul, offering depth and great vocal interplay. While good, some critics felt the Soul Children were preferable, but acknowledged its quality deep soul with country notes.
In essence, Sometimes is a strong, well-produced soul album from 1977, known for its vocal chemistry and standout tracks, making it a favorite for fans of Southern Soul.
Songs In A Minor
Written-By – Alicia Keys
1:51
2 Girlfriend
Written-By – Alicia Keys, Jermaine Dupri, Joshua Thompson
Written-By [Interpolation Of "Brooklyn Zoo"] – Derek Harris, Russel Jones
3:35
3 How Come You Don't Call Me
Written-By – Prince
3:58
4 Fallin'
Written-By – Alicia Keys
3:30
5 Troubles
Written-By – Alicia Keys, Kerry Brothers, Jr.
4:29
6 Rock Wit U
Written-By – Alicia Keys, Kerry Brothers, Jr., Tenisha Smith
5:37
7 A Woman's Worth
Written-By – Alicia Keys, Erika Rose
5:03
8 Jane Doe
Written-By – Alicia Keys, Kandi Burruss
3:48
9 Goodbye
Written-By – Alicia Keys
4:21
10 The Life
Written-By – Alicia Keys, Kerry Brothers, Jr., Tenisha Smith
5:25
11 Mr. Man
Duet With – Jimmy Cozier
Written-By – Brian McKnight
2:01
13 Butterflyz
Written-By – Alicia Keys
4:08
14 Why Do I Feel So Sad
Written-By – Alicia Keys, Warryn Campbell
4:26
15 Caged Bird
Written-By – Alicia Keys
3:02
16 Lovin U
Written-By – Alicia Keys
3:48
Label: J Records – 80813-20002-2 RE-1
Format: CD, Album
Country: US
Released: 2001
Genre: R&B Soul
Style: Contemporary R&B, Neo Soul
Alicia Keys’ 2001 debut Songs in A Minor is a critically acclaimed, genre-bending masterpiece that seamlessly blends neo-soul, classic R&B, and hip-hop with strong piano-driven melodies. Widely praised for its maturity and Keys' authentic, self-produced artistry, the 7x platinum album solidified her as a premier, timeless singer-songwriter.
Keys broke the mold by writing, arranging, and producing most of the album herself, showcasing, at age 20, a level of maturity that drew comparisons to classic soul artists.
The album is noted for its soulful, "piano-blessed" sound, balancing hip-hop beats with jazzy, retro sensibilities.
Hits include the signature track "Fallin'", along with "A Woman's Worth," "Girlfriend," and a notable cover of Prince's "How Come You Don't Call Me".
Critics described her voice as "incredibly persuasive," featuring a "raw" and "sanctified" quality, rather than typical, over-produced pop vocals.
Recognized for its "cultural, historical or aesthetic importance," it was inducted into the National Recording Registry in 2022, confirming its enduring status.
While some critics noted that the lyrics sometimes feel conventional compared to the high-level musicianship, Songs in A Minor is largely regarded as a landmark debut that successfully bridged the gap between classic soul and modern R&B.
Sophisticated Funk
Bass – Frank Prescod
Congas – Craig Derry
Drums – Scott Schoer
Guitar – Robert Banks, Walter Morris
Saxophone, Flute – Joe Farrell
Written-By – B. Jones, J. McDuff
6:00
A2 Ju Ju
Bass – Frank Prescod
Congas, Percussion – Craig Derry, Scott Saunders
Drums – Clarence Oliver
Guitar, Percussion – Billy Jones
Saxophone, Flute – Joe Farrell
Written-By – Billy Jones
6:49
A3 To Be Named Later
Bass – Frank Prescod
Congas, Percussion – Craig Derry
Drums – Clarence Oliver
Guitar – Billy Jones
Saxophone, Flute – Joe Farrell
Written-By – B. Jones, J. McDuff
4:50
A4 Summer Dream
Backing Vocals – Billy Jones, Craig Derry
Bass – Frank Prescod
Congas, Percussion – Craig Derry
Drums – Ted McKinsey
Guitar – Billy Jones
Saxophone, Flute – Joe Farrell
Written-By – B. Jones, J. McDuff
4:50
B1 Jack's Boogie
Bass – Frank Prescod
Congas, Percussion – Craig Derry, Scott Saunders
Guitar – Billy Jones
Piano – Brian Cuomo
Written-By – B. Jones, J. McDuff
3:32
B2 Mini Pads
Bass – Frank Prescod
Congas, Percussion – Craig Derry
Drums – Arnold Ramsey
Guitar – Billy Jones
Written-By – B. Jones, B. Cuomo
5:50
B3 Electric Surf Board
Bass – Frank Prescod
Congas, Percussion – Craig Derry
Drums – Joe Corsello
Guitar – Billy Jones
Saxophone, Flute – Joe Farrell
Written-By – Jack McDuff
5:17
B4 Mannix Theme
Bass – Frank Prescod
Congas, Percussion – Craig Derry
Drums – Ted McKinsey
Guitar – Robert Banks
Written-By – Schisrin
Label: Chess – ACH-19004
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Fusion
Sophisticated Funk (1976), released on Chess Records, is a slick, electric jazz-funk album where Brother Jack McDuff swaps his signature Hammond B-3 organ for electric keyboards, embracing a polished, fusion-oriented sound. Produced with a soulful, smooth groove often compared to CTI Records or early 70s fusion, it features arranged compositions rather than pure organ jamming, often featuring saxophone from Joe Farrell.
Recorded at All Platinum Studios in New Jersey, the album is a blend of 70s funk, fusion, and smooth jazz with complex, arranged orchestration, focusing on keyboards and electric pianos instead of the traditional Hammond organ, often incorporating smooth basslines and phaser effects, featuring guitarist/arranger Billy Jones and saxophonist Joe Farrell.
Key Tracks: Includes "[Theme From Electric Surfboard]" (a re-recording), "[Dit Da Dit]," "[Ju Ju]," and a version of the "[Mannix Theme]".
The album is considered a "lost electric groover" that presents a more modern, commercial sound, although some critics initially found it too far removed from his earlier hard-bop style, note Wikipedia and Dusty Groove. Despite mixed reviews upon release, it is now regarded as a strong example of 70s jazz-funk, according to Discogs users.
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 Ain’t Nothin’ But The Blues
Written-By – Buddy Scott, Jimmy Radcliffe
3:25
A2 What Now My Love
Written-By – C. Sigman, G. Becaud, P. Delanoe
2:55
A3 Yesterday
Songwriter – Lennon-McCartney
2:53
A4 Don't Get Around Much Anymore And More Than You Know
Written-By – B. Rose, B. Russell, D. Ellington, E. Eliscu, V. Youmans
3:42
A5 Through A Long And Sleepless Night
Written-By – A. Newman, M. Gordon
4:26
B1 City Of Stone
Written-By – B. Scott, J. Radcliffe
2:46
B2 Since I Fell For You
Written-By – B. Johnson
3:10
B3 Soul Ain't Nothin' But The Blues
Written-By – B. Scott, J. Radcliffe
2:23
B4 God Bless The Child
Written-By – A. Herzog, Jr., B. Holiday
3:26
B5 The Thrill Is Gone
Written-By – L. Brown, R. Henderson
2:09
B6 Another Rainy Day
Written-By – B. Scott, J. Radcliffe
2:41
Label: Columbia – CS 9588
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul, Jazz
Style: Soul-Jazz, Blues
Pat Lundy's debut album, Soul Ain’t Nothin’ But The Blues, was released in 1968 under Columbia Records. It is widely regarded as a significant piece of late-60s soul and R&B, showcasing Lundy's transition from small-label singles to a major production.
Lundy is noted for her powerful, emotive voice that bridges the gap between gospel-influenced soul and traditional blues structures.
It is frequently cited by vinyl enthusiasts and soul DJs as a "fresh find" with "bite and bounce," often praised for its lack of "filler" tracks.
The album features a mix of original soul-blues compositions and covers of classic standards:-
"Soul Ain’t Nothin’ But The Blues": The title track, also released as a successful single, is the centerpiece of the record.
"The Thrill Is Gone": A soul-infused rendition of the blues classic.
"City of Stone": A standout track often highlighted for its sophisticated arrangement.
"Another Rainy Day": Originally the B-side to the title single, it remains a favorite for its moody atmosphere.
In summary, the album is a quintessential blend of Funk and Soul with strong R&B influences. It features a "mixture of uptown" soul arrangements typical of late 1960s Columbia productions. It maintains a strong reputation among soul collectors, holding an average rating of 4.17 to 4.29 out of 5 on Discogs.
Soul Deep Vol. 3
Written-By – Bobby Womack, Don Covay 3:33
A2 Roscoe Robinson– Leave You In The Arms Of Your Other Man
Written-By – Roscoe Robinson 2:56
A3 Ben & Spence– Get It Over
Written-By – Buddy Buie, John Adkins 2:09
A4 Calvin Scott– More Than You'll Ever Know
Written-By – Dave Crawford, Roy Lee Johnson 2:23
A5 Otis Clay– Pouring Water On A Drowning Man
Written-By – D. McCormick, D. Baker 2:38
A6 Ned Towns– How Can You Baby-Sit A Man
Written-By – Ned Towns 2:35
B1 Chris Harris – Tell 'Em I Am Who I Am
Written-By – Harris, B. Grier 2:31
B2 Clarence Carter– The Few Troubles I've Had
Written-By – Clarence Carter 3:27
B3 Bobby Harris – We Can't Believe You're Gone
Written-By – Benny Hall, Brook Benton 2:10
B4 Percy Sledge– Hard To Believe
Written-By – Evans, Jenkins 2:20
B5 Barbara & The Browns– My Lover
Written-By – Barbara Brown 2:43
B6 Mable John– Don't Hit Me No More
Written-By – J. M. Williams 2:47
Label: Atlantic – P-6175A
Format: Vinyl, LP, Compilation
Country: Japan
Released: 1974
Genre:R&B Soul
Style: Deep Soul, Southern Soul
The album Soul Deep Vol. 3 on Atlantic (P-6175A) isn't a well-known mainstream hit but a highly sought-after Deep Soul/Rare Groove compilation from the mid-70s, packed with obscure, soulful deep cuts that collectors love, known for its killer grooves and unearthed gems, though specific critical reviews from the era are scarce, with appreciation primarily coming from dedicated soul fans discovering it on reissues or through specialized dealers.
A compilation album released by Atlantic Records (P-6175A in Japan), focusing on deep, often overlooked soul, R&B, and funk tracks.
It's part of a larger trend of bringing rare tracks to a wider audience, typical of soul compilations from labels like Soul Deep Recordings (though that's a different, modern label).
Tracks are often obscure, offering a treasure trove for DJs and collectors seeking unique sounds. Being an older release, it's valued for its authentic vintage sound, though condition varies wildly on original pressings.
In essence: It's a holy grail for underground soul fans, not a pop chart-topper, celebrated for its deep cuts and authenticity.
Soul Deep Volume One
A2 The Escorts– Let's Make Love (At Home Sometimes)
A3 Roshell Anderson– Know What You're Doing When You Leave
A4 Doris Duke– Full Time Woman
A5 Jerry Washington– Right Here Where You Belong
A6 Ted Taylor– I Want To Be Part Of You Girl
A7 Tommie Young– She Don't Have To See You
A8 The Whispers– Seems Like I Gotta Do Wrong
A9 Oscar Toney Jr.– I've Been Loving You Too Long
B1 Freddie North– She's All I Got
B2 Seventh Wonder*– For The Good Times Part 1
B3 Major Lance– Dark And Lonely
B4 Doris Duke– To The Other Woman
B5 Aaron Neville– Tell It Like It Is
B6 Roshell Anderson– The Grapevine Will Lie Sometimes
B7 J. J. Barnes– The Time Has Come
B8 Tommie Young– Do You Still Feel The Same Way
B9 Soul Potion– Circle Full Of Love
Label: Contempo – CLP 526
Format: Vinyl, LP, Compilation
Country: UK
Released: 1975
Genre: R&B Soul
Style: Deep Soul, Southern Soul
Soul Deep Volume One is a UK soul compilation album originally released in the 1970s that showcases a diverse array of classic R&B and soul artists. As of 2025, it maintains a modest reputation among collectors, with an average user rating of 3 out of 5 on Discogs.
The album features 18 tracks across two sides, focusing on soul and R&B styles:
Side A: Notable entries include "Make Up For Lost Time" by The Montclairs, "Full Time Woman" by Doris Duke, and "Seems Like I Gotta Do Wrong" by The Whispers.
Side B: Features "Tell It Like It Is" by Aaron Neville, "She's All I Got" by Freddie North, and "Dark And Lonely" by Major Lance.
Recurring Artists: Roshell Anderson and Tommie Young each contribute two tracks to the compilation.
The album holds high aggregate ratings on major music databases. On Discogs, one entry for this release has an average rating of 4.75 out of 5 based on user feedback. Another entry shows a lower average of 3 out of 5.
The album is actively sought after by collectors, with over 100 users listing it in their collections ("Have") and nearly 50 users adding it to their "Want" lists on Discogs.
Recent buyers on secondary markets like eBay have frequently described the vinyl as having "Great Value".
Soul Deep Volume Two
Written-By – Peters 2:35
A2 Bettye Swann– Be Strong Enough To Hold On
Written-By – Clements, Mitchell 3:22
A3 Bobby Patterson– If He Hadn't Slipped Up And Got Caught
Written-By – Patterson 3:26
A4 Joe Tex– She Might Need Me
Written-By – Tex 3:40
A5 Charlie Whitehead– People Tell Me I'm Losing My Baby
Written-By – Williams Jr. 4:45
A6 Aretha Franklin– Call Me
Written-By – Franklin 3:30
A7 Oscar Toney Jr.– Message To Martha
Written-By – Bacharach-David 4:10
A8 Tami Lynn– Wings Upon Your Horns
Written-By – Lynn 5:51
B1 J. J. Barnes– We Can't Hide It Anymore
Written-By – Murphy 4:35
B2 Ben E. King– She's Gone Again
Written-By – King 2:25
B3 Tamiko Jones– Cloudy
Written-By – Gorrie, Stuart 3:23
B4 Wilson Pickett– Covering The Same Old Ground
Written-By – Jackson, Dotson, Moore 3:17
B5 Reuben Bell– Asking For The Truth
Written-By – Strickland, Bell 3:56
B6 Sam Dees– Signed Ms. Heroine
Written-By – Dees 4:05
B7 Doris Duke– Woman Of The Ghetto
Written-By – Miller, Shaw, Evans 7:35
B8 Jackie Moore– Something In A Look
Written-By – Martin, Crawford 3:09
Label: Contempo – CLP 606
Format: Vinyl, LP, Compilation
Country: UK
Released: 1977
Genre: R&B Soul
Style: Deep Soul, Southern Soul
Soul Deep – Volume II is a 1977 UK compilation of rare and classic soul, originally released on the Contempo label and licensed through Atlantic Records.
The album is highly regarded among soul collectors for its curation of "deep soul" tracks from the 1960s and 1970s.
It serves as a vital document of soul history, featuring legendary artists like Aretha Franklin, Sam & Dave, and Wilson Pickett alongside more obscure deep soul cuts from artists like Doris Duke and Reuben Bell.
The compilation focuses on emotionally resonant, mid-to-down-tempo soul. Users often associate this series with Contempo Records' curation of 1970s deep soul, with some listeners noting they have enjoyed these specific selections since they first appeared in the 1970s.
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 Girl
Written-By – Richard Evans
3:17
A2 Soul Girl
Written-By – Joel Beal
3:53
A3 Jeep Blues
Written By [Miscredited] – Sonny Stitt
Written-By [Uncredited] – Duke Ellington, Johnny Hodges
4:38
A4 I Know That You Know
Written-By – Caldwell, Youmans
5:30
B1 I Should Care
Written-By – A. Stordahl, P. Weston, S. Kahn
7:19
B2 Eight Track Blues
Written-By – Sonny Stitt
5:15
B3 Gone With The Wind
Written-By – Wrubel, Magidson
5:40
Label: Paula Records – LPS 4004
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk
Sonny Stitt's Soul Girl (1973) is a noteworthy album praised for showcasing Stitt's versatility, blending polished, string-laden soul-jazz numbers with raw, straight-ahead jazz quartet tracks featuring Chicago greats like Muhal Richard Abrams, offering a great snapshot of the era's diverse jazz scene and earning positive marks from collectors for its enjoyable sound.
Reviewers highlight the strong performances, especially Stitt's sax work, and the album's dual personality—one side featuring soulful production and the other pure bop, making it a standout in his extensive discography.
The first half features lush arrangements with strings and Kitty Heywood's vocals, while the second half dives into straight-ahead jazz with pianist Muhal Richard Abrams, drummer Wilbur Campbell, and bassist Cleveland Eaton.
The recording captures both the sophisticated studio sound (Cadet Studios) and the vibrant quartet scene in Chicago during the early 70s.
Even on the more produced tracks, Stitt's saxophone shines, delivering rich, expressive solos, noted for his full-bodied tone.
Many fans consider it an under-appreciated gem and a worthy addition to any Stitt collection: "An oft-overlooked, but very nice record," "wonderful" soul-jazz numbers, "entirely worthy," "top ten of all 150+ Stitt recordings".
Key Tracks: "Soul Girl," "Got to Get Over," "I Know That You Know," and quartet pieces like "I Should Care," "Eight Track Blues," and "Gone With The Wind" are often mentioned.
Overall, a strong album showcasing Stitt's ability to navigate different jazz styles effectively, from soulful grooves to classic bop.
Soul Improvisations
3:18
A2 Don't Hang Me Up
2:20
A3 Let Me Down Easy
3:18
A4 Just In Case
3:28
A5 Now That You're Gone
3:03
A6 Soul Improvisations Part 1
2:59
B1 Don't Rock The Boat
2:50
B2 So Many Mountains
2:53
B3 I Would Love To Love You
2:38
B4 I Get Lovin' On My Mind
2:43
B5 He Who Hath Ears To Hear (Let Him Hear)
2:26
B6 Soul Improvisations Part 2 3:19
Label: Buddah Records – BDS 5103
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Soul Improvisations is a highly regarded soul/R&B album from Van McCoy that predates his 1970s disco hits, focusing instead on lush, soulful arrangements and songwriting. Critics and fans consider it a hidden gem, praising its quality, with some ratings averaging 4.62/5.
It features melodic, Philly-soul-influenced tracks rather than the uptempo disco sound he later became famous for. The album is often associated with the high-quality sound of Philly soul, with strong arrangements.
The album showcased McCoy's early skills as a producer and writer before his mainstream success with "The Hustle". Due to the 1975 success of "The Hustle," this album was re-released in an abridged, re-sequenced form under the title From Disco To Love.
Listeners have described it as a surprising, high-quality soul record that is worth checking out for fans of early 70s soul.
The majority of the songs on Soul Improvisations were written by Van McCoy himself. While he is most famous as a producer and arranger, this 1972 release served as a personal showcase for his songwriting.
While most tracks are originals, the album includes soul-infused interpretations of existing hits, such as: "Just My Imagination (Running Away With Me)": Originally written by Norman Whitfield and Barrett Strong (The Temptations), and "Never My Love": Originally written by Don and Dick Addrisi (The Association).
Despite its quality, the album was initially considered a commercial failure due to poor promotion. However, it has since maintained a high reputation among collectors, boasting an average rating of 4.35 to 4.62 out of 5 on Discogs.
Soul is Free
A2 Out Of The Sheets-Into The Streets 4:11
A3 Let's Go Visit The World Today 4:11
A4 Change Of Pace 3:39
B1 Come On Down, Boogie People 7:37
B2 Party Lady 5:39
B3 Keep Dancin' Wit Me 3:45
B4 Glad I Found You 2:44
Written by Dave Williams
Label: AVI Records – AVI-6040
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Jazz
Style: Seventies Soul, Disco, Jazz
Dave Williams' 1978 album Soul Is Free is a highly-regarded disco/soul-jazz fusion record, praised for its deep grooves, brilliant bass work by Williams, infectious energy, and standout tracks like "Out of the Sheets – Into the Streets," with its slick production (by Rinder & Lewis) making it a dancefloor staple and a "heat start to finish" record for funk/soul enthusiasts. Reviews highlight its timeless sound, deep basslines, and seamless blend of jazz and R&B, making it a must-listen for fans of the era.
His bass playing is noted as deep, resonant, effortless, and technically brilliant, driving the tracks. Tracks like "Out of the Sheets – Into the Streets" were popular in clubs, even appearing in films like Trading Places. Many listeners find it holds up exceptionally well, offering a deep, satisfying listen beyond just the hits.
David Williams was a prolific Trinidadian-born double bassist and session musician. While Soul Is Free leaned into the commercial R&B and disco spheres of the late 1970s, Williams is equally respected in the jazz world for his long-standing work with the Cedar Walton Trio and other jazz luminaries.
Soul On Top
Written-By – C. Loveday, H. Kresa 4:08
A2 Your Cheatin Heart
Written-By – Hank Williams 2:59
A3 What Kind Of Fool Am I?
Written-By – A. Newley, L. Bricusse 3:02
A4 It's A Man's, Man's, Man's World
Written-By – James Brown, Betty Jean Newsome 6:22
A5 The Man In The Glass
Written-By – Bud Hobgood 5:52
B1 It's Magic
Written-By – Jule Styne, Sammy Cahn 3:09
B2 September Song
Written-By – Kurt Weil, Maxwell Anderson 4:29
B3 For Once In My Life
Written-By – O. Murden, R. Miller 4:33
B4 Every Day I Have The Blues
Written-By – Peter Chatman 3:30
B5 I Need Your Key (To Turn Me On)
Written-By – Louie Bellson 3:44
B6 Papa's Got A Brand New Bag
Written-By – James Brown 2:57
Label: King Records – KS 1100
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Soul-Jazz, Funk
James Brown's Soul on Top (1969) is a critically acclaimed jazz-soul fusion album where the Godfather of Soul tackles standards and his own hits with the Louie Bellson Orchestra, featuring brilliant arrangements by Oliver Nelson; reviewers praise Brown's energetic vocal performances, dynamic big band sound, and ability to blend funk conviction with jazz sophistication, highlighting tracks like "The Man in the Glass" and "Your Cheatin' Heart," making it a successful, versatile showcase of his artistry beyond strict funk.
The album blends James Brown's signature R&B/funk vamps with rich, orchestrated arrangements, creating a unique "soul jazz" sound. Brown delivers impressive performances, showcasing his full vocal range with ecstatic screams, yelps, and gut-wrenching emotion, particularly on his own hits like "It's a Man's, Man's, Man's World".
Oliver Nelson's tight charts and Louie Bellson's expert band provide a powerful, yet flexible, backdrop, allowing for both tight execution and improvisation.
Brown transforms country classic "Your Cheatin' Heart" into a brassy soul-screamer and gives "September Song" funky oomph, proving his versatility. Re-recordings of his hits, like "Papa's Got a Brand New Bag," sound fresh and invigorating with the big band treatment.
A Must-Have: Soul cognoscenti and fans seeking to explore Brown's range consider it a superb, long-overdue release. It's seen as a successful tribute to the big bands that inspired him and a testament to his musical breadth, not just a risky jazz venture.
Reviewers find it an exhilarating listen, filled with energy, primal vocal power, and a perfect blend of jazz sophistication and raw funk.
Soul on Top is celebrated as an impressive display of James Brown's artistry, bridging his funk innovations with big band jazz, making it a rewarding listen for both jazz and soul enthusiasts.
Soul Searching
A2 Love Your Life 4:49
A3 I'm The One 4:18
A4 A Love Of Your Own 5:28
A5 Queen Of My Soul 6:05
B1 Soul Searching 3:15
B2 Goin' Home 4:36
B3 Everybody's Darling 3:31
B4 Would You Stay 5:33
B5 Sunny Days
B6 Digging Deeper 2:43
Written by Gorrie (tracks: A2, A3, B1, B2, B5, B6), Stuart (tracks: A1 to B5), Doheny (tracks: A4), Ball (tracks: A1 to A3, B2 to B4, B6), Ferrone (tracks: B5)
Label: Atlantic – SD 18179
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz, Funk, Soul
Style: Seventies Soul, Funk
Released in June 1976, Soul Searching is the fourth studio album by the Scottish funk and R&B group Average White Band. It is widely considered one of the band's most mature and musically diverse works, blending their signature "head-bopping" grooves with a more sophisticated, mellow sound suited for the mid-70s "Quiet Storm" era.
The album is a fusion of funk, soul, and jazz-funk. It marked a transition for the band, moving from heavier funk toward mellower, more improvisational grooves with increased jazz and Latin influences.
It was produced by the legendary Arif Mardin for Atlantic Records. The production is noted for its spacious, "echo-y" ambiance that enhances the album's smooth feel.
The recording features guest appearances from session greats like the Brecker Brothers (Mike and Randy) and Dave & Eddie Brigati.
Key Tracks: Included the popular singles "Queen of My Soul" and the ballad "A Love of Your Own," alongside tracks like "Sunny Days," "Digging Deeper," and the title track "Soul Searching".
The album was a major commercial hit, reaching #9 in the US and earning Platinum certification, solidifying AWB's status beyond their initial breakthrough.
Soul Searching is a major source for hip-hop and R&B producers; tracks like "A Love of Your Own" and "Queen of My Soul" have been sampled by artists such as Snoop Dogg, A Tribe Called Quest, and Mark Ronson.
Overall, Soul Searching is described as a mature, diverse, and soulful record, perfect for both dancing and late-night listening, demonstrating AWB's ability to evolve while staying true to their exceptional musicality. In 2026, the album celebrates its 50th anniversary, a milestone often commemorated with special vinyl reissues, such as limited clear vinyl.
AWB A.W.B.
Soul Sister
Written-By – Jim Webb
3:25
A2 Change My Thoughts From You
Written-By – Carl Davis, Gary Jackson (2), Nate Smith
2:29
A3 Light My Fire
Written-By – J. D. Morrison, J. P. Densmore, R.D. Manzarek, R.A. Kriezer
2:40
A4 You've Been Cancelled
Written-By – Erma Franklin
2:59
A5 For Once In My Life
Arranged By – Johnny Pate
Written-By – Orlando Murden, Ronald Miller
2:37
A6 Can't See My Way
Written-By – Erma Franklin
2:17
B1 Hold On, I'm Comin'
Written-By – Isaac Hayes-David Porter
3:01
B2 Saving My Love For You
Written-By – Don D. Robey
3:28
B3 Son Of A Preacher Man
Written-By – John Hurley, Ronnie Wilkins
2:34
B4 Gotta Find Me A Lover (24 Hours A Day)
Written-By – Carl Davis, Eugene Record
2:14
B5 Baby I Love You
Written-By – Ronnie Shannon
2:44
Label: Brunswick – BL 754147
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
Erma Franklin's Soul Sister (1969) is praised for showcasing her powerful, gritty voice on unique covers like The Doors' "Light My Fire" and "By the Time I Get to Phoenix", offering funky, slightly psychedelic soul with unexpected arrangements that rivaled her famous sister Aretha, despite some uneven tracks and a feeling she was underutilized, making it a cult favorite for its depth and unique flavor.
The album stands out for its bold choices, transforming pop/rock songs into soulful R&B gems, with standout versions of "Light My Fire" and "By the Time I Get to Phoenix" praised for their originality.
Reviewers consistently laud Erma's immense talent, noting her voice is deep, gritty, and soulful, sometimes considered even better than Aretha's in its raw delivery, offering "soulful shouts" over Aretha's more refined style.
Tracks feature funky basslines, slinking horns, and unique arrangements that give the album a distinct, delicious flavor, blending psychedelic soul with classic R&B.
While Soul Sister came after producer Bert Berns's untimely death (who produced her hit "Piece of My Heart"), his spirit of innovative soul seems present in Erma's adventurous material. Many listeners feel Erma was overlooked, and Soul Sister is a treasured find for fans of deep, authentic soul, appreciating its unique sound and her unrealized potential.
Fans highly recommend the album, calling it "crisp, funky, fabulous" and a must-have for soul lovers. Some note that, like her other albums, it has "real duds," but the brilliance of tracks like "Change My Thoughts From You" makes it worthwhile. It's seen as a classic for those "in the know," offering a different, more raw side of the Franklin family's musical legacy.
Soul Song
Written-By – Loman Pauling
8:04
A2 When A Man Loves A Woman
Written-By – A. Wright, C. Lewis
6:55
A3 Mr. Businessman
Written-By – Ray Stevens
3:08
B1 Blowin' In The Wind
Written-By – Bob Dylan
6:20
B2 Soul Song
Written-By – Shirley Scott
5:27
B3 Like A Lover
Written-By – Bergman, Caymmi, Bergman
4:03
Label: Atlantic – SD 1515
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Jazz, Soul
Style: Soul-Jazz, Funk
Soul Song (1969), recorded for Atlantic Records, represents Shirley Scott's transition toward a heavier funk and soul-inflected sound compared to her earlier Prestige recordings. While technically recorded in late 1968, it was released in early 1969.
The album received mixed reviews from critics, often described as a transitional or less central piece in her vast discography:
Modern listeners often appreciate the "mellow and soulful" vibe, though some note a "narrow and cramped" soundstage in original pressings. It is noted for a stronger funk groove and longer track lengths than her previous work.
The album features a "cooking" soul-jazz feel with prominent contributions from guitarist Eric Gale and Scott's husband at the time, Stanley Turrentine, on tenor sax.
The title track, "Soul Song," is notable because it features Shirley Scott singing, a rarity for the "Queen of the Organ".
Key Tracks:- "Think": An 8-minute standout cover of the Lowman Pauling classic; "When A Man Loves A Woman": A soulful, extended interpretation; "Soul Song": The title track, featuring Scott's vocals; "Blowin' In The Wind": A soul-jazz take on the Bob Dylan anthem.
The album boasts an "all-star cast" typical of late-60s Atlantic jazz sessions:- Shirley Scott: Organ, Vocals; Stanley Turrentine: Tenor Saxophone; Eric Gale: Guitar; Roland Martinez: Bass; Bernard Purdie: Drums.
Critically, the album is noted for its "spirited playing" and Scott's ability to lead and arrange during a time when female bandleaders were rare in jazz. It remains a favorite among "rare groove" collectors for its rhythmic intensity and the chemistry between Scott and Turrentine.
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.
Soul Twist
A2 Twisting Time 2:37
A3 What'd I Say
Written-By – R. Charles 2:28
A4 I Know
Written-By – B. George 2:52
A5 Sack O' Woe Twist
Written-By – J. Adderley 2:35
A6 Camp Meetin'
Written-By – Ousley, Pierce 3:07
B1 Wobble Twist 2:28
B2 Irresistible You
Written-By – Kasha, Dixon 2:44
B3 Big Dipper 2:31
B4 Twisting With The King 2:38
B5 Midnight Blue
Written-By – Butler, Ousley 5:37
Label: Enjoy Records – ENLP 2001
Format: Vinyl, LP
Country: US
Released: 1962
Genre: R&B Soul
Style: Soul, Instrumental
Soul Twist With King Curtis (often just Soul Twist) is a foundational 1962 instrumental R&B/Soul album by King Curtis & The Noble Knights, featuring his massive crossover hit "Soul Twist," showcasing his powerful, syncopated saxophone over groovy, danceable tracks, blending jazz-influenced R&B with popular dance crazes like the Twist, solidifying Curtis's reputation as a versatile session musician and bandleader.
The album is built around the iconic instrumental "Soul Twist," which went to #1 on the R&B charts and crossed over to the Top 40 pop charts.
Features driving rhythms, strong basslines, prominent saxophone (Curtis's signature), and a raw, energetic sound that defined early soul and R&B. Beyond Curtis's sax, it features his tight band, The Noble Knights, including future legends like Richard Tee (piano) and Cornell Dupree (guitar). Captures the dance craze era, with tracks like "Twisting Time," making it perfect for parties and clubs.
A landmark album in instrumental R&B, it cemented King Curtis's status as a major force in soul music, paving the way for his later work with Aretha Franklin and his own hit "Memphis Soul Stew".
In essence, it's a pure, energetic dose of early 60s soul, defined by King Curtis's incredible saxophone talent and irresistible dance grooves.
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.
Sound Of A Drum
Congas, Percussion – Ralph MacDonald
Drums – Rick Marotta
Guitar – Eric Gale
Piano – Richard Tee
Soprano Saxophone, Tenor Saxophone – Grover Washington, Jr.
Written-By – Ralph MacDonald, William Salter
6:17
A2 Where Is The Love
Congas, Percussion – Ralph MacDonald
Drums – Rick Marotta
Electric Bass – Chuck Rainey
Guitar – Eric Gale
Piano – Richard Tee
Soloist, Harmonica – Jean "Toots" Thielemans
Vocals – Frank Floyd, Gwen Guthrie, Patti Austin, Raymond Simpson, Vivian Cherry, Zachary Sanders
Written-By – Ralph MacDonald, William Salter
6:08
A3 The Only Time You Say You Love Me
Congas, Percussion – Ralph MacDonald
Drums – Rick Marotta
Electric Bass – Chuck Rainey
Guitar – Eric Gale
Piano, Clavinet [Clavinette] – Arthur Jenkins Jr.
Vocals – William Eaton, William Eaton
Written-By – Arthur Jenkins Jr., Cynthia Jenkins
4:54
B1 Jam On The Groove
Clavinet [Clavinette] – Arthur Jenkins Jr.
Congas, Soloist, Percussion – Ralph MacDonald
Drums – Rick Marotta
Electric Bass – Chuck Rainey
Guitar – Eric Gale
Piano – Richard Tee
Soloist, Synthesizer – Bob James
Written-By – Ralph MacDonald, William Salter
5:54
B2 Mister Magic
Double Bass [Upright Bass] – William Salter
Drums – Rick Marotta
Electric Piano [Fender Rhodes], Soloist, Congas, Percussion – Ralph MacDonald
Piano – Arthur Jenkins Jr.
Timbales – Nicholas Marrero
Twelve-String Guitar – Eric Gale
Vibraphone [Vibes] – David Friedman
Written-By – Ralph MacDonald, William Salter
4:16
B3 Calypso Breakdown
Congas, Percussion – Ralph MacDonald
Cowbell [Cow Bells] – Nicholas Marrero
Drums – Rick Marotta
Electric Bass – Chuck Rainey
Guitar – Eric Gale
Performer [Bottle] – Urias (Uncle Bougs) Fritz
Piano – Richard Tee
Soloist, Clarinet – Clinton Thobourne
Written-By – William Eaton
7:50
Label: Marlin – MARLIN 2202
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz
Style: Jazz-Funk, Latin Jazz
Ralph MacDonald's Sound of a Drum (1976) is a landmark Jazz-Funk, Crossover Jazz album known for its infectious grooves, smooth arrangements, and percussive brilliance, featuring hits like "Mister Magic" and "Calypso Breakdown," showcasing MacDonald's signature steelpan and percussion alongside strong R&B/Soul elements, defining a vibrant era of instrumental fusion on Marlin Records.
The album blends Jazz-Funk, Crossover Jazz, R&B, and Soul, and features prominent steelpan (steel drum) and percussion, MacDonald's main instruments, creating a distinctive Caribbean-infused sound, emphasizes strong, danceable rhythms and infectious, melodic hooks.
It includes iconic songs like "Mister Magic," "Calypso Breakdown," "Jam on the Groove," and "Where Is the Love," according to Apple Music and Discogs.
The album offers a feel-good, sophisticated, and rhythmic experience, capturing the essence of late-70s instrumental funk while maintaining a timeless appeal, making it a staple for fans of classic soul and jazz fusion
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
A2 On Your Face 4:34
A3 Imagination 5:17
A4 Spirit 3:12
B1 Saturday Nite 4:03
B2 Earth, Wind & Fire 4:41
B3 Departure 0:27
B4 Biyo 3:38
B5 Burnin' Bush 6:48
Written by Bernard Taylor, Peter Cor )track A1), Al McKay (tracks: B1, B4), Charles Stepney (tracks: A2, A3), Jerry Peters (tracks: B5), Larry Dunn (tracks: A4, B3), Maurice White (tracks: A2 to B4), Philip Bailey (tracks: A2, A3, B1), Skip Scarborough (tracks: B2)
Label: Columbia – PC 34241
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Jazz, Funk
Style: Soul-Jazz, Soul, Funk
Spirit, released in 1976, is the seventh studio album by Earth, Wind & Fire and is renowned for capturing the band at their "celestial peak" with its signature blend of R&B, soul, funk, jazz, and pop. The album is dedicated to their longtime co-producer Charles Stepney, who passed away during its recording sessions.
The album is praised for the band's ability to combine high-energy funk tracks with sophisticated ballads and spiritual themes, expertly produced by Maurice White and Charles Stepney. Critics at the time, such as John Rockwell of The New York Times, noted the band's refusal to be locked into any single stylistic format, blending elements closer to jazz-rock than the standard disco formulas.
It is suffused with Maurice White's mystical and positive worldview, with a strong spiritual undercurrent, particularly in the title track and "Burnin' Bush".
Spirit was a commercial success, reaching No. 2 on both the Billboard 200 and Top Soul Albums charts and achieving Double Platinum certification in the US. It was also nominated for an American Music Award for Favorite Soul/R&B Album.
Noteworthy Tracks:
"Getaway": The album's soaring opener and a major hit, reaching No. 1 on the Billboard Hot Soul Songs chart and No. 12 on the Billboard Hot 100 chart. It features driving funky basslines and vibrant horns.
"Saturday Nite": Another hit single, known for its danceable groove and catchy chorus, which peaked at No. 4 on the Billboard Hot Soul Songs chart.
"Imagination": A sophisticated love song and a highlight, featuring Philip Bailey's acclaimed falsetto and lush arrangements.
"Spirit": The title track, a soulful and introspective dedication to Charles Stepney, which was intended to uplift his spirit.
"Biyo": A loose, funky instrumental track that was nominated for a Grammy in the Best Instrumental Composition category.
"Burnin' Bush": The expansive album closer with gospel influences and a complex arrangement, showcasing Larry Dunn's keyboards.
The album was produced by Maurice White and Charles Stepney for Kalimba Productions. Following Stepney's untimely death during the recording sessions, Maurice White took over the bulk of the arranging and production duties, with the entire album serving as a tribute to Stepney's creative contribution to the band's signature sound.
Praised by critics for its impeccable production, artistry, and ability to transcend stylistic boundaries, with Wikipedia calling it a defining moment. The album is dedicated to their beloved co-producer, Apple Music Charles Stepney, who passed away during its creation.
EWF Earth Wind & Fire Earth, Wind & Fire
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.
Spirit Of The Boogie
Synthesizer [Bass Arp], Vocals, Clavinet – Ronald Bell
Vocals – Dennis Thomas, Otha Nash, Rick West, Robert "Kool" Bell, Spike Mickens
Written-by, Vocals [Boogie Man] – Don Boyce 4:52
A2 Ride The Rhythm
Vocals – Dennis Thomas, Otha Nash, Spike Mickens
Vocals, Bass – Ronald Bell 2:56
A3 Jungle Jazz
Bass – Ronald Bell
Flute – Dennis Thomas
Vocals – Rick West 4:45
A4 Sunshine & Love
Lead Vocals – Don Boyce
Performer [Duglatch Cosmic Music Machine] – Bob Merritt
Vocals – Dennis Thomas, Otha Nash, Ronald Bell 3:48
A5 Ancestral Ceremony
Kalimba – Ronald Bell
Vocals – Otha Nash, Rick West 3:50
B1 Mother Earth
Piano, Synthesizer [Moog] – Rick West
Vocals – Otha Nash, Ronald Bell
Written-By, Arranged By, Piano – George Brown 5:39
B2 Winter Sadness
Flute [Alto] – Ronald Bell
Vocals – Dennis Thomas
Written-By, Arranged By – Claydes E.X. Smith 5:16
B3 Caribbean Festival
Arranged By – Kool & The Gang 7:33
Written by Claydes Smith (tracks: B2), Don Boyce (tracks: A1), George Brown (tracks: B1), Kool & The Gang
Label: De-Lite Records – DEP-2016
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Funk
Spirit of the Boogie (1975) is widely praised as a peak of Kool & The Gang's early, gritty funk era, showcasing their mastery of Afro-jazz-infused grooves with standout tracks like the instrumental jam "Jungle Jazz," the swaggering "Spirit of the Boogie," and the soulful "Winter Sadness," marking a strong follow-up to Wild and Peaceful before their full disco transition, though some find minor inconsistencies or a slight "cheesiness" in ballads.
It's celebrated for its deep funk, jazz-funk, and Afro-centric themes, blending tight rhythms with cosmic synths and powerful horn arrangements, representing the group's raw, authentic sound before their pop-disco pivot.
Standout Tracks: "Jungle Jazz" (a rework of "Jungle Boogie") and the title track are frequently highlighted for their infectious grooves and iconic breaks. "Caribbean Festival" offers a lengthy, joyful Latin-infused jam, while "Mother Earth" and "Winter Sadness" are noted for their instrumental depth.
Some critics mention a weaker ballad ("Sunshine And Love") or slightly cheesy vocals on certain tracks as minor drawbacks, though they don't overshadow the album's strengths. The album is seen as a crucial link in the band's evolution, a high point of their pre-disco era, and features iconic breaks (like in "Jungle Jazz") that have been sampled extensively.
Overall, Spirit of the Boogie is considered an essential listen for fans of 70s funk, demonstrating Kool & The Gang's musical prowess and delivering a rich, organic party sound that remains highly influential.
Spotlighting The Man
Written-By – V. Walls, A. Nugeire
3:15
A2 Georgia
Written-By – Carmichael, S. Gorrell
3:32
A3 Since I Fell For You
Written-By – Johnson
2:27
A4 Who Can I Turn To
Written-By – A. Newley, L. Bricusse
2:56
A5 Wouldn’t You Rather Have Me
Written-By – D. Malone, V. Morrison
4:20
B1 Rockin’ In The Same Old Boat
Written-By – D. Malone, V. Morrison
3:32
B2 I’m On My Way
Written-By – D. Malone, H. Boozier
3:05
B3 Ask Me ‘Bout Nothing But The Blues
Written-By – D. Malone, H. Boozier
3:40
B4 You Ought To Be Ashamed
Written-By – C. Smith
2:52
B5 Gotta Get To Know You
Written-By – A. Williams, D. Malone
2:34
Label: Duke – DLP 89
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Blues
Style: Soul-Blues
Bobby Bland's 1969 album Spotlighting the Man, released under the Duke label (DLP-89), is often described as a masterful blend of soulful R&B and jazzy arrangements. Released during a transitional period in his career, it was his last new LP for four years until he signed with ABC-Dunhill.
A soulful fusion of Blues, Funk, Soul, and Rhythm & Blues, with lush, jazzy touches in the instrumentation that highlights Bland's expressive, husky voice, described as persuasive and powerful. Considered a classic, capturing Bland at his peak with a mix of raw blues feeling and polished soul production.
The standout track "Ask Me 'Bout Nothing But The Blues" is frequently cited as a definitive performance that articulates Bland's deep expertise in the genre. Other key tracks include "Wouldn’t You Rather Have Me," "Gotta Get To Know You," and his rendition of "Georgia".
Reviewers noted Bland's ability to merge blues with soul, maintaining his distinctive sound. Fans praise the audiophile sound quality on some pressings and its overall fantastic feel.
Spotlighting The Man is a must-have for fans of classic soul-blues, offering a rich mix of powerful vocals and sophisticated arrangements from one of the genre's legends.
The album cover is iconic for its raw imagery, showing Bland onstage in a "full gospel sweat," capturing the intense, spiritual energy of his live performances. It serves as a bridge between his classic big-band Duke era and the more pop-oriented productions of the early 1970s.
Bobby Bland Bobby Blue Bland
Starting All Over
Music By – Alan Thicke
Music By, Lyrics By – Philippé Wynne
5:06
A2 Waiting On A Letter From Home
Written-By – Charles Simmons, Joe Jefferson
3:51
A3 Think Of Your Thoughts As Children
Written-By – Philippé Wynne
6:37
A4 Hobo Stew
Written-By – Philippé Wynne
5:16
A5 Hats Off To Mama
Written-By – Philippé Wynne
3:16
B1 Like A Loser Needs A Winner (You're All I Need)-
Written-By – Philippé Wynne
3:45
B2 That's Alright Too
Written-By – Brenda Russell (2), Brian Russell, Philippé Wynne
4:47
B3 Take Me As I Am
Written-By – Bruce Hawes, Charles Simmons (2), Joe Jefferson
6:26
B4 Lisa
Lyrics By – Philippé Wynne
Music By – Alan Thicke
4:32
B5 Starting All Over (Reprise)
Music By – Alan Thicke
Music By, Lyrics By – Philippé Wynne
0:43
Label: Cotillion – SD 9920
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
Philippe Wynne's 1977 solo debut, Starting All Over, showcased his distinctive, sweet-raspy voice with Philly-soul arrangements, blending heartfelt ballads like "Think of Your Thoughts as Children" with funkier tracks like "Like a Loser Needs a Winner," but often felt less polished than his work with The Spinners, as Wynne sought to establish his own identity with mixed results for some fans.
Released on Cotillion Records in 1977, shortly after Wynne left The Spinners, self-produced by Wynne, who also handled rhythm arrangements, with support from top session musicians, and strong emphasis on Wynne's powerful, soulful lead vocals, with backing harmonies often further back in the mix. Rooted in Philly Soul, featuring lush string/horn arrangements and tight rhythms, though sometimes leaning into funk.
The album features several originals written or co-written by Wynne—including two tracks co-written with his then-manager Alan Thicke—alongside contributions from Joe Jefferson and Charles Simmons. While praised for Wynne's voice, some listeners found it lacked the consistent pop hooks of his previous group, with tracks like "Hobo Stew" and "Hats Off to Mama" feeling like attempts to overcompensate for his solo debut.
Starting All Over served as Wynne's bold, yet sometimes uneven, declaration as a solo artist, showcasing his immense talent but also the challenge of stepping out from under the shadow of his famous group.
Despite Wynne's fame as a lead vocalist, the album saw limited commercial success and did not produce any major hit singles. Fans of his later work with George Clinton's Parliament-Funkadelic often find this album too pop-oriented, while Spinners fans occasionally felt it lacked the "shimmering pop melodies" of his earlier work.
Stay
Producer – Galen Senogles, Ralph Benatar
Written-By – G. Fuqua, M. Gaye, S. Greene
4:47
A2 Stay
Engineer [Assistant] – Toni Greene
Engineer [Remix] – Taavi Mote
Producer – Barry Eastmond
Remix – Louil Silas Jr.
Written-By – B. Eastmond, V.J. Smith
5:43
A3 So Glad
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
5:04
A4 Bad Bad Jama
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
4:48
B1 My Secret Fantasy
Producer – Galen Senogles, Ralph Benatar
Written-By – G. Senogles, K. Pinto, R. Benatar
4:36
B2 Break Out The Love
Producer – Barry Eastmond
Written-By – B. Eastmond, J. Skinner
4:50
B3 Deeper In Love
Producer – Barry Eastmond
Written-By – B. Eastmond, V.J. Smith
4:20
B4 Got A Thang
Producer – Barry Eastmond
Written By – K. Keys
Written-By – B. Eastmond, R.A. Brown
5:11
Label: MCA Records – MCA-5681
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre:R&B Soul
Style: Eighties Soul, Funk, Disco
The Controllers' 1986 album Stay is an 80s R&B/soul collection showcasing the group's smooth harmonies across electro-funk grooves like the title track "Stay," romantic mid-tempo jams such as "My Secret Fantasy," and soulful ballads, making it their most successful R&B album, peaking at #25 on the Black Albums chart with hit singles "Distant Lover" and "Stay".
Critics and listeners generally view the album as a solid representation of the "Minneapolis Sound" and 80s contemporary R&B. Produced by Barry J. Eastmond in collaboration with Galen Senogles and Ralph Benatar.
Reviewers frequently praise the group's lush, sentimental harmonies, which provide a coherent feel across varying styles. The album is noted for its "stupid fresh" and "best ever" use of the Roland TR-808 drum machine, specifically on the title track.
While some critics find parts of the album "highly generic" or "overstaying its welcome" due to weaker obligatory ballads, it is widely considered a "classic" for fans of 80s funk and soul.
Key Tracks:-
"Stay": The standout hit, praised for its electro-funk flavor and "awesome tune" status.
"Got a Thang": Highlighted as an excellent upbeat funk track.
"Break Out the Love" & "My Secret Fantasy": Romantic mid-tempo tracks that showcase the era's signature production details.
"Distant Lover": Noted as a significant track from the 1986 release.
In essence, Stay captured The Controllers at their commercial peak, delivering a polished R&B sound that resonated with 80s soul fans, even if it occasionally leaned into generic territory.
Stay With Me
Written-By – J. Cohen, N.M. Walden 5:41
2 When Will You Be Mine
Written-By – E. Foster White 4:43
3 Dream Lover
Written-By – D. Kyles, M. Grady 5:29
4 What Goes Around
Written-By – C. Mitchell 5:35
5 Make It Like It Was
Written-By – C. Winans 5:09
6 Good Lovin'
Written-By – C. Bourelly, R. Davis 5:44
7 It Doesn't Hurt Anymore
Written-By – A. Armato, R. Neigher 5:01
8 This Is Love
Written-By – J. Butler 4:43
9 (It's Gonna Take) All Our Love
Written-By – B. Eastmond, M. Eastmond 4:36
10 Someday We'll All Be Free / Save The Children
Written-By – D. Hathaway, E. Howard, M. Gaye 6:55
11 All I Want Is Forever
Written-By – D. Warren 4:30
Label: Columbia – CK 44367
Format: CD, Album
Country: US
Released: 1989
Genre: R&B Soul
Style: Contemporary R&B, Soul
Regina Belle's
Stay With Me (1989) is a highly praised R&B/soul gem, celebrated for Belle's rich, sincere vocals and heartfelt, relatable lyrics about love and companionship, featuring hits like "Baby Come to Me," "Make It Like It Was," and the duet "All I Want Is Forever," making it a definitive album of her early career, solidifying her as a powerful voice in late '80s music, despite some reviewers finding weaker up-tempo tracks.
Reviewers consistently highlight Belle's beautiful, powerful voice and her ability to convey deep sincerity, making listeners feel personally connected to her stories.
The album features lush, adult-oriented arrangements with soft keyboards and subtle orchestration, giving her vocals ample space to shine.
It spawned multiple R&B chart-toppers, including the iconic "Baby Come to Me," "Make It Like It Was," and the duet with James "J.T." Taylor "All I Want Is Forever". Stay With Me reached #1 on the US R&B chart and #63 on the Billboard 200, earning Gold certification and establishing Belle as a major force.
While ballads are universally praised as her strength, some critics found the faster tracks less compelling, though many listeners found the entire album modern and enjoyable.
Fans and critics view Stay With Me as a must-have, an essential part of Belle's legacy, showcasing classic '80s R&B at its finest, brimming with timeless romance and honest storytelling.
Steal Away
Written-By – Dan Penn, Rick Hall 2:19
A2 There Is Something On Your Mind
Written-By – Cecil McNeely 3:03
A3 A Shot Of Rhythm And Blues
Written-By – Terry Thompson 2:16
A4 Neighbour, Neighbour
Written-By – Huey Meaux 2:56
A5 Everybody Let's Dance
Written-By – Rick Hall 2:28
A6 Steal Away
Written-By – Jimmy Hughes 2:25
B1 Try Me
Written-By – James Brown 2:33
B2 I'm Gonna Rise Again
Written-By – Joe South 2:17
B3 I Tried To Tell You
Written-By – Dan Penn 2:26
B4 I'm Getting Better
Written-By – William Bruce 2:00
B5 Stormy Monday Blues
Written-By – T-Bone Walker 3:04
B6 I Want Justice
Written-By – Oscar Franck 2:13
Label: Vee Jay Records – VJLP-1102
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul, Blues
Style: Sixties Soul, Southern Soul
Jimmy Hughes' 1964 album, Steal Away, is a landmark Southern Soul release, celebrated for its raw emotion, heartfelt lyrics, and introduction of Muscle Shoals' sound, featuring the iconic, gospel-infused title track and showcasing Hughes' powerful, versatile voice and the era's authentic rhythm section, though its impact was lessened by distribution issues, making reissues highly valued for R&B fans.
The gospel-infused title track "Steal Away" is a timeless classic, known for its building arrangement, urgent drums, organ, and Hughes' emotionally powerful, hopeful vocal.
It helped establish the Fame Records sound and served as a prototype for Southern Soul, influencing later greats like Al Green.
The album uniquely features Fame Records' first great rhythm section, many of whom soon moved to Nashville, adding to its historical significance.
Hughes' voice is praised for its versatility, ranging from rowdy to deeply soulful, expressing vulnerability and charm.
The original mono mix preserves the authentic feel, with production by Rick Hall that stands the test of time.
Due to distributor Vee-Jay's collapse, original copies were scarce, making the album a collector's item and cementing its status as a must-have for soul enthusiasts.
Steal Away isn't just an album; it's a crucial piece of soul music history, capturing a specific moment in Muscle Shoals, Alabama, with a voice and sound that defined a genre, even if Hughes didn't achieve the sustained superstardom of some peers.
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.
Stephanie
Arranged By [Horns] – Greg Thomas
Arranged By [Strings] – Dunn Pearson
Written-By – James Mtume, Reggie Lucas
4:50
A2 Two Hearts
Arranged By [Strings, Horns] – Dunn Pearson
Featuring – Teddy Pendergrass
Written-By – James Mtume, Reggie Lucas, Tawatha
4:44
A3 Don't Stop Doin' What 'Cha Do
Arranged By [Strings, Horns] – Dunn Pearson
Written-By – James Mtume, Reggie Lucas
4:48
A4 Top Of My List
Arranged By [Strings, Horns] – Rodney Brown
Written-By – Rodney Brown & Willie Lester
3:42
B1 I Believe In Love Songs
Arranged By [Strings, Horns] – Wade Marcus
Written-By – James Mtume, Reggie Lucas
4:14
B2 Night Games
Acoustic Guitar – David Spinozza
Arranged By [Strings, Horns] – Jorge Calandrelli
Keyboards – Warren Bernhardt
Written-By – James Mtume, Reggie Lucas
5:47
B3 My Love's Been Good To You
Arranged By [Strings, Horns] – Dunn Pearson
Written-By – Howard King, Tawatha
4:12
B4 Magic
Acoustic Guitar – David Spinozza
Arranged By [Strings, Horns] – Wade Marcus
Keyboards – Warren Bernhardt
Written-By – Jeffrey Daniels, Stephanie Mills
5:07
Label: 20th Century Fox Records – T-700
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
Stephanie Mills' 1981 album "Stephanie" is generally seen as a solid, sophisticated soul/R&B release, blending smooth quiet storm ballads with enjoyable post-disco tracks, featuring highlights like the hit duet with Teddy Pendergrass "Two Hearts," strong Mtume/Lucas productions ("Night Games," "Don't Stop Doin' What 'Cha Do"), and showcasing Mills' powerful vocals, though some found it less surprising or original than her earlier work.
Mostly produced by James Mtume and Reggie Lucas, maintaining their successful formula but with improved ballads. A mix of sensual R&B, quiet storm, and post-disco pop, with strong soulful melodies and big vocals. Widely praised for Mills' commanding, powerhouse voice, drawing from her Broadway roots.
Standout Tracks:- "Two Hearts": A major hit duet with Teddy Pendergrass, noted for its solid melody; "Night Games": A chance for Mills to shine vocally, a classy ballad; "Don't Stop Doin' What 'Cha Do": Another strong ballad; "Top of My List": An enjoyable, playful uptempo track.
It Marked Mills' final album for 20th Century-Fox before moving to Casablanca Records and earned her another Grammy nomination. Some reviewers felt the album was somewhat uneven, a bit dated, or not as groundbreaking as her prior releases, but still a quality record for fans.
Overall, "Stephanie" is considered a strong entry in her catalog, emphasizing her vocal talent and delivering sophisticated soul, especially appreciated by fans of the era and Mills herself.
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.
Steppin Out Steppin Out
Still Bill
Written-By – Bill Withers
5:43
A2 Let Me In Your Life
Written-By – Bill Withers
2:39
A3 Who Is He (And What Is He To You)?
Lyrics By – Stan McKenny
Music By – Bill Withers
3:12
A4 Use Me
Written-By – Bill Withers
3:46
A5 Lean On Me
Guitar, Piano – Bill Withers
Written-By – Bill Withers
4:17
B1 Kissing My Love
Written-By – Bill Withers
3:49
B2 I Don't Know
Written-By – Bill Withers
3:05
B3 Another Day To Run
Lyrics By – Bill Withers
Music By – Benorce Blackman
4:38
B4 I Don't Want You On My Mind
Written-By – Bill Withers
4:35
B5 Take It All In And Check It All Out
Written-By – Bill Withers
2:40
A&M Records – Sussex – AMLS 68107
Format: Vinyl, LP, Album
Country: UK
Released: Aug 1972
Genre: R&B Soul
Style: Seventies Soul
Still Bill (1972) is the second studio album by American singer-songwriter Bill Withers, widely considered a masterpiece of 1970s soul and R&B. Following the success of his debut, the album solidified Withers' reputation for combining a "middle-class male perspective" with sophisticated, genre-blending arrangements.
The album is noted for its effortless fusion of multiple contemporary styles, creating a sound that is both laid-back and rhythmically complex. It seamlessly integrates smooth Philly soul, gritty Southern blues, "pimp-strut" funk, and acoustic folk.
Withers’ comforting baritone voice is described as "oaky" and "self-assured," providing a sense of "unflappable calm" even when addressing intense emotional topics. He is backed by members of the Watts 103rd Street Rhythm Band, who provided the album's signature "muscular funk" and syncopated grooves.
The album features several of Withers' most enduring hits:
"Lean on Me": A gospel-tinged anthem of brotherhood and community that reached #1 on both the Billboard Hot 100 and the Soul charts.
"Use Me": A sexual, funk-heavy track featuring a prominent clavinet riff; it reached #2 on the charts.
"Who Is He (And What Is He to You)?": A moody, paranoid exploration of jealousy driven by an understated, hypnotic groove.
"Lonely Town, Lonely Street": An uptempo, grooving opening track that showcases the band’s rhythmic tightness.
The album is included in both The Guardian's and Tom Moon’s "1,000 Albums to Hear Before You Die" lists. It is ranked #333 on Rolling Stone's 2020 list of the "500 Greatest Albums of All Time". Critics often cite it as Withers' finest work, praising its "unaffected" authenticity and "deceptively simple" songwriting that rewards repeat listening.
Still Here
Written-By, Producer – Otis Williams
Written-By, Producer, Keyboards – Johnny Britt 0:30
2 Change Has Come
Bass – Sean Michael Ray
Guitar – Damon Johnson, Roger Jones
Producer – James Yerby, Michael Panepento, Shaun Pezant
Rap – Marques Johnson
Written-By – James Yerby, Shaun Pezant 3:21
3 One Of A Kind Lady
Bass – Kerry Turman
Tenor Saxophone, Alto Saxophone – Bobby English
Written By, Producer – Otis Williams
Written-By, Producer, Arranged By [Vocal], Programmed By, Instruments, Trumpet, Flugelhorn – Johnny Britt 4:18
4 Let Me Catch Your Diamonds
Tenor Saxophone, Alto Saxophone – Bobby English
Written-By, Producer, Arranged By [Vocal] – Otis Williams
Written-By, Producer, Arranged By [Vocal], Trumpet, Flugelhorn – Johnny Britt 3:53
5 Hold Me
Bass – Kerry Turman
Tenor Saxophone, Flute – Bobby English
Written-By, Producer, Arranged By [Vocal] – Otis Williams
Written-By, Producer, Arranged By [Vocal], Programmed By, Instruments, Trumpet, Flugelhorn – Johnny Britt 5:03
6 Warm Summer Nights
Bass – Sean Michael Ray
Guitar – Norris Jones
Producer – Yerbys
Producer, Percussion – Michael Panepento
Producer, Programmed By, Keyboards – Shaun Pezant
Written-By – James Yerby, Maxine Yerby, Shaun Pezant 5:49
7 First Kiss
Acoustic Guitar – Sam Pointer
Bass – Sean Michael Ray
Drums – Melvin Baldwin
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Producer, Percussion – Michael Panepento
Written-By – James Yerby, Shaun Pezant 4:13
8 Shawtyismygirlooyeah
Percussion – Gregg (Greco) Freeman
Producer – Otis Williams
Producer, Programmed By, Arranged By – Keith Ferguson
Written-By – Keith Ferguson 5:12
9 Still Here With Me
Producer – Michael Panepento, Yerbys
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Soprano Saxophone – Kelley O'Neal
Written-By – James Yerby, Maxine Yerby, Shaun Pezant 4:15
10 Soul Music
Alto Saxophone – Kelley O'Neal
Bass – Sean Michael Ray
Guitar – Norris Jones
Producer – Yerbys
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Producer, Percussion – Michael Panepento
Written-By – James Yerby, Shaun Pezant 4:26
11 Woman
Producer – Michael Panepento, Yerbys
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Written-By – James Yerby, Shaun Pezant 5:30
12 Listen Up
Guitar – Damon Johnson
Producer – Yerbys
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Producer, Percussion – Michael Panepento
Written-By – James Yerby, Maxine Yerby, Shaun Pezant 6:05
13 Going Back Home
Acoustic Guitar, Slide Guitar – Sam Pointer
Bass – Sean Michael Ray
Producer, Arranged By, Programmed By, Keyboards – Shaun Pezant
Producer, Tambourine – Michael Panepento
Written-By – James Yerby, Shaun Pezant 4:04
14 Still Here (Reprise)
Written-By, Producer – Otis Williams
Written-By, Producer, Arranged By [Vocal], Orchestrated By – Johnny Britt 0:34
Label: 10/30 International – B0014216-02
Format: CD, Album, Promo
Country: US
Released: 2010
Genre: R&B Soul
Style: Soul
The Temptations' 2010 album, Still Here, received mixed but generally positive reviews, praised for its strong vocal performances, especially by Bruce Williamson and Ron Tyson, and attempts at socially relevant tracks reminiscent of their classics, but criticized for sometimes generic production, overuse of Auto-Tune, and attempts to appeal to younger listeners that fell flat, though ballads like "Hold Me" and modernized updates like "Shawtyismygirlooyeah" (for "My Girl") were highlights, making it a solid, if not groundbreaking, effort for the legendary group.
Reviewers lauded the powerful harmonies and individual talents, especially Williamson's strong lead and Tyson's smooth falsetto, holding true to classic Temptations style. The slow jams, particularly "Hold Me" and "Still Here with Me," were frequently singled out as beautiful and emotionally resonant. Tracks like "Change Has Come" and "Listen Up" were seen as welcome returns to their socially conscious roots, echoing hits like "Ball of Confusion". "Shawtyismygirlooyeah" was noted as a clever, modern take on the iconic "My Girl".
Some found the overall production sometimes underdeveloped or overly "plastic," with efforts to sound contemporary sometimes failing. The use of Auto-Tune on some tracks was a point of contention for critics. While some tracks succeeded, others, like "Going Back Home," were considered filler, leading to an uneven experience.
Despite flaws, Still Here was seen as a brave attempt to record new material, a welcome change from covers, and a testament to the group's enduring vocal quality, making it an enjoyable listen for longtime fans.
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.
Stormin’
Written-By – Woods, Womack
4:59
A2 Waiting For Someone
Written-By – Womack
6:13
A3 This Must Be Heaven
Written-By – Ross, Overton, Johnson, Myles
6:35
A4 Easy Thangs
Written-By – Johnson
4:48
B1 Prelude
Written-By – Peters
0:51
B2 Wake Up And Be Somebody
Written-By – Kent
6:25
B3 Stormin'
Written-By – Johnson
4:20
B4 We Know A Place
Written-By – Ross
4:22
B5 Hangin' On
Written-By – Kent
4:06
Label: Tabu Records – BQL1-2048
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
Brainstorm's Stormin' (1977) is a highly-regarded debut funk/soul album, celebrated for its tight musicianship, catchy grooves, and standout tracks like the disco-funk classic "Lovin' Is Really My Game" and the soulful ballad "This Must Be Heaven," offering spirited, danceable funk that transcends mere disco and showcases the self-contained band's strong talents, especially in its remastered CD form with bonus tracks for collectors.
It's a blend of Funk, Soul, and Disco, featuring intricate arrangements, strong vocals, and driving rhythms, though reviewers note it's more sophisticated funk than pure disco.
Standout Tracks: "Lovin' Is Really My Game" (a major hit), "Waiting For Someone," "We Know A Place," and the beautiful ballad "This Must Be Heaven" are frequently praised.
The band was self-contained and highly skilled, with fantastic musicianship and seamless guitar work adding to the experience.
Considered a "long lost gem," the album holds up well, with its quality often compared favorably to later releases, notes this Amazon review.
Fans and critics view Stormin' as a strong debut that foreshadowed the band's potential, offering deep grooves and soulful moments that make it a classic for funk and soul lovers.
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.
Strange Reflections
A2 Only Lover 3:43
A3 Strange Reflections 3:53
A4 Satisfies Your Life 4:48
B1 Sing And Shout 3:48
B2 Ovo Mexido 4:11
B3 Don't You 4:14
B4 Paradise 3:24
B5 Lights Out 4:26
Label: MCA Records – MCF 3255
Format: Vinyl, LP, Album
Country: UK & Europe
Released: 1985
Genre: R&B Soul, Funk
Style: Boogie, Jazz-Funk, Soul
Strange Reflections is the second and final studio album by the British jazz-funk band Second Image, released in 1985 through MCA Records. Known for its high-energy production and smooth melodies, the album is a staple for fans of 1980s UK soul and jazz-funk.
The album is widely regarded as a high-quality example of the mid-80s jazz-funk era. Reviews consistently highlight the album's mix of jazz-funk, soul, and danceable 80s grooves.
Modern listeners and collectors often praise the production as being "better than expected" for its time, noting its polished sound even on remastered CD reissues. The album maintains solid ratings on community platforms, with an average score of approximately 4.13 to 4.32 out of 5 on Discogs.
The album is noted for several standout tracks that received significant airplay from influential DJs like Robbie Vincent and Greg Edwards:-
"Starting Again": Often cited as the lead single and a fan favorite.
"Don't You": Highlighted for its strong groove and radio appeal.
"Satisfies Your Love": Recognized as a core track of the UK's "soundtrack of summer" in 1985 and 1986.
"Strange Reflections": The title track is praised for its atmospheric 80s production.
The album has been reissued on CD, though some limited editions (like the FINCD-1041 release) were noted to have mispressings that included tracks from other artists, such as The Skool Boyz.
While original vinyl copies are prized collectors' items, the digital remaster is frequently recommended for its clarity.
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 Called Desire
Rap [Featuring] – Kurtis Blow
4:20
A2 I'll Be Good
5:14
A3 No How - No Way
5:00
A4 You Don't Have To Cry
5:53
B1 Street Called Desire
4:40
B2 Your Smile
4:26
B3 Who's Foolin' Who
5:06
B4 Drive My Love
4:09
Written by René Moore And Angela Winbush
Label: Club – JABH 12
Format: Vinyl, LP, Album
Country: UK
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Released in 1985, René & Angela’s Street Called Desire is a classic 80s R&B album and the duo's final, most successful project, peaking with hits like "Save Your Love (For #1)" and "Your Smile". It is praised for its blend of heavy electro-funk, melodic pop-soul, and top-tier songwriting, often cited as a definitive, must-have album for the era.
The album features two #1 R&B hits: the Kurtis Blow-assisted "Save Your Love (For #1)" and the ballad "Your Smile". It also produced top-5 R&B hits with "I'll Be Good" and "You Don't Have to Cry".
The album bridges melodic 80s pop-soul with heavy, sometimes industrial electro-funk. Angela Winbush’s vocals are described as strong and reminiscent of Chaka Khan, providing a soulful foundation.
As their only album for Mercury, it is considered their artistic peak. It was one of the early R&B records to successfully feature rap, with Kurtis Blow contributing to a #1 hit.
Critics and fans generally consider it a "killer" album with a high-quality, danceable sound that remains a classic for R&B, despite a few potential filler tracks.
The album sits at the crossroads of late 70s R&B, balancing upbeat disco-flecked numbers with the heavy "sweet soul" ballads that the group became known for with their debut In Control. While not as commercially massive as their later 80s hits like "Stay," Next In Line is prized by collectors for its authentic, non-commercialized Southern soul sound.
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.
Street Lady
Written-By – Larry Mizell
7:16
A2 Miss Kane
Written-By – Larry Mizell
7:35
A3 Sister Love
Written-By – Larry Mizell
6:46
B1 Street Lady
Written-By – Larry Mizell
8:30
B2 Witch Hunt
Written-By – Larry Mizell
9:40
B3 Woman Of The World
Written-By – Edward Gordon, Larry Mizell
6:20
Label: Blue Note – BN-LA140-F
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Jazz
Style: Soul-Jazz, Jazz-Funk
Released in 1973 on Blue Note, Donald Byrd’s Street Lady is a quintessential, highly-regarded jazz-funk masterpiece produced by Larry and Fonce Mizell. It features a polished, cinematic sound blending soulful grooves,, with standout tracks like "Lansana's Priestess" and "Street Lady," often described as an essential, moody, and funky soundtrack to urban life.
The album is defined by the "Mizell magic," featuring a rich, layered, and sophisticated soundscape that combines funk grooves with jazz improvisation. It is frequently compared to Blaxploitation soundtracks of the era.
"Lansana's Priestess" is considered the star track and a classic, while "Street Lady," "Sister Love," and "Miss Kane" also receive high praise for their grooving, percussive, and, at times, moody nature.
The record features prominent, crisp guitar work, along with pastoral flute and, synthesizer/organ sounds, providing a "heavy" and "heady" atmosphere.
It is widely considered a, cornerstone of 70s jazz-funk, highly sought after by collectors and frequently sampled in hip-hop. While some feel it is more of a, party or background album rather than for deep, repeated listening, it is generally considered a,, superior, more self-assured follow-up to Black Byrd.
This album is ideal for fans of 70s soul, jazz-funk, and, those looking for a quintessential, soundtrack-style recording. The album is highly sought after by collectors and has been extensively sampled by hip-hop artists like Public Enemy and Black Moon.
Street Songs
Words By, Music By – Rick James
4:07
A2 Ghetto Life
Words By, Music By – Rick James
4:20
A3 Make Love To Me
Words By, Music By – Rick James
4:48
A4 Mr. Policeman
Words By, Music By – Rick James
4:17
B1 Super Freak
Words By, Music By – Alonzo Miller, Rick James
3:25
B2 Fire And Desire
Words By, Music By – Rick James
7:19
B3 Call Me Up
Words By, Music By – Rick James
3:54
B4 Below The Funk (Pass The J)
Words By, Music By – Rick James
2:36
Label: Gordy – G8-1002M1
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco Funk
Released in April 1981, Rick James’ Street Songs is a seminal 5x Platinum funk album that defined '80s Motown with a raw, "punk-funk" sound. It features iconic hits like "Super Freak" and "Give It To Me Baby," alongside the Teena Marie duet "Fire and Desire". The album spent 20 weeks at No. 1 on the R&B charts, blending gritty themes of street life, sex, and drugs with high-energy dance grooves.
The album is noted for its infectious basslines, sharp horn arrangements, and a mix of polished funk, disco, and rock influences.
Features vocals from The Temptations (Melvin Franklin, Otis Williams, Richard Street) on "Ghetto Life" and "Super Freak," and harmonica by Stevie Wonder on "Mr. Policeman".
Street Songs solidified James as a superstar and provided samples for numerous hip-hop hits, most notably MC Hammer's "U Can't Touch This".
It was a shift toward a more aggressive, yet commercially accessible sound compared to his previous work, heavily inspired by his upbringing.
The album is considered the peak of Rick James' career, capturing a raw energy that revolutionized 1980s R&B. Street Songs has sold over four million copies and is often cited as one of the most influential R&B albums of the 1980s.
Street Sounds Edition 1
Producer, Arranged By – Ron Dean Miller
Written-By – Bert Reid, Ron Dean Miller
6:36
A2 Grandmaster Flash & The Furious Five– The Message
Producer – Sylvia Inc
Written-By – J. Chase, E. Fletcher, M. Glover, S. Robinson
7:10
A3 Inner Life– Moment Of My Life (Remix)
Producer – Greg Carmichael, Leroy Burgess
Remix – Shep Pettibone
Written-By – L. Burgess, S. T. Davenport
8:00
A4 North End– Tee's Happy (Remix)
Producer, Arranged By – Arthur Baker, Russell Presto, Tony Carbone
Written-By – A. Baker, R. Presto, T. Carbone
6:15
B1 Greg Henderson– Dreamin'
Producer, Written-By – Greg Henderson
7:38
B2 Dunn And Bruce Street– Shout For Joy
Producer, Arranged By – Bruce Gray, Dunn Pearson
Written-By – Bruce Gray, Dunn Pearson Jr.
6:15
B3 Kadenza– Let's Stay Together
Producer, Arranged By – Erroll Reid, Mick Okoro
Written-By – Mick Okoro
4:52
B4 Peech Boys– Don't Make Me Wait (Special Version)
Producer – Levan, De Benedictus
Written-By – R. Bernard Fowler, Peech Boys
10:30
Label: Street Sounds – STSND 001
Format: Vinyl, LP, Compilation
Country: UK
Released: 1982
Genre: R&B Soul, Funk
Style: Eighties Soul, Hip-Hop, Boogie
Street Sounds Edition 1 (1982) is a seminal UK dance compilation, praised for making rare, essential early 80s funk, soul, boogie, and proto-hip-hop accessible to UK audiences, featuring landmark tracks like Grandmaster Flash's "The Message" and Raw Silk's "Do It To The Music"; it's considered a vital, filler-free snapshot of emerging street sounds, a crucial introduction to US dance culture for many, and a classic that holds up decades later, though some later found quality dips in the series.
It blended American electro, funk, soul, disco, and early hip-hop, acting as a vital bridge for UK fans to access these sounds. Included iconic hits and rare grooves like Raw Silk's "Do It To The Music," Grandmaster Flash & The Furious Five's "The Message," Inner Life's "Moment of My Life", Greg Henderson's "Dreamin'", and The Peech Boys' "Don't Make Me Wait".
It offered affordable access to expensive 12-inch imports, making underground US dance music available in high street stores like Woolworths. Many fans remember it as a landmark album with no filler, still sounding great. It's seen as essential listening for understanding the roots of rap and hip-hop and documenting a cultural shift.
This was the first in the "Main Series," paving the way for the popular Electro series, with its slogan "One Hour Packs of the Latest Dance Tracks".
Reviewers on Discogs have described it as having the "strongest songs from all 20 editions" and containing "no filler songs". The selection of tracks, including the seminal "Don't Make Me Wait" by the Peech Boys and "Do It To The Music" by Raw Silk, are considered classic 80s dance and proto-house anthems that have influenced house music.
In Summary, Street Sounds Edition 1 is revered as a foundational compilation that introduced UK audiences to groundbreaking American street dance music, offering essential tracks in a format that captured the energy of the era and remains a beloved piece of music history.
Street Sounds Edition 2
Producer – Webster Lewis
Written-By – Willie Hutch
6:57
A2 Whodini– Magic's Wand (Special Extended Mix)
Mixed By – Tee Scott
Producer – Thomas Dolby
Written-By – J. Hutchins, J. Rivas, Thomas Dolby
11:22
A3 First Light– A.M.
Producer – First Light
Written-By – Paul Hardcastle
5:52
A4 Sunfire– Step In The Light
Producer – Reggie Lucas
Written-By – Brian Jackson
5:24
B1 Montana Sextet– Heavy Vibes (Club Mix)
Producer, Arranged By, Conductor, Written-By – Vincent Montana, Jr.
8:10
B2 Melle Mel & Duke Bootee– Message II (Survival)
Producer – Sylvia Robinson
Written-By – J. Robinson Jnr, M. Glover, S. Robinson
6:48
B3 Rocket– I Wanna Know
Producer – Ray Rock
Written-By – O'Loughlin, Golden, Scher
6:29
B4 Nairobi– Soul Makossa (Full Vocal)
Producer – Arthur Baker
Written-By – Manu Oibango
8:15
Label: Street Sounds – STSND 002
Format: Vinyl, LP, Compilation
Country: UK
Released: 1983
Genre: R&B Soul, Hip Hop, Funk
Style: Electro, Soul, Disco
The 1983 compilation album Street Sounds Edition 2 is generally highly regarded by users and collectors as a strong, non-stop mix of early 80s funk, soul, and dance tracks, though some individual tracks have received mixed opinions. It is often cited as a nostalgic "must-have" for fans of the era's music.
User ratings on sites like Discogs average around 4.3 to 5 stars out of 5 across various releases, indicating a very positive reception among fans and collectors. Reviewers frequently praise the compilation for its selection of full-length dance tracks, particularly the inclusion of classics that have stood the test of time. The album provided a crucial introduction to various R&B, funk, and early hip-hop artists for a UK audience.
The album is known for featuring extended mixes, which was a major draw for DJs and music enthusiasts at the time:-
Gwen McCrae – "Keep The Fire Burning (US Remix)": This track is often highlighted as a standout on the album, a "classic" dance track that resonates with listeners.
Whodini – "Magic's Wand (Special Extended Mix)": An important early hip-hop track, some reviews note its "slow, wobbly dubbed-out strut-bounce" sound, which provided a contrast to the otherwise uptempo tracks.
Montana Sextet – "Heavy Vibes (Club Mix)": This track is generally well-received and contributes to the album's strong mix of "boogie-funk-soul" music.
Melle Mel & Duke Bootee – "Message II Survival": A significant early rap track that adds historical depth to the compilation.
For collectors and fans of the Street Sounds series, this edition is considered a high point, with some calling it one of the issues with the strongest songs and "no filler". The original vinyl LPs are well-regarded for their audio quality, offering a clean, nostalgic listening experience.
Street Tough
Backing Vocals – Frank Floyd, Luther Vandross, Ullanda McCullough
Producer – Ray Chew
Written-By – Willie Hutch
4:30
A2 Made For Each Other
Producer – Barrie Palmer, Ben E. King, Janet Alhanti
Written-By – Barrie Palmer, Janet Alhanti
4:42
A3 Staying Power
Producer – Ben E. King
Written-By – Frederick Knight
4:39
A4 Stay A While With Me
Producer – Ben E. King
Written-By – Joe Cobb, Van McCoy
5:24
B1 Why Is The Question
Producer – Ben E. King
Written-By – Ben E. King, Ben E. King, Jr.
4:27
B2 You Made The Difference To My Life
Producer – Barrie Palmer, Ben E. King, Janet Alhanti
Written-By – Barrie Palmer, Janet Alhanti
5:39
B3 Souvenirs Of Love
Producer – Barrie Palmer, Ben E. King, Janet Alhanti
Written-By – Barrie Palmer, Janet Alhanti
3:43
B4 Something To Be Loved
Producer – Ben E. King
Written-By – Michael Ward*
5:23
Label: Atlantic – SD 19300
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Funk
Ben E. King's 1981 Street Tough album is noted as a smooth, funky, soulful record, highlighting his classic style with modern (for the time) production, featuring the popular title track (written by Willie Hutch with backup by Luther Vandross) and tracks like "Music Trance," showcasing his timeless vocals over funky arrangements, a strong continuation of his legacy for soul and rare groove fans.
The album delivers King's signature smooth vocals on funk-infused tracks, often featuring prominent sax and jazzy horns. It features a fuller sound with keyboards and backing vocals, enhancing rather than overwhelming his core sound, according to some descriptions.
Standout Tracks: "Street Tough" (the title track) and "Music Trance" are frequently mentioned as highlights, showcasing upbeat, danceable soul.
Street Tough solidified King's appeal in the late disco/early '80s, bridging his classic era with contemporary sounds, making it a favorite for rare groove enthusiasts.
In essence, Street Tough is considered a quality offering from Ben E. King, maintaining his soulful essence while embracing the funk and disco sounds of the era, with strong emphasis on his enduring voice and catchy grooves.
Strikin’
Written-By – D. Thompson, F. Brunson 5:15
A2 No One Can Love You More
Written-By – J. Hightower 5:35
A3 Young Wings Can Fly
Written-By – J. B. Jefferson, R. Roebuck 5:01
A4 (Theme From) Above The Stars
Written-By – D. Thompson, F. Brunson 5:18
B1 Can't Get Enough Of Your Love
Written-By – D. Thompson, F. Brunson 5:32
B2 Hands In The Fire (Strung Out Over You)
Written-By – M. Reed 5:40
B3 Watcha Gonna Do With My Love
Written-By – D. Thompson, F. Brunson 5:05
B4 Mr. Rhythm Man
Written-By – D. Thompson, F. Brunson, J. Hightower, M. Reed 5:23
Label: Mercury – 422-818 925-1 M-1
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk, Disco
People's Choice's Strikin' album (1980/early 80s) is a solid funk/boogie record, praised for its irresistible keyboard grooves, especially the standout club hit "You Ought To Be Dancin'," a magical, Tom Moulton-mixed jam; tracks like "Bad Dancin' Rita" offer similar funk, while "If I Knew Then What I Know Now" showcases classic Philly soul, making it a must-have for fans of late-70s/early-80s dance music, even if the single "My Feet Won't Move But My Shoes Did The Boogie" didn't chart higher.
Key Highlights: "You Ought To Be Dancin'": The undeniable peak, a long, keyboard-driven funk groove that was a major club success, noted for its Fatback-esque feel and female choir. "If I Knew Then What I Know Now" brings a distinct Philly soul flavor, featuring Frank Brunson's strong baritone vocals. "My Feet Won't Move But My Shoes Did The Boogie" is a hypnotic dancer, reminiscent of Frankie Smith's "Double Dutch Bus," despite its modest chart performance.
The album delivers strong boogie/funk with tracks like "Bad Dancin' Rita" (compared to Carl Carlton's "She's a Bad Mama Jama") and hypnotic grooves on slower cuts like "Sweeter Than Honey" and "Young Wings Can Fly".
Overall Vibe: Strikin' captures that exciting transition period in funk and disco, delivering infectious, dancefloor-ready tracks with memorable keyboard work and solid grooves, cementing its place in early 80s funk/boogie.
The album was originally released on vinyl and has since seen limited CD reissues, which have been welcomed by fans for making the obscure 1984 tracks more accessible. Used vinyl copies are still traded among collectors, with recent median prices around $7.00 as of late 2025.
People s Choice Peoples Choice
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.
Strugglin’ Lady
A2 My Dog And Me
A3 Cafe Woman
A4 You Were Always On My Mind
A5 Let Them Talk
B1 If This Ain't The Blues
B2 A Nickel And A Nail
B3 She Never Gets The Blues
B4 I Keep Falling For You
B5 Bending The Rules
Label: Malaco Records – MAL 7465
Format: Vinyl, LP, Album
Country: US
Released: 1992
Genre: R&B Blues
Style: Southern Soul, Blues
Little Milton's 1992 album, Strugglin' Lady, showcases his enduring soul-blues mastery with heartfelt songs, strong guitar work, and emotive vocals, blending traditional blues with Southern soul, though some critics found it less groundbreaking than his earlier Stax/Checker work, it remains a solid addition, highlighting his adaptability with tracks like his soulful covers and collaborations.
A rich blend of soulful blues, Southern soul, and roots rock, consistent with Milton's signature sound, featuring Little Milton's trademark smooth yet powerful voice and expressive guitar playing.
The album delivers emotive narratives typical of blues and soul, with tracks reflecting deep feeling, supported by strong musicianship, including horn sections and talented session players, providing a polished sound.
While not always reaching the heights of his vintage material, it was seen as a welcome release, proving Milton still had the goods and appealing to both longtime fans and newcomers.
Overall, Strugglin' Lady is considered a strong late-career effort, keeping the flame of classic soul-blues alive with authentic performances and a testament to Little Milton's lasting talent as a blues icon.
Strugglin' Lady is often cited as a standout entry in Milton's prolific Malaco discography, sitting alongside other late-career successes like Annie Mae's Café and Reality. It solidified his status as a "Soul-Blues Preacher" who could bridge the gap between vintage Sun/Chess-era blues and modern Southern soul.
Struggling Man
Written-By – Jimmy Cliff
3:27
A2 When You're Young
Written-By – Jimmy Cliff
3:23
A3 Better Days Are Coming
Written-By – Jimmy Cliff
3:15
A4 Sooner Or Later
Written-By – Jimmy Cliff
5:14
A5 Those Good Good Old Days
Written-By – Jimmy Cliff
3:49
B1 Can't Stop Worrying, Can't Stop Loving You
Written-By – Dave Mason
4:52
B2 Let's Seize The Time
Written By – G. Bright-Plummer
4:57
B3 Come On People
Written By – G. Illingworth-B. Finton
2:52
B4 I Can't Live Without You
Written By – G. Bright-Plummer
4:01
B5 Going Back West
Written-By – Jimmy Cliff
4:50
Label: Island Records – SW-9343
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: Reggae
Style: Roots Reggae
Jimmy Cliff's Struggling Man (1973) is a raw, emotionally intense album capturing his struggles in London, blending powerful reggae with soul/gospel, featuring classics like "Many Rivers to Cross," showcasing his pure voice against hardship, and highlighting his pivotal role in bringing reggae to the world. Reviews note its poignant depth, timeless melodies, and strong emotional core, despite some listeners finding it less purely roots reggae and leaning towards pop/soul.
The album's strength lies in Cliff's raw portrayal of pain, confusion, and turmoil, making it deeply personal and powerful. It moves from straightforward reggae to soulful gospel/pop, with rich backing vocals, especially on tracks like "Many Rivers to Cross"..
Recorded during a difficult period for Cliff in London, it reflects his challenges and serves as a crucial part of reggae's global story, following The Harder They Come. While some find it less "roots" and more commercial, many praise its depth, beautiful melodies, and raw honesty, with "Many Rivers to Cross" considered a masterpiece.
Highlights from Tracks:- "Many Rivers to Cross": A poignant, timeless ballad showcasing pure vocals over deep organ; "Viet Nam": A catchy and important protest song; "Sooner or Later": Noted for its strong minor-key groove.
In essence, Struggling Man is celebrated for its honest portrayal of struggle, stunning vocal performances, and pivotal tracks that cement Jimmy Cliff's legacy in reggae and beyond, even as it shows his stylistic evolution. While it may not be Cliff's most celebrated work, its "undiluted power" and emotional honesty make it a significant piece of his early 1970s discography.
Struttin’
Written-By – Neville, Porter, Modeliste, Nocentelli 2:48
A2 Liver Splash
Written-By – Neville, Porter, Modeliste, Nocentelli 2:40
A3 Wichita Lineman
Featuring, Vocals [Featured Vocalist] – Art Neville
Written-By – Jim Webb 2:58
A4 Joog
Written-By – Neville, Porter, Modeliste, Nocentelli 2:12
A5 Go For Yourself
Written-By – Neville, Porter, Modeliste, Nocentelli 3:10
A6 Same Old Thing
Written-By – Neville, Porter, Modeliste, Nocentelli 2:52
B1 Hand Clapping Song
Written-By – Neville, Porter, Modeliste, Nocentelli 2:55
B2 Darlin' Darlin'
Featuring, Vocals [Featured Vocalist] – Art Neville
Written-By – Rogueo B. Davis 2:53
B3 Tippi-Toes
Written-By – Neville, Porter, Modeliste, Nocentelli 2:26
B4 Britches
Written-By – Neville, Porter, Modeliste, Nocentelli 2:50
B5 Hey! Last Minute
Written-By – Neville, Porter, Modeliste, Nocentelli 2:59
Label: Josie – JOS 4012
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Bayou Funk, Soul
The Meters' Struttin' (1970) is a pivotal funk album, praised for deepening their signature New Orleans groove with more vocals, dynamic tracks like "Hand Clapping Song," and unique arrangements ("Joog"), solidifying its status as a foundational funk record, though some consider it slightly weaker than its predecessors as it completed their early trilogy before a sound shift. Critics highlight its irresistible grooves, instrumental interplay (bass, guitar, drums, organ), and adventurous spirit, marking a key moment before their move to a major label.
The album is consistently described as funky, with persistent, "jammin'" rhythms that are well-organized and perfect for head-nodding.
It's The Meters' first album to feature significant vocals, with Art Neville taking the lead on tracks like "Wichita Lineman," adding soulful variation. Reviewers love the "dirty," raw, early '70s sound with distinct separation between instruments, like the pickin' guitar and fat bass.
Standout Tracks: "Hand Clapping Song," "Chicken Strut," "Joog," and "Tippi-Toes" are frequently mentioned as highlights.
It concludes their early era with Josie Records, noted as a strong but slightly less groundbreaking release compared to their debut or Look-Ka Py Py, though still essential for funk fans.
Its samples are a goldmine for hip-hop, and it's considered a classic, bridging their instrumental origins with expanded arrangements before their next phase.
In summary, Struttin' is seen as a vital, fun, and essential listen, showcasing The Meters' mastery of groove and their willingness to experiment, cementing their legacy as funk pioneers.
Success
Written-By – B. Esty, P. Jabara 6:09
A2 Hungry For Love
Written-By – P. Jabara 4:59
A3 Dear Santa (Bring Me A Man This Christmas)
Written-By – P. Jabara, P. Shaffer 6:29
B1 Hope
Written-By – B. Esty, P. Jabara 4:04
B2 It's Raining Men
Written-By – P. Jabara, P. Shaffer 5:26
B3 I'm Gonna Wash That Man Right Outa My Hair
Written-By – O. Hammerstein II, R. Rodgers 5:15
Label: Columbia – PC 38997
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Funk
Style: Soul, Disco
The Weather Girls' 1983 album Success is widely regarded as a quintessential 1980s Hi-NRG and disco classic, though retrospective reviews highlight a mix of vocal praise and technical criticisms regarding modern reissues.
Reviewers consistently praise the powerful, gospel-rooted voices of Martha Wash and Izora Armstead. The duo is noted for their commanding presence and "vibrant" contrasting styles that bring emotional depth and energy to every track.
Produced by Paul Jabara, the album is described as a "riot" of theatrical dance music, featuring full orchestral backing and infectious, upbeat rhythms. It is often cited as a joy-filled collection of anthems, particularly favored within queer culture.
While the original 1983 production is lauded for its high quality, the 2013 Cherry Pop reissue has received negative feedback for its remastering. Listeners have reported audible "clicks and pops" and bonus tracks that appear to be sourced from vinyl rather than original master tapes.
Notable Tracks:
"It's Raining Men": The undisputed standout and a "camp classic" that became an enduring international hit.
"Success": The title track is described as a "celebratory anthem" and a "fantastic mini-epic".
"I'm Gonna Wash That Man Right Outa My Hair": A popular Hi-NRG cover of the South Pacific musical number, praised for its catchy foot-tapping rhythm.
"Dear Santa (Bring Me a Man This Christmas)": A unique track that starts as a soulful ballad before shifting into a fast Hi-NRG beat.
"Hungry for Love": A funky, mid-tempo song noted for its humorous "double entendre".
The album holds a strong retrospective rating of approximately 4.0 to 4.1 out of 5 on platforms like Discogs. Beyond the original vinyl and cassette, there is an expanded CD edition featuring bonus remixes, single versions, and a booklet with new photos and track info.
Sugar
Written-By – Stanley Turrentine
10:00
A2 Sunshine Alley
Written-By – Butch Cornell
11:00
B Impressions
Written-By – John Coltrane
15:30
Label: CTI Records – CTI 6005
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Jazz
Style: Soul-Jazz, Funk
Stanley Turrentine's Sugar is a seminal soul-jazz/funk album, celebrated for its irresistible grooves, stellar lineup (including George Benson, Freddie Hubbard, Ron Carter), and powerful interplay, delivering a warm, bluesy, late-night feel that satisfies both jazz aficionados and newcomers, offering a perfect bridge between classic jazz and emerging funk/fusion. While some find it slicker than his earlier Blue Note work, its soulful, blues-infused tracks, particularly the iconic title song, showcase Turrentine's melodic strength and the band's cohesive, groovy chemistry.
The album's foundation is its deep, infectious groove, driven by Ron Carter (bass) and Billy Kaye (drums), creating a compelling, funky backbone. Features a dream team: Turrentine (tenor sax), Freddie Hubbard (trumpet), George Benson (guitar), Ron Carter (bass), Butch Cornell (organ), and Billy Kaye (drums).
Turrentine's tenor is soulful and blues-rooted, often employing melodic lines and expressive phrasing, while Hubbard adds fiery, powerful trumpet work. Musicians listen and interact, with Benson's guitar fills complementing Turrentine's solos, making it a true ensemble performance. Captures a late-night, warm, and cool atmosphere, making it ideal for relaxed listening or getting into early '70s jazz.
Track Highlights:- "Sugar": The iconic title track is a bluesy, medium-tempo classic, perfect for showcasing the band's synergy; "Impressions": A soulful, intense take on the John Coltrane standard, featuring dynamic solos from all; "Sunshine Alley": Adds a funky edge to the mix.
A must-have for jazz fans, representing Turrentine's successful dive into funkier, groovier territory. Offers both immediate appeal through its catchy rhythms and depth in its improvisation. A fantastic starting point for those wanting to explore Turrentine beyond his Blue Note era or early '70s jazz.
In essence, Sugar is a masterclass in feel-good, high-quality soul-jazz, consistently praised for its infectious energy and top-tier musicianship.
Sun Goddess
Bass – Verdine White
Congas – Phillip Bailey
Electric Piano [Fender Rhodes], Synthesizer [Arp Ensemble] – Charles Stepney
Guitar – Johnny Graham
Producer – Maurice White
Tenor Saxophone – Don Meyrick
Timbales, Drums, Vocals – Maurice White
Vocals – Phillip Bailey, Verdine White
Written-By – J. Lind, M. White
8:29
A2 Living For The City
Drums, Tambura, Congas, Percussion – Maurice Jennings
Electric Upright Bass [Fender] – Cleveland Eaton
Written-By – S. Wonder
5:20
A3 Love Song
Drums, Tambura, Congas, Percussion – Maurice Jennings
Electric Upright Bass [Fender] – Cleveland Eaton
Guitar – Byron Gregory
Written-By – R. Lewis
5:53
B1 Jungle Strut
Congas, Drums – Derf Rehlew Raheem, Maurice Jennings
Electric Upright Bass [Fender] – Cleveland Eaton
Guitar – Byron Gregory
Synthesizer [Freeman String] – Ramsey Lewis
Tambura, Percussion – Maurice Jennings
Vocals – Derf Rehlew Raheem
Written-By – R. Lewis
4:40
B2 Hot Dawgit
Bass – Verdine White
Congas – Phillip Bailey
Electric Piano [Fender Rhodes], Synthesizer [Arp Ensemble] – Charles Stepney
Guitar – Johnny Graham
Producer – Maurice White
Timbales, Drums – Maurice White
Vocals – Maurice White, Phillip Bailey, Verdine White
Written-By – C. Stepney, M. White
3:00
B3 Tambura
Drums, Tambura, Congas, Percussion – Maurice Jennings
Electric Upright Bass [Fender] – Cleveland Eaton
Guitar – Byron Gregory
Written-By – R. Lewis
2:53
B4 Gemini Rising
Drums, Tambura, Congas, Percussion – Maurice Jennings
Electric Upright Bass [Fender] – Cleveland Eaton
Written-By – R. Lewis
5:50
Label: Columbia – KC 33194
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz, Funk
Style: Soul-Jazz, Jazz-Funk
Ramsey Lewis’s Sun Goddess, released in late 1974 on Columbia Records, is widely regarded as his landmark jazz-fusion masterpiece. It marked a significant departure from his 1960s acoustic trio sound, embracing a lush blend of funk, soul, and R&B.
The album’s defining characteristic is the reunion of Lewis with his former drummer Maurice White, who by then was leading Earth, Wind & Fire (EWF). Maurice White produced the album and co-wrote the title track. The album features members of EWF, including Philip Bailey (vocals/congas) and Verdine White (bass), lending the record a distinct "EWF vibe".
Track Highlights:-
"Sun Goddess": The 8-minute title track is the centerpiece, celebrated for its "shimmering quiet storm" anthem feel, wordless vocalese by Philip Bailey, and Lewis’s rippling Fender Rhodes piano.
"Living for the City": An instrumental cover of the Stevie Wonder classic, described as "poignant" and "soulful" with punchy string arrangements.
"Jungle Strut": A straightforward funk track known for its infectious drum groove and playful African rhythmic sound effects.
"Hot Dawgit": A catchy soul-pop instrumental that features Bailey's vocals and was a modest hit on the R&B charts.
It was Lewis’s most successful 1970s album, reaching #1 on the Billboard Jazz and R&B charts and #12 on the Pop charts. Reviews often highlight the "electrifying" chemistry between Lewis and EWF. While some jazz purists initially questioned the commercial direction, modern critics praise it as an "essential" slice of 70s jazz-funk that radiates warmth and positivity.
Considered a landmark instrumental album and one of Lewis's best, showcasing his versatility. Praised for its musicality, production quality (by Charles Stepney), and ability to transcend genre boundaries.
A must-hear for fans of 70s funk, jazz fusion, and soulful music. Vintage Columbia pressings are highly sought after by audiophiles for their "huge, spacious, and punchy" analog sound.
Sun Over The Universe
Written-By – B. Byrd, K. Yancey
4:58
A2 Hot Spot
Written-By – Byron Byrd
5:37
A3 Stay By My Side
Written-By – B. R. Fleming, B. Byrd
4:50
A4 Quest (Instrumental)
Written-By – Byron Byrd
4:40
B1 You Threw My Love Away
Written-By – Byron Byrd
4:28
B2 I Want Your Love
Written-By – B. Byrd, K. Yancey
4:49
B3 I Made A Mistake
Written-By – Byron Byrd
4:52
B4 Fancy Feet
Written-By – Byron Byrd
4:08
Label: Capitol Records – ST-12088
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk, Disco
Sun Over The Universe is the fifth studio album by the Ohio-based funk and R&B band Sun, released in 1980 under Capitol Records. It is widely regarded as a transitional record that moves the band away from their earlier raw funk roots toward a more polished, disco-influenced sound.
The album generally receives moderate to positive scores from niche audiences, holding a rating of 4.06 / 5 on Discogs based on user reviews.
Reviewers often note that the production is tight and professional, characteristic of the late 1970s and early 1980s R&B scene. However, some critics feel it lacks the "grit" found on their earlier successful records like Sunburn (1978).
While not as commercially dominant as their gold-certified predecessors, the album is valued by collectors for its blend of "spacey" synths and rhythmic funk.
The album is part of a discography that includes hits like "Radiation Level," though Sun Over The Universe is often seen as a deeper cut for fans of the "Ohio funk" sound.
For collectors, original vinyl pressings remain the primary way to experience the album, as it has not seen the same level of widespread digital remastering as major pop hits of the same era.
In essence, it's a classic funk/disco record from the late '70s/early '80s known for its tight grooves, impressive musicianship, and a "sun-drenched" yet otherworldly feel, fitting its evocative title.
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.
o jays ojays the o jays the ojays o\'jays o\\'jays o''jays
Super Star
Written-By – J. Holt
A2 Bring It Home To Me
Written-By – S. Cooke
A3 Winter World Of Love
Written-By – B. Mason, L. Reed
A4 Before The Last Tear Drops Fall
Written-By – B. Peters, V. Keith
A5 Goodnight My Love
Written-By – Motola, Marascalco
B1 You're All I've Got
Written-By – J. Holt
B2 Sugar
B3 You Must Believe Me
Written-By – C. Mayfield
B4 Got Go Back Home
Written-By – B. Andy, K. Anderson
B5 Since I Met You Baby
Written-By – Ivory Joe Hunter
Label: Weed Beat – WB 04
Format: Vinyl, LP, Album
Country: Jamaica
Released: 1976
Genre: Reggae
Style: Lovers Rock
John Holt's 1976 album, Super Star, likely refers to his return to Jamaica and a shift in style, showcasing re-cut classics and new songs with a mature reggae sound, following his UK "Volts" series.
While specific reviews for Super Star are sparse in snippets, it marks Holt's successful reconnection with Jamaican roots after UK pop experiments, blending his signature sweet voice and romantic style (foretelling Lovers Rock) with solid roots reggae, establishing his legendary status with hits like those on Up Park Camp released the same year, solidifying his legacy as a versatile reggae icon.
Released the same year, this album featured re-cut hits and new material, highlighting his strong Jamaican comeback. After UK pop covers (1000 Volts of Holt), he returned to his roots, producing earthy, rootsy, and soulful reggae.
Holt's slower, romantic style was a significant precursor to the Lovers Rock subgenre, making his music timeless. He remained a major force, influencing reggae and soul, known for hits like "Police in Helicopter" and his powerful, emotive delivery.
In essence, Super Star (or his 1976 output generally) captures John Holt at a pivotal moment, confidently blending his romantic vocal style with strong reggae production, cementing his place as a "Super Star" in Jamaican music.
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 And Wonderful
Written-By – P. St. James 4:51
A2 Don't Say No (To Love)
Written-By – A. Phillips, B. Ross, R. J. Seeman 4:19
A3 Sweet And Wonderful
Vocals [Male, Duet With] – Glenn Jones
Written By – M. Robinson, D. Von Lewis, D. Hughes 3:58
A4 Love Don't Love Nobody
Written-By – C. B. Simmons, J. B. Jefferson 7:07
B1 We Got Some Catchin' Up To Do
Written-By – A. O. Johnson 5:02
B2 Mystic Stranger
Written-By – P. St. James 4:45
B3 I Just Thought Of A Way
Written-By – F. A. Austin, Jr., F. Smith 4:07
B4 Love (Makes Me Do Foolish Things)
Written-By – B. Holland-L. Dozier-E. Holland 4:31
Label: TSOP – FZ 36775
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Philly, Disco
Jean Carn's Sweet & Wonderful is a beloved Philly Soul masterpiece, praised for its stunning vocals, rich arrangements by Gamble & Huff's team (including McKinley Jackson), and transition from jazz-funk to sophisticated soul/disco, featuring standout tracks like "We Got Some Catching Up To Do," "Sweet & Wonderful," and "Mystic Stranger," solidifying her solo career beyond her earlier work with Doug Carn.
Critics consistently laud Carn's powerful, emotive voice as the album's centerpiece, showcasing her immense talent. It features lush arrangements, bridging her jazz roots with contemporary soul and disco, moving beyond her earlier, more esoteric jazz-funk style.
Standout Tracks: "We Got Some Catching Up To Do," "Sweet & Wonderful," "I Just Thought Of A Way," "Mystic Stranger," and "Love Don't Love Nobody" are frequently mentioned as highlights.
Norman Connors' luxurious production and the Philly International Records (PIR) team (Gamble & Huff) delivered a rich, high-quality sound.
Many fans consider it her artistic masterpiece, proving that leaving her husband Doug Carn was a great career move. The album is seen as a soundtrack to love stories, offering moments of joy and reflection.
Overall Reception: A beautiful, essential album for soul music fans, marking a significant artistic step for Carn. While some find elements of its disco style dated (especially on the companion LP), the overall quality, vocals, and arrangements make it a timeless listen. It's considered a landmark in Philly Soul, demonstrating Carn's ability to shine on her own.
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 Bitter Love
Written-By – McCall
A2 Play Me
Written-By – N. Diamond
A3 There's No Me Without You
Written-By – E. Bivins
A4 I'd Rather Be Lonely
Written-By – Eli, Freeman, Barrett
A5 Gypsy Man
Written-By – Curtis Mayfield
A6 Sweet Bitter Love
Written-By – Van McCoy
B1 Here I Am Baby
Written-By – Al Green, Hodges
B2 Everything I Own
Written-By – D. Gates
B3 Green Grasshopper
Written-By – L. Davidson
B4 Children At Play
Written-By – L. Davidson
B5 Play Me (With Lloyd Charmers)
Featuring – Lloyd Charmers
Written-By – N. Diamond
Label: Trojan Records – TRLS 94
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: Reggae
Style: Reggae, Soul
Marcia Griffiths' Sweet Bitter Love album (1974) is a landmark of soulful reggae and proto-lovers rock, showcasing her divine voice over rich, emotive arrangements by Lloyd "The Charmers" Charmers, featuring iconic covers like "The First Time Ever I Saw Your Face" and "There's No Me Without You," delivering otherworldly moodiness and essential deep reggae that remains highly acclaimed and collectible, especially in deluxe reissues with rare bonus tracks.
The album, produced by Lloyd Charmers, is known for its sophisticated, soulful arrangements with lush horns and smooth instrumentation.
Griffiths delivers heartbreaking, majestic, and assured vocals, solidifying her reputation as a supreme talent.
It's a prime example of soulful reggae, often cited as proto-lovers rock, perfect for downtempo reggae fans.
Standout Tracks: "The First Time Ever I Saw Your Face" (a definitive version); "There's No Me Without You" (with majestic horns); "Gypsy Man" (reimagined); "Sweet Bitter Love" (the title track).
It's considered an essential, otherworldly, and moody record that cemented Griffiths' solo stardom alongside her work with Bob Marley & The Wailers.
Highly rated by fans and critics, with reviewers praising its quality and depth, it's a staple for reggae aficionados, known for its emotional depth and timeless sound.
Sweet Soul Shakin’
Written-By – D. Cook, T. Turner
2:25
A2 Girls
Written-By – C. Ingersol, E. Carter, J. Moore, R. Preyer
2:44
A3 Get Yourself Together
Written-By – B. Sanders
2:33
A4 The Beginning Of The End
Written-By – B. Page
3:55
A5 Can't Get Enough
Written-By – B. Sanders, O. K. Menson
2:44
A6 Little Togetherness
Written-By – B. Sanders, J. Moore, W. Douglas
2:40
B1 I've Got Love For My Baby
Written-By – C. Ingersol, E. Carter, J. Moore, R. Preyer
3:30
B2 Misty
Written-By – E. Garner, J. Burke
3:10
B3 Count Down (Here I Come)
Written-By – B. Sanders, J. Flanagan, J. Peters
3:40
B4 Oh, I'll Never Be The Same
Written-By – A. Poree, B. Sanders, C. Scarborough
3:10
B5 I Found A New Love
Written-By – B. Sanders, J. Moore, R. Chestnuts
3:04
B6 Takin' Care Of Business
Written-By – B. Sanders, J. Flanagan
3:10
Label: Minit – LP-24016
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Sweet Soul Shakin' is the 1968 debut album by the R&B vocal group The Young Hearts (also known as The Younghearts). Released on Minit Records, a subsidiary of Liberty Records, the album was produced by Bobby Sanders and is considered a high-quality example of late-1960s soul harmony.
The group was known for a distinct "falsetto-lead" style that differentiated them from many other stand-up vocal groups of the era.
he album features a "bright" and upbeat West Coast sound, distinct from the soul music coming out of Detroit or Memphis at the time.
It was recorded with legendary session musicians, including Carol Kaye (bass), David T. Walker (guitar), and Paul Humphrey (drums).
The album consists of 12 tracks, blending earlier singles with new studio recordings. Notable Tracks:-
"Oh I'll Never Be the Same": A hit single that reached #40 on the R&B charts and #123 on the US Billboard charts.
"Sweet Soul Shakin'": The upbeat title track.
"Girls": A ballad characterized by its prominent harpsichord instrumentation.
"Get Yourself Together" and "Beginning of the End": Tracks previously released as singles that were included to support the album's release.
Original Group Lineup: All four original members contributed lead vocals across the various tracks: Ronald Preyer, Charles Ingersoll, Earl Melvin Carter, James Moore.
The album remains a highly regarded collector's item for fans of the Northern Soul scene and classic R&B harmony. It delivers a truly classic, feel-good soul experience, demonstrating the group's talent and excellent musicianship in a tight, memorable collection of songs.
The Young Hearts
Sweet Southern Soul
Written-By – B.B. King, Joe Josea
2:13
A2 It's In The Wind
Written-By – Don Covay
2:24
A3 This Magic Moment
Written-By – Doc Pomus, Mort Shuman
2:06
A4 She Thinks I Still Care
Written-By – Dickey Lee, Steve Duffy
3:11
A5 Move And Groove Together
Written-By – Margaret Nash
2:41
A6 Please Stay
Written-By – Bob Hilliard, Burt Bacharach
2:45
B1 I Can't Change
Written-By – Don Covay
2:46
B2 Tears Tears Tears
Written-By – Fred Parris
2:35
B3 People In Love
Written-By – Eddie Hinton, Grady Smith
2:37
B4 Don't Play That Song (You Lied)
Written-By – Ahmet Ertegun, Betty Nelson
2:30
B5 Gypsy Woman
Written-By – Curtis Mayfield
2:58
Label: Cotillion – SD 9008
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
Lou Johnson's Sweet Southern Soul (1969) is widely hailed as a lost Southern Soul masterpiece, a textbook late-60s soul album produced by Jerry Wexler & Tom Dowd with Muscle Shoals backing, featuring heart-wrenching vocals, fantastic grooves, and songwriting from Curtis Mayfield & Don Covay, making it a must-have for soul fans, especially praised in its deluxe vinyl reissue by Run Out Groove.
Recorded at FAME Studios with the legendary Muscle Shoals rhythm section, it captures the raw, powerful essence of the era, comparable to Otis Redding or James Carr.
Jerry Wexler & Tom Dowd delivered timeless production, while Arif Mardin arranged, perfectly blending soulful vocals with tight instrumentation.
Johnson's warm, expressive, and deeply soulful voice shines on tracks like the poignant "Wrong Number" and passionate numbers, making each song his own.
The album features contributions from soul legends like Curtis Mayfield, Don Covay, and classic covers given the Muscle Shoals treatment.
It's Considered one of the finest, most underrated albums in the genre, making it a highly sought-after record for collectors.
Reviewers and fans call it a "masterpiece" and "soul with a heart," a textbook example of late '60s Southern Soul, delivering deep emotion and incredible grooves, with recent reissues praised for pristine sound quality. It's a treasure for any deep soul music enthusiast.
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.
Sweet Woman’s Love
Written-By – R. Bell, V. Davis
3:02
A2 For Your Precious Love
Written-By – R. Brooks, J. Butler, V. Davis
8:36
A3 I Love You
Written-By – V. Davis
2:45
A4 I Can Hold My Own
Written-By – V. Davis
4:12
B1 Cry, Cry, Cry
Written-By – Malone
7:23
B2 Don’t Marry A Fool
Written-By – R. Bell, V. Davis
2:33
B3 St. James Infirmary
Written By – S. Crump-D. Jaye, V. Davis
3:24
B4 Wrapped Up In You
Written-By – V. Davis
2:56
B5 Sweet Woman’s Love
Written-By – R. Bell, V. Davis
2:35
Label: House Of Orange – HOS-6000
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Southern Soul, Deep Soul
Released in 1971 on the House of Orange label, Sweet Woman’s Love is widely regarded by collectors and critics as a deep soul classic. Geater Davis is frequently cited as a highly underrated figure in Southern soul, often compared to Bobby "Blue" Bland for his ability to blend blues and soul with raw emotional intensity.
Critics describe his voice as a unique combination of "sweetness and sandpaper grit". His singing is characterized as impassioned, tormented, and full of trademark "rasps and growls" that suit songs of loneliness and despair.
The album features powerful arrangements, notably a horn section that provides significant character to the title track, which reached No. 45 on the R&B charts in 1970.
Davis often collaborated with fellow Southern soul artist Reuben Bell. His work on this album is noted for its "anguished and impassioned" nature, perfectly suited to the deep blues ballad format.
Key Tracks:- "Sweet Woman's Love": The title track and a standout "super deep blues ballad"; "For Your Precious Love": An 8-minute-plus epic known for its belted-out screams and intense vocal performance; "I Can Hold My Own": Frequently highlighted as a track that "burrows its way under your skin" and is considered essential for soul enthusiasts.
Despite its high regard among "soul heaven" aficionados, the album never achieved significant commercial success during Davis's lifetime, leading many to label him a "lost soul" artist.
On Discogs, the album consistently maintains a high user rating, typically between 4.3 and 4.6 out of 5 stars across various pressings. Original House of Orange pressings are rare, but the album has been reissued on 180-gram vinyl by labels like Bear Family Records, featuring restored sound and original artwork.
Sweet Woman s Love Sweet Womans Love
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.
Switch II
Producer – Bobby DeBarge
Written-By – Bobby DeBarge, Elaine Brown, Phillip Ingram
4:29
A2 Next To You
Producer, Written-By – Greg Williams
4:11
A3 Best Beat In Town
Producer, Written-By – Bobby DeBarge
4:48
A4 Calling On All Girls
Producer – Jermaine Jackson
Written-By – Hazel Jackson, Jermaine Jackson, Maureen Bailey
4:34
B1 Go On Doin' What You Feel
Producer – Jermaine Jackson
Written-By – Jermaine Jackson, Maureen Bailey, Michael Smith
5:39
B2 Fallin'
Producer, Written-By – Greg Williams
5:47
B3 I Call Your Name
Producer – Bobby DeBarge
Written-By – Bobby DeBarge, Greg Williams
7:33
Label: Gordy – G7-988R1
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Soul, Funk
Switch's 1979 album, Switch II, is widely acclaimed in R&B circles as a smooth, classic funk/soul masterpiece, featuring lush production, tight musicianship, and Bobby DeBarge's iconic falsetto, with critics praising its warm grooves, standout track "I Call Your Name," and overall cohesive sound that cemented their place in late '70s/early '80s R&B, earning high praise from sources like AllMusic and fans alike for its velvety production and enduring quality.
The album is known for its smooth, warm production, impeccable vocals (especially Bobby DeBarge's falsetto), and strong songwriting. Reviewers and fans consider it to be a solid album that built on the success of their debut. It successfully blends R&B, funk, and disco elements and is noted for the band's versatility and tight vocal arrangements.
The band members' ability to play multiple instruments ("switching" around instruments, which inspired their name) and their strong writing abilities are frequently highlighted as strengths. The album and the band's overall sound were highly influential, mentoring and paving the way for the DeBarge family act.
The album features the major R&B hit "I Call Your Name," a slow jam that reached number 8 on the R&B charts, and the uptempo funk track "Best Beat in Town," which reached the R&B top 20. Other praised tracks include "Next To You" and "You're The One For Me".
Reviewers consistently call it a "true classic" for R&B lovers, praised for its cohesive feel and exceptional musicianship. AllMusic gave it a perfect five-star rating, highlighting its polished, "quiet storm" soul/funk/disco sound.
In essence, Switch II is considered a quintessential album of its era, delivering sophisticated funk and soul that remains highly regarded by fans and critics for its undeniable smoothness and quality.
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.
T.E.V.I.N.
Engineer, Programmed By – Mark Plati
Lyrics By [Special Rap] – Justin Warfield
Mixed By, Engineer [Post Production] – Junior Vasquez
Producer, Arranged By, Composed By, Instruments [All], Backing Vocals – Prince
Recorded By – Michael Koppelman, Tom Garneau
4:54
2 Interlude / Over The Rainbow And On To The Sun
Keyboards, Written-By – Narada Michael Walden
Vocals [Narration & Backgrounds] – Tevin "Tevvy Tev" Campbell
0:49
3 Tell Me What You Want Me To Do
Acoustic Guitar – Ric "Rock" Wilson
Arranged By [Strings] – Jerry Hey
Drums, Programmed By – Narada Michael Walden
Keyboards, Arranged By [Synthesizer], Programmed By – Louis "King Pin" Biancaniello
Producer [Associate] – Louis Biancaniello
Written-By – Narada Michael Walden, Sally Jo Dakota, Tevin Campbell
5:03
4 Lil' Brother
Backing Vocals – Skyler Jett, Tevin Campbell
Drums, Programmed By – Narada Michael Walden
Keyboards, Arranged By [Synthesizer], Programmed By, Producer [Associate] – Mike Mani
Piano [Solo] – Eric Daniels (2)
Vocals [Accompanying] – Tyler Collins
Written-By – Mike Mani, Narada Michael Walden, Skyler Jett, Tevin Campbell
4:09
5 Alone With You
Arranged By [Additional Vocal] – Jo Jo Haley And K-Ci Haley
Backing Vocals – Jo Jo Haley, K-Ci Haley, Tevin Campbell
Written-By – Al B. Sure!, Kyle West
5:07
6 Strawberry Letter 23
Backing Vocals – Angel Rogers, Rose Banks
Bass – Nathan East
Drums – Ricky Lawson
Keyboards – Greg Phillinganes
Mixed By – Keith "KC" Cohen
Programmed By [Synthesizer] – Todd Yvega
Synthesizer – Michael Omartian
Synthesizer, Co-producer – Quincy D III
Written-By – Sugie Otis
4:07
7 One Song
Backing Vocals – David Pack, Lynn Davis, Maxi Anderson, Monalisa Young, Phillip Ingram, Rob Trow
Co-producer, Arranged By, Drums, Programmed By, Synthesizer – Michael Omartian
Lyrics By – Alan Bergman, Marilyn Bergman
Music By – Marvin Hamlisch
4:27
8 Just Ask Me To
Arranged By [Additional Vocal] – Jo Jo Haley And K-Ci Haley
Backing Vocals – Jo Jo Haley, K-Ci Haley, Tevin Campbell
Rap [Featuring] – Chubb Rock
Written-By – Al B. Sure!, Chubb Rock, Kyle West
4:07
9 Goodbye
Arranged By [Additional Vocal] – Jo Jo Haley And K-Ci Haley
Backing Vocals – Jo Jo Haley, K-Ci Haley, Tevin Campbell
Written-By – Al B. Sure!, Kyle West
4:17
10 Perfect World
Backing Vocals – Angel Rogers, Rose Banks, Tevin Campbell, Tina Baker
Producer – Arthur Baker
Programmed By – Axel Kroell
Written-By – Axel Kroell, Tina Baker
4:32
11 Confused
Arranged By – Al B. Sure!
Arranged By [Additional Vocal] – Jo Jo Haley And K-Ci Haley
Backing Vocals – Al B. Sure!, Jo Jo Haley, K-Ci Haley, Tevin Campbell
Written-By – Al B. Sure!, Kyle West
4:57
12 Look What We'd Have (If You Were Mine)
Backing Vocals – Claytoven Richardson, Skyler Jett, Tevin Campbell
Keyboards, Programmed By, Arranged By [Synthesizer] – Louis "King Pin" Biancaniello
Lead Guitar – Vernon "Ice" Black
Written-By – Narada Michael Walden, Tevin Campbell, Tony Lindsay
4:40
13 She's All That
Backing Vocals – B.J. Nelson, Michelle Cobb, Tevin Campbell, Tina Baker
Producer – Arthur Baker
Recorded By – Dave Arlington, Louis Scalise
Written-By – Axel Kroell, Tina Baker, Tony McIlwain
4:48
Label: Qwest Records – 9 26291-2
Format: CD, Album
Country: US
Released: 1991
Genre: R&B Soul, Hip Hop, Funk
Style: Neo Soul, Contemporary R&B
Tevin Campbell's debut album, T.E.V.I.N. (1991), was praised for showcasing his incredible vocal talent, mature delivery at a young age (14!), blending New Jack Swing with soulful ballads, and featuring top-notch production from Quincy Jones, Al B. Sure, and Prince. While some critics found filler, its hits "Tell Me What You Want Me to Do" and "Alone with You" became R&B staples, solidifying it as a strong debut, though some felt it didn't get the mainstream recognition it deserved despite its quality and platinum status.
Critics consistently highlighted Campbell's powerful, soulful voice and his ability to convey emotion, especially impressive for a teenager.
The album successfully mixed contemporary R&B, New Jack Swing, and smooth quiet storm tracks. Prince's contributions, especially on tracks like "Round and Round," were noted as standout moments.
Standout Tracks:
"Tell Me What You Want Me to Do": A major hit, earning a Grammy nomination for Best Male R&B Vocal Performance.
"Alone with You": Another significant hit, showcasing his ballad skills.
"Round and Round": Often cited as a fan favorite and one of Prince's great tracks.
"Look What We'd Have (If You Were Mine)": A well-loved mid-tempo track.
Some reviewers felt the album contained filler or that certain tracks didn't fully match the strength of the singles, but generally acknowledged its high quality.
Considered a classic debut, cementing Tevin Campbell as a major R&B talent and a strong voice in the early '90s R&B scene, even if subsequent albums sometimes overshadowed it.
Overall Reception: T.E.V.I.N. was a commercial success, reaching Platinum status in the U.S., but many fans and critics feel it remains underrated or overlooked compared to its sheer quality and impact, especially for a debut.
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 It To The Limit
Written-By – Kirkwood Coakley, Theophilus Coakley
4:31
A2 Right Place, Wrong Time
Written-By – Theophilus Coakley
4:35
A3 You Can Feel The Groove
Written-By – Theophilus Coakley
4:55
A4 In Another Life
Written-By – Theophilus Coakley
5:07
B1 Anything Goes
Written-By – Theophilus Coakley
5:12
B2 Travellin' Man
Written-By – Theophilus Coakley
4:08
B3 Burnin' With Desire
Written-By – Theophilus Coakley
5:30
B4 You Found Someone New
Written-By – Kirkwood Coakley
3:15
Label: Capitol Records – ST-12333
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Electronic, Funk
Style: Funk, Disco
T-Connection's Take It To The Limit (1984) is a solid, synth-heavy 80s funk/disco album from the Bahamian group, marking their Capitol Records era with a fresh, tight sound, focusing on Theophilus "T" Coakley's vocals and strong bass/keyboard grooves, but generally seen as less groundbreaking than their earlier work, yet still essential for dedicated fans.
It leans into the synthesized funk and polished sounds typical of Capitol Records in the mid-80s, moving beyond their earlier, pure disco/funk roots, and features tight arrangements, heavy bass, and prominent keyboard lines, showcasing a more compressed, quintet sound. Theophilus "T" Coakley takes center stage with lead vocals, bringing a fresh feel with his strong male voice.
Standout Tracks: Includes tracks like "You Found Someone New," "Right Place Wrong Time," and the title track, "Take It To The Limit".
While not as iconic as their T.K. Records era (like Do What You Wanna Do), fans consider it a must-have for its consistent groove and 80s flavor.
In summary, Take It To The Limit is a well-produced, enjoyable slice of 80s funk, perfect for those who love that era's sound, even if it doesn't quite redefine their legacy as much as their late-70s work did.
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.
Take Two
Written-By – S. Moy, Wm. Stevenson
2:53
A2 I Love You, Yes I Do
Written-By – H. Glover, S. Nix
2:18
A3 Baby I Need Your Loving
Written-By – Holland, Dozier, Holland
3:09
A4 It's Got To Be A Miracle (This Thing Called Love)
Written-By – S. Moy, V. Bullock, Wm. Stevenson
3:27
A5 Baby Say Yes
Written-By – K. Weston, Wm. Stevenson
3:12
A6 What Good Am I Without You
Written-By – A. Higdon, Wm. Stevenson
2:50
B1 Till There Was You
Written-By – M. Willson
2:24
B2 Love Fell On Me
Written-By – S. Moy, Wm. Stevenson
2:25
B3 Secret Love
Written-By – P. Webster, S. Fain
2:44
B4 I Want You 'Round
Written-By – Wm. Robinson, Wm. Stevenson
2:24
B5 Heaven Sent You I Know
Written-By – H. Cosby, V. Bullock, Wm. Stevenson
3:01
B6 When We're Together
Written-By – S. Moy, V. Bullock
2:36
Label: Tamla – T 270
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Motown
Marvin Gaye & Kim Weston's Take Two (1966) is a solid Motown duet album known for its big hit, the classic "It Takes Two," but reviews are mixed, praising Gaye's voice but finding Weston a less dynamic partner, leading to a pleasant but sometimes disjointed sound balancing Motown grooves with mature standards; it's seen as a stepping stone for Gaye before his major solo works, featuring strong moments like the title track, though some critics found it lacking the magic of later duets.
The album's main success was the smash hit "It Takes Two," a quintessential Motown duet showcasing vocal interplay. While Gaye's voice shines, opinions on Weston's contribution vary; some find her voice "silky" and "school-trained," lacking sparks, while others appreciate her powerful vocals blending well.
The album blends upbeat Motown tracks with more adult-oriented standards, a move Berry Gordy thought would appeal to a broader audience, though it sometimes felt disjointed due to piecemeal recording.
Notable Tracks: Beyond the title track, "What Good Am I Without You?" was another modest hit, and jazzy ballads like "I Love You, Yes I Do" and "Secret Love" are often mentioned.
This was Gaye's second duet album (following Mary Wells), but Weston left Motown soon after over royalty disputes, paving the way for Tammi Terrell. It's considered a decent, solid album that added to Gaye's legacy, but not his most iconic work, offering a mix of classic Motown soul and crooner ballads.
In Summary: Take Two is a noteworthy album for its successful title track and Gaye's evolving artistry, but its inconsistent pairing and stylistic blend make it a pleasant, if not groundbreaking, listen for some.
Taking A New Step
Written-By – D. Allman
5:35
Man Overboard
Written-By – Carl Fisher
2:43
Kazoo
Written-By – Bob Gallo, Carl Fisher, Dave Govan, Don Bradley, James Johnson, Richard Owens
Silver Dollar
Vocals – Harry Pettyjohn
Written-By – Carl Fisher
3:30
Ain't No Greens In Harlem
Written-By – Carl Fisher
3:54
Run For Your Lives
Written-By – Bob Gallo
3:00
Take A Step
Written-By – L. Bergio*g
2:42
Wind Up Toy
Written-By – Carl Fisher
Whiskey Man
Written-By – Carl Fisher
2:35
Bolder, Green And Jones
Written-By – Bob Gallo, Carl Fisher
2:36
The Man
Vocals – Harry Pettyjohn
Written-By – Carl Fisher
3:20
Label: Mandala Records – MLP 3006 498
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
The Vibrations' 1972 album Taking a New Step, released on Mandala Records, is a Soul record showcasing the group's evolving sound with tracks like "Wind Up Toy," "Ain't No Greens in Harlem," and the memorable "The Man," featuring a blend of grooves, narrative songs, and poignant social commentary typical of their later career after earlier successes with "My Girl Sloopy" and "The Watusi".
While rooted in Soul, it reflects the group's continued growth and potentially incorporates themes relevant to the early 70s, following their earlier R&B/Pop hits.
Produced, arranged, and conducted by Bob Gallo and Vinny Traina, the record features a full band including brass (trombone, flugelhorn), piano, organ, and percussion.
By 1972, The Vibrations were established soul artists who had achieved mainstream success in the 1960s with hits like "My Girl Sloopy" (1964) and "Love in Them Thar Hills" (1968). Taking a New Step represents their journey into the new decade, solidifying their place in the Soul music scene.
While originally obscure upon its 1972 release, the album gained recognition among soul collectors and was later reissued on CD in 2002 by Sanctuary Records. It is currently available for download on Amazon.
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
Tamiko
Composed By – Jobim, Lee, De Moraes
2:49
A2 You Only Live Twice
Composed By – J.Barry, L. Bricusse
2:47
A3 The Folks Who Live On The Hill
Composed By – Oscar Hammerstein II
2:59
A4 Only Yesterday
Composed By – Jimmy Wisner
2:41
A5 Meditation
Composed By – Jobim, Mendonca, Gimbel
3:44
B1 Don't Go Breaking My Heart
Composed By – Bacharach And David
2:59
B2 Where Do I Go From Here
Composed By – Jimmy Wisner
2:42
B3 Don't Let Me Lose This Dream
Composed By – A. Franklin, T. White
2:34
B4 How Can I Leave You
Composed By – George Devens
2:08
B5 Live For Life (Vivre Pour Vivre)
Composed By – Lai, Gimbel
2:47
B6 That's Life
Composed By – D. Thompson, K. Gordon
3:02
Label: December Records – DR 8500
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Jazz, Soul
Style: Pop-Soul
The self-titled 1968 album Tamiko, released on December Records, is a transition piece that finds Tamiko Jones leaning into a bossa nova-flavored, "jazz-pop" sound following her successful collaboration with Herbie Mann. Produced by December Records owner Jimmy Wisner, the album is distinct from her soul-focused release of the same year, I'll Be Anything For You.
Retrospective reviews highlight the album for its "pure class" and its attempt to replicate the success of the French-influenced "A Mann and a Woman" aesthetic.
The album is noted for its "smartly arranged" bossa nova flavor and lush settings. It features a mix of original compositions by Jimmy Wisner and covers of popular standards.
Reviewers describe her voice as warm and sensuous, though the album is sometimes seen as a safer, more "pop" outing compared to her later soul and funk work.
Key Tracks:-
"Meditation" (Meditação): Frequently cited as the album's standout track and its best representation of "pure class".
"Only Yesterday": An original Wisner composition previously recorded on her Mann collaboration; the 1968 version is considered more lively and superior.
"The Folks Who Live On the Hill": A Jerome Kern cover that some find to be the album's weakest point due to its overly jazzy approach.
"Someone To Light Up My Life": Released as a single from the album, backed with "Where Do I Go From Here".
Overall Vibe: Listeners describe the record as "pure class" and a "nice, mellow" listening experience, often praising it as an underrated 1960s gem. Discogs Rating: The album holds a strong average rating of approximately 4.14 to 4.17 out of 5 stars from community members.
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.
Tell Me This Is A Dream
Written-By – Wilbert Hart 3:21
A2 I'm A Man
Written-By – Wilbert Hart 3:04
A3 Too Late
Written-By – Wilbert Hart 2:36
A4 Love You Till I Die
Written-By – William Hart 3:10
A5 Looking For A Girl
Written-By – William Hart 2:50
B1 Walk Right Up To The Sun
Written-By – Allan Felder, Norman Harris 3:02
B2 Round And Round
Written-By – Wilbert Hart 3:12
B3 Baby I Miss You
Written-By – Wilbert Hart 3:20
B4 Delfonics Theme
Written-By – Thom Bell, William Hart 4:17
B5 Tell Me This Is A Dream
Written-By – William Hart 3:36
Label: Philly Groove Records – PG 1154
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Philly
Tell Me This Is A Dream, The Delfonics' 1972 album, is often seen as a solid but slightly transitional release, showcasing the group's signature Philly Soul sound with beautiful harmonies and lush arrangements, though it lacked the huge pop crossover hits of its Thom Bell-produced predecessors, despite yielding R&B hits like "Hey Love" and "Walk Right Up to the Sun". Reviews highlight its depth, rich textures, and William Hart's emotive vocals, with many fans finding tracks like "Hey Love" and the title track to be masterpieces, cementing its status as a beloved deep cut in their catalog.
The album marked the group taking more creative control, with William & Wilbert Hart writing most material, alongside producer Stan Watson, moving away from their iconic producer Thom Bell. It maintains the classic Delfonics style—smooth, dreamy, orchestral soul with intricate harmonies, flute, strings, and brass.
Standout Tracks: "Hey Love" is universally praised for its sublime harmonies and Wilbert Hart's rare lead, while the title track and "Walk Right Up to the Sun" are also celebrated.
While not a massive pop smash like their earlier work, it's considered a vital, beautiful album by fans, offering excellent deep soul with a hazy, psych-tinged feel. Reissues, like the Kent CD, are noted for excellent sound quality and historical context in the liner notes.
In essence, Tell Me This Is A Dream is lauded as a testament to The Delfonics' enduring quality and artistry, proving they were more than just a Thom Bell project, offering sophisticated soul that remains deeply impactful.
Tellin’ It
Written-By – E. Randle, W. Mitchell
2:52
A2 I Don't Lend My Man
Written-By – C. Robinson, E. Randle, W. Mitchell
2:48
A3 I Needed Somebody
Written-By – A. Peebles, D. Bryant
4:56
A4 Stand By Woman
Written-By – E. Randle, O. Roberts
3:02
A5 It Was Jealousy
Written-By – D. Bryant
2:56
B1 Doctor Love Power
Written-By – D. Oliver, G. Anderson
3:06
B2 You Can't Hold A Man
Written-By – E. Randle, W. Mitchell
4:33
B3 Beware
Written-By – E. Randle
3:00
B4 Put Yourself In My Place
Written-By – B. Jarrett, E. Randle
2:37
B5 Love Played A Game
Written-By – A. Peebles, D. Bryant, F. Hodges
2:24
Label: Hi Records – SHL 32091
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Southern Soul
Ann Peebles' Tellin' It (1976) is a strong, soulful follow-up to I Can't Stand the Rain, praised for its deep Memphis soul, funky grooves from the Hi Rhythm Section, and Peebles' passionate vocals, blending catchy tracks like "Come to Mama" with poignant ballads, solidifying her reputation for exploring love's darker sides with sophisticated production. While not having a monster hit like its predecessor, critics highlight its consistent quality, excellent songwriting (often with husband Don Bryant), and rich sound, making it a worthy listen for soul fans.
It continues the signature Hi Records sound — sparse funk, subtle strings, and brass—but with added depth, featuring keyboard textures and backing vocals, all driven by the legendary Hi Rhythm Section.
The album features strong original material, with Peebles and Don Bryant co-writing most tracks, exploring mature, often melancholic, relationship themes. Peebles delivers with characteristic emotion, attitude, and talent, conveying deep feeling and raw passion.
Standout Tracks: "Come to Mama" is a fan favorite, building on the "Rain" template; "Doctor Love Power" offers sensuality; "Stand By Woman" brings attitude; and the cover "(You Keep Me) Hangin' On" and ballad "Until You Came Into My Life" were singles.
Considered a "worthy successor" to I Can't Stand the Rain, though it didn't produce a chart-topping single. Praised for its depth, groove, and consistent quality, with virtually no weak tracks.
ome feel "Come to Mama" leans on the "Rain" formula but ultimately delivers a great Memphis R&B track.
Overall, Tellin' It is an essential Ann Peebles album, showcasing her growth as an artist and delivering consistent, high-quality Southern soul and funk with emotional power and sophisticated musicianship.
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.
Terry Dexter
Mixed By – Manny Marroquin
Producer – Jazze Pha
Recorded By – Kevin Hicks, Ryan Dorn
Written-By – Jazze Pha, Johnta Austin, Terry Dexter 4:07
2 I Try
Backing Vocals – Terry Dexter
Guitar – "Jake", Lemoyne Alexander Smith
Keyboards – Loren Dawson, Nate Clemons
Mixed By – Manny Marroquin
Producer, Drum Programming – Bink Dog
Recorded By – Ed Miller, Richard Joseph
Written-By – Denise Rich, Roosevelt Harrell, Sami McKinney, Terry Dexter 4:34
3 You'll Never Miss Me... (Til I'm Gone)
Arranged By [Vocals] – Darryl "Day" Pearson, Sisqo, Terry Dexter
Backing Vocals – Terry Dexter
Engineer – Booker T. Jones III
Mixed By – A. Haqq Islam, Booker T. Jones III, Darryl "Day" Pearson
Producer, Instruments [All], Backing Vocals [Additional] – Darryl "Day" Pearson
Written-By – Darryl "Day" Pearson, Mark Andrews 4:31
4 Anything
Backing Vocals – Terry Dexter
Mixed By – A. Haqq Islam, Paul Falcone
Producer, Instruments [All], Backing Vocals [Additional] – Darryl "Day" Pearson
Recorded By – Thom "T.K." Kidd
Recorded By [Assistant] – Kevin Livey
Written-By – Darryl "Day" Pearson, Terry Dexter 4:19
5 Strayed Away
Mixed By – Ben Arrindell
Producer, Keyboards, Drum Programming – Big Mike, Nate-Love
Recorded By – Vaughn Merick
Tracking By – Victor DuFour
Written-By – Andrea Hicks, Mike Clemons, Nathan Clemons 4:36
6 Alone
Arranged By [Strings] – Antonio Merick
Keyboards, Drum Programming – Manuel Seal, Nate Clemons
Mixed By – Ben Arrindell
Producer [Additional] – Nate-Love
Producer, Written-By – Manuel Seal
Recorded By – Vaughn Merick
Tracking By – Victor DuFour 4:10
7 Are You Feeling Me
Arranged By [Strings], Recorded By – Allstar
Mixed By – Andrew Blakelock
Producer, Keyboards, Drum Programming – Allstar, Manuel Seal
Written-By – Allstar, Manuel Seal, Terry Dexter 4:28
8 I Love You
Backing Vocals – Terry Dexter
Co-producer – Kim Jordan
Instruments, Written-By – Darryl "Day" Pearson, Kim Jordan
Mixed By – Booker T. Jones III, Darryl "Day" Pearson
Producer – Darryl "Day" Pearson
Recorded By – Thom "T.K." Kidd 4:37
9 I Don't Need You
Co-producer – Big Mike, Nate-Love
Keyboards, Drum Programming – Manuel Seal, Nate Clemons
Mixed By – Ben Arrindell
Producer – Manuel Seal
Recorded By – Vaughn Merick
Tracking By – Victor DuFour
Written-By – Andrea Hicks, Manuel Seal, Nathan Clemons 5:09
10 I'm The One For You
Backing Vocals – Sheree Ford Payne
Keyboards, Drum Programming, Guitar, Recorded By – Sauce
Mixed By – Carlos Warlick
Producer – Angie, Sauce
Written-By – Angie Slates, Sauce 4:37
11 Yeah
Backing Vocals – Terry Dexter
Engineer, Mixed By – Booker T. Jones III
Producer, Instruments [All], Backing Vocals [Additional] – Darryl "Day" Pearson
Written-By – Darryl "Day" Pearson, Terry Dexter
Written-By [Sample] – C. Stein, D. Harry 3:37
Label: Warner Bros. Records – 9 46899-2
Format: CD, Album
Country: US
Released: 1999
Genre: Hip Hop, Funk, Soul
Style: RnB/Swing, Soul
Released on July 13, 1999, Terry Dexter is the eponymous debut studio album by American R&B singer Terry Dexter.
The album is characterized as contemporary R&B, soul, and "R&B/Swing". It blends Dexter’s gospel roots with a soulful Detroit-inspired sound, often compared to the "Motown spirit" of her upbringing.
It was released through Warner Bros. Records and University Music Entertainment. Key producers and songwriters involved in the project include Allen Gordon, Jr., Booker T. Jones III, Darryl "Day" Pearson, and A. Haqq Islam.
The album peaked at number 49 on the Billboard Top R&B/Hip-Hop Albums chart. "Better Than Me" was the most successful single, reaching number 99 on the Billboard Hot 100 and charting in the Top 20 on the R&B charts alongside "Strayed Away".
It showcased her strong, emotive vocals and storytelling ability, drawing comparisons to greats like Aretha Franklin and Whitney Houston, and established her as a respected vocal talent, leading to collaborations and placements on soundtracks, though it didn't crack the Billboard 200.
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.
That Woman Is Poison!
A2 I Just Got To Know 3:20
A3 Big Fine Hunk Of Woman 5:47
A4 Blues In The Basement 4:14
B1 Somebody's Got To Go 6:01
B2 Breaking My Back 6:02
B3 The Walk 2:57
B4 All Night Worker 3:25
Label: Alligator Records – AL 4769
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Blues
Style: Soul, Funk
Rufus Thomas's That Woman Is Poison! (1988) is widely praised as a masterful blues/soul comeback, showcasing the veteran's enduring wit and energy with strutting vocals, a strong sense of humor, and fiery horn arrangements, proving he still had plenty of swagger and could deliver blistering tracks with sophisticated musicianship and raw, live-sounding spontaneity, making it a standout for both longtime fans and new listeners.
Many critics saw it as a brilliant return, demonstrating Thomas was far from retirement, notes Wikipedia. Reviewers highlighted his "sweaty crunch," "wicked sense of humor," and "charismatic smirk," with his voice still rich and full of comic timing.
The album successfully blended polished musicianship with the raw feel of a live jam session, creating an uninhibited atmosphere.
The horn work and arrangements received high praise, with standout support from musicians like Kenny Neal and Lucky Peterson.
The album featured blistering original tracks that captured Thomas's classic Memphis blues and soul style.
Overall Vibe: Think of it as a spirited nightclub performance by a seasoned pro, full of strut, swagger, and soulful grit, says Wikipedia and Chicago Reader.
It's considered a defining album for Thomas, being his only all-blues recording and a testament to his lasting impact as the Funky Godfather of R&B.
That’s The Way Love Is
Written-By – N. Whitfield, B. Strong 3:10
A2 Yesterday
Written-By – Lennon & McCartney 3:17
A3 Groovin'
Written-By – E. Brigati, F. Cavaliere 2:56
A4 I Wish It Would Rain
Written-By – R. Penzabene, N. Whitfield, B. Strong 2:49
A5 That's The Way Love Is
Written-By – N. Whitfield, B. Strong 3:25
A6 How Can I Forget
Written-By – N. Whitfield, B. Strong 2:04
B1 Abraham, Martin And John
Written-By – D. Holler 4:30
B2 Gonna Keep On Tryin' Till I Win Your Love
Written-By – N. Whitfield, B. Strong 2:46
B3 No Time For Tears
Written-By – E. Holland, N. Whitfield 2:26
B4 Cloud Nine
Written-By – N. Whitfield, B. Strong 3:05
B5 Don't You Miss Me A Little Bit Baby
Written-By – R. Penzabene, N. Whitfield, B. Strong 2:13
B5 So Long
Written-By – E. Holland, N. Whitfield, R. Dean Taylor 2:27
Label: Tamla – TS 299
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul, Motown
Marvin Gaye's That's the Way Love Is (1970) is often seen as a transitional album, showcasing his classic Motown sound with strong singles like the title track and "Too Busy Thinking About My Baby," but also hinting at the deeper themes to come. Reviews note great vocals and infectious tunes, yet some find it a pleasant but less essential collection compared to his later, groundbreaking work, with a few covers noted as weaker, but overall a solid, enjoyable listen that paved the way for What's Going On.
It's praised as a strong collection of soulful Motown singles, featuring classic Gaye delivery, but reviewers often position it as a pleasant ride before his artistic explosion with What's Going On.
Tracks like the title song, "Too Busy Thinking About My Baby," and "The End of Our Road" are highlighted as standout, radio-friendly hits. Gaye's smooth, soulful voice shines, capturing the essence of the tracks, even on some less-loved songs.
While some filler tracks are enjoyable ("More Than a Heart Can Stand"), others, like "This Magic Moment," are considered weaker or unnecessary, typical for Motown albums of the era.
Released before his socially conscious masterpiece, it shows Gaye still in the Motown system, but with hints of the depth and personal feeling that would soon define his career.
That's the Way Love Is is recommended for fans wanting more classic Marvin Gaye, offering great singles and his signature voice, though it's generally considered a step before his ultimate artistic peak.
The Affair
A2 I Think You're Out Of This World 5:04
A3 I Do Love You 4:02
A4 Just Be Faithful 4:17
A5 Paco Taco 1:45
B1 Fine Foxy Lady 4:26
B2 Ain't Nuthin' To It 3:27
B3 I Don't Really Know 4:02
B4 The Affair 3:45
B5 My Little Debby 3:45
Label: The Boardwalk Entertainment Co – NB1-33245
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Eighties Soul, Funk, Disco
Lonnie Jordan's 1982 solo album, The Affair, produced by Jerry Goldstein, showcases a diverse blend of Latin rhythms (like "My Little Debby"), early hip-hop ("Ain't Nuthin' To It"), and heartfelt ballads, reflecting his funk/R&B roots with WAR but adding his personal touch, with fans praising its rich sound and varying styles, though detailed professional reviews are scarce, it's seen as a solid, varied offering from the legendary keyboardist.
Jordan dedicated the album to WAR for inspiration and thanked John Fischbach for new recording techniques. While formal critical reviews are limited, fan and collector sites (like eBay, Discogs, and Rate Your Music) highlight its varied tracks, describing it as a rich, diverse album with strong Latin and hip-hop elements.
The record incorporates elements of Latin music (notably on "My Little Debby"), old-school hip hop ("Ain't Nuthin' To It"), and even an a cappella track involving the chant "Taco! I Think You're Out Of This World".
It's generally considered a successful solo effort that captures Jordan's unique sound outside the WAR context. In essence, The Affair is praised for its eclecticism, offering a glimpse into Jordan's individual musical vision with production that brought out diverse sounds from Latin grooves to nascent hip-hop.
While not a major commercial juggernaut, the album maintains a steady reputation among funk aficionados. On Discogs, the album holds an average rating of approximately 3.7 out of 5 stars based on community reviews as of early 2026. Collectors often seek out the original 1982 vinyl pressings, though Japanese CD reissues have also been made available for audiophiles.
The Age Of Aquarius
Written-By – Galt MacDermot, Gerome Ragni, James Rado 4:49
A2 Blowing Away
Written-By – Laura Nyro 2:30
A3 Skinny Man
Written-By – Ginger Kollander, I. Michael Kollander 2:49
A4 Wedding Bell Blues
Written-By – Laura Nyro 2:42
A5 Don'tcha Hear Me Callin' To Ya
Written-By – Rudy Stevenson 3:54
A6 The Hideaway
Written-By – Jim Webb 2:44
B1 Workin' On A Groovy Thing
Written-By – Neil Sedaka, Roger Atkins 3:09
B2 Let It Be Me
Written-By – Gilbert Becaud, Mann Curtis 3:53
B3 Sunshine Of Your Love
Written-By – Eric Clapton, Jack Bruce, Peter Brown 3:17
B4 The Winds Of Heaven
Written-By – Bob Dorough, Fran Landesman 3:14
B5 Those Were The Days
Written-By – Gene Raskin 3:04
B6 Let The Sunshine In (Reprise)
Written-By – Galt MacDermot, Gerome Ragni, James Rado 1:27
Label: Soul City – SCS-92005
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Pop
Style: Sixties Soul, Pop-Soul
The 5th Dimension's 1969 album The Age Of Aquarius, released by Soul City/Bell, is a landmark of psychedelic soul and sunshine pop, celebrated for its lush harmonies and optimistic take on counter-culture hits from Hair, alongside Laura Nyro covers like "Wedding Bell Blues," with legendary Wrecking Crew musicians and producer Bones Howe delivering a culturally resonant, commercially massive album featuring the #1 hit "Aquarius/Let the Sunshine In," solidifying their place in 60s pop history as a classic, joyful sound.}
A blend of Pop, R&B, Soul, and Sunshine Pop, defined by intricate, opulent vocal harmonies and sophisticated arrangements, says AllMusic and The Guardian.
The album is praised for its "opulent harmonies" and the "rich mix" of Marilyn McCoo’s soprano and Florence LaRue’s alto. Modern reviews often refer to the workmanship and integrity of the music as "absolute art".
Legendary producer Bones Howe and the Wrecking Crew session musicians (including Hal Blaine and Joe Osborn) are credited with giving the album its "Big Sound"—described by audiophiles as having "tubey magical sweetness" and exceptional clarity.
The iconic "Aquarius/Let the Sunshine In," a medley from the musical Hair, became a global #1 hit, bringing hippie themes into mainstream pop with a positive spin, notes Wikipedia.
Features standout covers of songs by Laura Nyro (like "Wedding Bell Blues," another #1) and Jimmy Webb, making these writers known, says this Facebook post and The Guardian.
Considered a triumph, a classic, and a high point for the group, praised for its musicality and ability to capture the era's spirit with optimistic pop.
While some contemporary listeners find the second half of the record to contain "filler" tracks or covers that don't always surpass the originals, the overall consensus remains that it is a "genuine classic" of late 1960s pop-soul.
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 Beginning Of It All
A2 I Guess It's Goodbye 3:33
A3 Travelin' Woman 3:28
A4 Into The Mystic 3:40
A5 White Moon 3:28
B1 Love Is Gonna Get You 3:18
B2 The Beginning Of It All 3:19
B3 Only You Know And I Know 3:11
B4 All Of Your Tomorrows 4:44
B5 She Does It Right 3:50
Label: Columbia – ES 90073
Format: Vinyl, LP, Stereo
Country: Canada
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
Ben E. King's The Beginning of It All (1972) is a mixed bag, showcasing his enduring voice but often hampered by weak, dated early '70s soft rock/soul arrangements that sound forced, with some listeners enjoying its social commentary and unique takes like "Into the Mystic," while others find the production a failure, making it a niche album for die-hard fans rather than a classic.
Many reviews point to "catastrophic orchestration" and "terribly dated" production that overwhelms King's voice, making the material fall flat. Even detractors acknowledge King's "amazing voice" and strong delivery, highlighting his ability to tackle diverse material.
The album attempts a social justice, folky soul sound with early 70s soft rock backing, a departure from his classic hits, which some found unconvincing. While generally considered weak, some highlight specific moments, like a soulful rendition of Van Morrison's "Into the Mystic," as proof of King's talent.
It's generally seen as an album from a period when King was searching for hits post-Atlantic Records, failing to recapture his earlier magic for most listeners.
Some fans see it as a necessary listen to appreciate King's versatility and voice, despite the production flaws, but it's not recommended as a starting point.
The album was not a commercial success at the time of its release and preceded King's major 1975 comeback with "Supernatural Thing". Originally released on Mandala (US) and CBS (UK); reissued on CD by Castle Music in 2002.
The Belle Album
A2 Loving You 3:33
A3 Feels Like Summer 3:43
A4 Georgia Boy 6:59
B1 I Feel Good 5:17
B2 All N All 3:37
B3 Chariots Of Fire 3:53
B4 Dream 7:28
Label: Hi Records – HLP 70001
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Gospel
Al Green's The Belle Album (1977) is a pivotal, transitional masterpiece where he steps away from his iconic Hi Records soul sound (and producer Willie Mitchell) to embrace gospel, self-produce, and blend smooth soul with funk and nascent Christian themes, creating a deeply personal, "field recording" style album praised for its raw honesty, stunning vocals, and the spiritual-yet-funky vibe, marking a brave pivot from secular pop to sacred music, especially with tracks like "Belle".
The album signifies Green's major shift towards ministry, directly addressing his faith, but in a way that still resonates with his pop/soul fans, famously stating, "Belle, it's you that I want / But it's Him that I need".
It's Green's first self-produced project, resulting in a looser, more direct, and intimate sound, with him playing his own guitar. It mixes his classic smooth soul with funkier basslines, tight horns, keyboards, and even hints of disco and rock, feeling raw and powerful despite its spiritual core.
Critics noted Green singing better than ever, with powerful, perfectly timed wails and accessible, emotionally packed delivery, as heard on tracks like the sprawling "Dream".
Standout Tracks: "Belle": The title track, a declaration of faith, but also a plea for love; "Dream": A long, atmospheric, and highly praised centerpiece; "I Feel Good": A funky, joyful track where listeners might mistake "King Jesus" for a lover; "Chariots of Fire": A song hinting at the spiritual realm.
Considered a brave, idiosyncratic, and deeply honest record, praised for fusing pop sensibility with "Pentecostal fire" and capturing "down home power", it's seen as a pivotal moment, bridging his secular past with his sacred future, offering comfort and spiritual depth.
In essence, The Belle Album is celebrated as a courageous and beautiful work, essential for soul fans, capturing Al Green at a vital crossroads with powerful music and profound personal meaning.
The Best Of Solomon Burke
Written-By – Delores Burke, J. B. Moore, Solomon Burke 2:32
A2 The Price
Written-By – J. B. Moore, Solomon Burke Sr, Solomon Burke Jr. 2:44
A3 Down In The Valley
Written-By – Bert Berns, Solomon Burke 2:31
A4 I'm Hanging Up My Heart For You
Written-By – Don Covay, John Berry 3:00
A5 If You Need Me
Written-By – Robert Bateman, Sonny Sanders, Wilson Pickett 2:30
A6 Just Out Of Reach
Written-By – Virgil F. Stewart 2:46
B1 Cry To Me
Written-By – Bert Russel 2:33
B2 Everybody Needs Somebody To Love
Written-By – Bert Berns, Jerry Wexler, Solomon Burke 2:46
B3 Home In Your Heart
Written-By – Otis Blackwell, Winfield Scott 2:07
B4 Tonight's The Night
Written-By – Don Covay, Solomon Burke 2:46
B5 I Really Don't Want To Know
Written-By – Don Robertson, Howard Barnes 2:58
B6 Words
Written-By – Solomon Burke 2:23
Label: Atlantic – 8109
Format: Vinyl, LP
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Rhythm & Blues
The Best Of Solomon Burke is a foundational 1966 compilation capturing the "King of Rock 'n' Soul's" prime Atlantic years (1960-1966), featuring essential soul hits like "Cry to Me," "Everybody Needs Somebody to Love," and "Got to Get You Off My Mind," showcasing his powerful voice and gospel-infused style, produced by legends like Jerry Wexler and Bert Berns, making it a must-have for classic soul fans despite later expanded collections.
It collects his signature songs, solidifying his status as a soul pioneer with tracks like "Just Out of Reach," "If You Need Me," and "Down in the Valley".
The album covers his most influential period on Atlantic Records (1960-1966) before his later career shifts. It features legendary producers Jerry Wexler and Bert Berns, with engineering by Tom Dowd, ensuring top-tier soul sound, and highlights his unique, powerful, gospel-rooted vocal delivery that defined early soul music.
This collection is cited as a critical release for understanding the emergence of soul music. Songs like "Cry To Me" and "Everybody Needs Somebody to Love" set the template for Southern soul ballads and were famously covered by acts like The Rolling Stones and The Blues Brothers.
The album consistently receives high marks from collectors, with average ratings typically around 4.5 out of 5 on platforms like Discogs. Reviewers praise it as a near-perfect sampler, with some noting potential misjudgments in later arrangements, but affirming the core brilliance here.
This compilation serves as an excellent entry point or core collection for Burke's best work, demonstrating why he's known as the "King of Rock 'n' Soul" and a major influence on soul music's development. It's a vital document of early soul music's golden age, celebrated for its raw emotion and musicality.
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 Chi-Lites
Written-By – Eugene Record, Stan McKenny 4:10
A2 Go Away Dream
Written-By – Eugene Record, Stan McKenny 3:40
A3 Too Good To Be Forgotten
Arranged By – Tom Tom
Written-By – Barbara Acklin, Eugene Record 3:20
A4 I Found Sunshine
Written-By – Eugene Record 2:50
A5 I Never Had It So Good
Written-By – Eugene Record, Stan McKenny 5:00
B1 Marriage License
Written-By – Alonzo Tucker, Eugene Record 5:30
B2 I Forgot To Say I Love You Till I'm Gone
Written-By – Eugene Record, Stan McKenny 3:20
B3 One Man Band (Plays Alone)
Written-By – Linda Creed, Thom Bell 5:00
B4 Bet You'll Never Be Sorry
Written-By – Gerald Sims 3:30
B5 Stoned Out Of My Mind
Written-By – Barbara Acklin, Eugene Record 3:00
Label: Brunswick – BRLS 3009
Format: Vinyl, LP, Album
Country: UK
Released: 1974
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The Chi-Lites' 1973 self-titled album (released in 1974 in the UK) is a classic soul record, often seen as a continuation of their smooth, harmonious Philly-soul sound, featuring Eugene Record's stellar vocals and lush arrangements, delivering hits like "I Never Had It So Good (And Felt So Bad)" and "A Letter to Myself," showcasing their signature blend of romance and poignant social themes, though perhaps slightly overshadowed by their earlier mega-hits, it remains a strong, representative work of their prime era
.
The album solidified the Chi-Lites' reputation for lush, romantic harmonies and sophisticated production, a hallmark of their sound.
Lead singer Eugene Record's distinctive, emotive voice shines, particularly on poignant ballads, proving his arranging and vocal talent.
It spawned significant hits like the melancholic "I Never Had It So Good (And Felt So Bad)," the poignant "Homely Girl," and the pleading "A Letter to Myself," demonstrating their knack for relatable relationship narratives.
Some critics suggest that while iconic, albums from this period, like this self-titled release, might be slightly underrated compared to their biggest-selling records, despite their consistent quality and R&B chart success.
It's a quintessential example of late-era Brunswick/Chicago soul, blending deep emotion with polished, string-laden arrangements.
In essence: The 1973 Chi-Lites album is a must-have for soul fans, offering more of the captivating vocal harmonies and heartfelt storytelling that made them legends, even if it's sometimes overshadowed by earlier breakthroughs.
chi lites chilites the chilites the chi lites
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 Definitive
Written-By – Eldee Young, Isaac Holt
3:21
2 Wack Wack
Written-By – Donald Storball, Eldee Young, Hysear Don Walker, Isaac Holt
3:01
3 Soulful Strut
Written-By – Eugene Record, William Sanders
3:01
4 Baby Your Light Is Out
Songwriter – Eldee Young
Written-By – Hysear Don Walker, Isaac Holt
3:08
5 Listen Here
Written-By – Eddie Harris
4:12
6 Country Slicker Joe
Written-By – Eldee Young, Kenneth Chaney, Isaac Holt
3:03
7 Light My Fire
Written-By – Jim Morrison, John Densmore, Ray Manzarek, Robbie Krieger
2:43
8 Horoscope
Written-By – Eldee Young, Kenneth Chaney, Isaac Holt
2:40
9 Good Vibrations
Written-By – Brian Wilson, Mike Love
4:10
10 Give It Up
Written-By – Eldee Young, Hysear Don Walker, Isaac Holt
2:44
11 You Gotta, I Gotta
Written-By – Eldee Young, Isaac Holt
4:06
12 Soulful Samba
Written-By – Osvaldo Nunes
2:30
13 Funky Duck
Written-By – Eldee Young, Kenneth Chaney, Isaac Holt
3:12
14 Funky Is As Funky Does
Written-By – Eldee Young, Hysear Don Walker, Isaac Holt
3:04
15 Yum Yum
Written-By – Eldee Young, Isaac Holt
2:43
16 Orient East
Written-By – Eldee Young, Kenneth Chaney, Isaac Holt
4:03
17 Doing The Thing
Written-By – Eldee Young
2:40
18 Just A Melody
Written-By – Carl Davis, Eugene Record
2:20
19 Young & Holtful
Written-By – Kenneth Chaney, Isaac Holt
2:53
20 Ain't There Something Money Can't Buy
Written-By – Isaac Holt
2:54
Label: Brunswick – BRC 33012-2
Format: CD, Compilation
Country: US
Released: 2005
Genre: R&B Jazz
Style: Jazz-Funk, Soul-Jazz
The Definitive Young-Holt Unlimited is a highly-regarded compilation showcasing the instrumental soul-jazz group's blend of jazz, R&B, and pop, featuring their iconic hits like "Soulful Strut" and "Wack Wack," offering a fun, funky, and soulful trip through their funky grooves, excellent bass work, and catchy tunes, making it a must-have for fans of '60s/70s groove music, despite a few weaker covers.
The album captures their signature sound – an invigorating mix of jazz trio roots (from the Ramsey Lewis Trio) blended with infectious R&B and pop grooves. It includes their massive instrumental hits, the laid-back "Soulful Strut" (built on Barbara Acklin's "Am I the Same Girl") and the silly, catchy "Wack Wack".
Expect groovy bass lines from Eldee Young, solid drumming from Redd Holt, and often Ray Charles-inspired keyboard work, creating a live, party-like atmosphere. Beyond the hits, the collection provides funky covers (like "Light My Fire") and previously unreleased tracks, offering a comprehensive look at their sound.
Their timeless music, especially "Soulful Strut," became a holy grail for hip-hop producers, leading to hundreds of samples, notes MusicBrainz. Critics and fans praise it as an excellent collection of soulful, funky R&B instrumentals, a testament to their ability to create timeless, feel-good music that bridges jazz and pop, making it a highly recommended listen.
The Delfonics
Written-By – Thom Bell, Wm. Hart 3:25
A2 Funny Feeling
Written-By – Thom Bell, Wm. Hart 2:28
A3 When You Get Right Down To It
Written-By – Barry Mann 2:45
A4 Baby I Love You
Written-By – Thom Bell, Wm. Hart 2:58
A5 Delfonics' Theme (How Could You)
Written-By – Thom Bell, Wm. Hart 4:20
B1 Trying To Make A Fool Of Me
Written-By – Thom Bell, Wm. Hart 2:58
B2 Down Is Up, Up Is Down
Written-By – Thom Bell, Wm. Hart 2:28
B3 Over & Over
Written-By – Thom Bell, Wm. Hart 3:04
B4 Think About Me
Written-By – Wm. Hart 2:33
B5 I Gave To You
Written-By – Wm. Hart 5:45
Label: Philly Groove Records PG 1153
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Philly
Released in 1970 on Philly Groove Records, the self-titled third album by The Delfonics is widely regarded by critics and fans as the pinnacle of their career and a foundational pillar of the "Philadelphia Sound".
This album is frequently cited as the group’s most cohesive and complete work. It marked their only appearance in the top 100 of the Billboard 200, peaking at No. 61.
Critics praise the "slick and smooth" production by Thom Bell, who used lush orchestrations, French horns, sitars, and harpsichords to create a "sumptuous atmosphere" that defined the era's soul music.
Key Tracks:
"Didn't I (Blow Your Mind This Time)": The album’s centerpiece, this Grammy-winning single reached the top 10 on the Billboard Hot 100 and is considered a "masterpiece" of orchestral soul.
"Trying to Make a Fool of Me": Often cited as being equal in quality to "Didn't I," it is a frequently sampled track noted for its "powerful orchestration".
"Funny Feeling": A more uptempo, "bouncy" track that reviewers compare to the classic Motown sound.
"I Gave To You": A widely praised closing ballad noted for its "smooth gliding" tempo and emotional weight.
Almost entirely original material, with nearly all songs penned "in-house" by William Hart and Thom Bell. William Hart’s lead falsetto is a central highlight, described as "aching," "plaintive," and "supple".
Highly consistent quality throughout the tracklist with "no skips" according to modern listeners. Pioneering use of unique instruments (sitar, harpsichord) in an R&B context.
The album experienced a significant cultural resurgence after being heavily featured in Quentin Tarantino's 1997 film Jackie Brown. Modern vinyl reissues (such as those by Music on Vinyl) are highly rated for their "fantastic" sound quality and dynamic range.
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 Dramatic Jackpot
Arranged By – Johnny Allen
Producer – Don Davis
Written-By – Tony Hester
3:49
A2 Good Things Don't Come Easy
Arranged By – Melvin Griffin, Rudy Robinson
Producer – Don Davis
Written-By – Gene Beene, Melvin Griffin
4:47
A3 Trying To Get Over Losing You
Arranged By – Paul Riser
Producer – Don Davis
Written-By – C.R. Cason
3:08
A4 I Cried All The Way Home
Arranged By – Paul Riser, Wade Marcus
Producer – Don Davis
Written-By, Producer – Tony Hester
4:20
A5 Never Let You Go
Arranged By – Johnny Allen, L.J. Reynolds
Producer – L.J. Reynolds
Written-By – L.J. Reynolds, Ron Banks, Willie Ford
3:54
B1 A Thousand Shades Of Blue
Arranged By – Paul Riser, Wade Marcus
Producer – Don Davis
Written-By – Tony Hester
3:55
B2 Me Myself And I
Arranged By – Paul Riser
Producer – Don Davis
Saxophone, Soloist – Eli Fountain
Written-By – C.R. Cason
3:37
B3 I Dig Your Music
Arranged By – Jimmy Roach
Producer – Don Davis
Written-By – Jimmy Roach
3:30
B4 Me And Mrs. Jones
Arranged By – Johnny Allen, L.J. Reynolds, Ron Banks
Producer – L.J. Reynolds, Ron Banks
Written-By – Cary Gilbert, Kenny Gamble, Leon Huff
6:15
B5 How Do You Feel
Arranged By – Johnny Allen
Producer – Ron Banks
Written-By – Paul Clark, Ron Banks
4:05
Label: ABC Records – ABCD-867
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
The Dramatic Jackpot (1975) by Ron Banks & The Dramatics is a well-regarded soul/R&B album, praised for its sophisticated 70s sound, tight harmonies, sweet arrangements, and strong vocals from Ron Banks and L.J. Reynolds, showcasing the group's evolving "Groovesville" sound beyond their earlier Stax work, with notable tracks like their cover of "Me and Mrs. Jones," making it a solid addition for classic soul fans despite maybe not reaching their biggest hits' fame.
A Masterpiece of '70s Soul described as one of the group's best albums, blending classic group soul with sophisticated arrangements. A departure from their Stax era, featuring tighter, sweeter arrangements with fantastic vocals cutting through.
Features lead vocals from Ron Banks and L.J. Reynolds. Includes their popular cover of Billy Paul's "Me and Mrs. Jones," which charted well. Peaked at #31 in the US and #9 on US R&B charts, showing solid commercial success.
Expect smooth ballads, funky soul, and sophisticated Philly-style sounds. A "satisfying collection" that showcases their talent and evolving musical direction in the mid-70s.
In essence, it's a rich, soulful collection that elevates The Dramatics' signature sound with polished arrangements and catchy melodies, making it a gem for soul and disco fans alike.
The Drifters’ Golden Hits
Written-By – Benjamin Nelson, George Treadwell, Lover Patterson 2:11
A2 (If You Cry) True Love, True Love
Written-By – Doc Pomus, Mort Shuman 2:17
A3 Dance With Me
Written-By – Elmo Glick, George Treadwell, Irving Nahan, Lewis Lebish 2:21
A4 This Magic Moment
Written-By – Doc Pomus, Mort Shuman 2:28
A5 Save The Last Dance For Me
Written-By – Doc Pomus, Mort Shuman 2:34
A6 I Count The Tears
Written-By – Doc Pomus, Mort Shuman 2:06
B1 Some Kind Of Wonderful
Written-By – Gerry Goffin & Carole King 2:17
B2 Up On The Roof
Written-By – Gerry Goffin & Carole King 2:34
B3 On Broadway
Written-By – Jerry Leiber & Mike Stoller, Cynthia Weil, Barry Mann 3:05
B4 Under The Boardwalk
Written-By – Arthur Resnick, Kenny Young 2:40
B5 I've Got Sand In My Shoes
Written-By – Arthur Resnick, Kenny Young 2:48
B6 Saturday Night At The Movies
Written-By – Barry Mann & Cynthia Weil 2:26
Label: Atlantic – SD 8153
Format: Vinyl, LP, Compilation
Country: US
Released: 1968
Genre: Sixties Soul, Pop
Style: Rhythm & Blues, Soul
The Drifters' Golden Hits (1968 Atlantic compilation) is universally acclaimed as an essential collection of classic pop/soul, showcasing the group's incredible run of hits from the late '50s to mid-'60s, featuring iconic tracks like "Up on the Roof," "On Broadway," and "Under the Boardwalk," praised for its timeless quality, superb sound (especially remastered mono vinyl), fantastic tunes, and nostalgic appeal despite lineup changes.
Fans and critics alike call it a "must-have" for any oldies or soul music lover, defining a significant era of R&B.
The album captures The Drifters at their peak with beloved singles produced by the legendary teams of Leiber/Stoller and Goffin/King.
Reviews highlight how different lead vocalists (Ben E. King, Rudy Lewis, Johnny Moore) seamlessly fit the group's sound, adding to its charm.
Audiophiles rave about remastered versions, noting the superb quality, especially mono vinyl pressings, bringing vibrancy to the classic tracks.
Many listeners find the album deeply nostalgic, bringing back memories with its authentic, original recordings.
Iconic Tracks: Features chart-toppers like "There Goes My Baby," "Save the Last Dance for Me," "Up on the Roof," "On Broadway," and "Under the Boardwalk".
The album benefits from top-tier production from Jerry Leiber, Mike Stoller, and the songwriting of Goffin/King.
It places The Drifters as pivotal figures in R&B and pop music history, bridging vocal group styles.
In short, The Drifters' Golden Hits is celebrated as a near-perfect compilation of joyous, classic, and vital soul music that remains as powerful today as when it was first released.
The Dynamic Clarence Carter
Written-By – B. Foster, E. Jordon 3:05
A2 Think About It
Written-By – Don Covay 2:41
A3 The Road Of Love
Written-By – Clarence Carter 2:52
A4 You've Been A Long Time Comin'
Written-By – Barry Mann-Cynthia Weil 2:44
A5 Light My Fire
Written-By – Morrison, Densmore, Manzarek, Krieger 2:50
A6 That Old Time Feeling
Written-By – Carter, Daniel, Hall 2:30
B1 Steal Away
Written-By – Jimmy Hughes 2:37
B2 Let Me Comfort You
Written-By – O. B. Mc Clinton 2:15
B3 Look What I Got
Written-By – Charles Chalmers, Donna Rhodes 2:57
B4 Too Weak To Fight
Written-By – Carter, Jackson, Keyes, Hall 2:15
B5 Harper Valley P.T.A.
Written-By – Tom T. Hall 3:33
B6 Weekend Love
Written-By – Jackson, Chambers, Leakes, Moore 2:38
Label: Atlantic – SD 8199
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Southern Soul
he Dynamic Clarence Carter (1969) is a cornerstone Southern Soul album, showcasing Carter's gritty vocals, guitar skills, and versatility, blending raw blues ("The Road of Love," "That Old Time Feeling") with soulful covers like his fiery take on Etta James' "I'd Rather Go Blind," featuring Duane Allman's iconic guitar work, all delivered with Muscle Shoals' signature sound and backed by The Swampers. Critics praise it as a classic, full of infectious energy and essential tracks like "Too Weak to Fight," making it a must-have for soul fans, especially in remastered editions with bonus tracks.
Considered a landmark album in the genre, embodying the Muscle Shoals sound, produced by Rick Hall, it features "fatback" rhythms, punishing brass, and deep grooves, exemplified by the bluesy "The Road of Love" and "That Old Time Feeling". Allman's searing guitar solos are a major feature, especially on "The Road of Love" and "Weekend Love".
Carter successfully reimagines hits like Etta James' "I'd Rather Go Blind," The Doors' "Light My Fire," and Jeannie C. Riley's "Harper Valley PTA" into sizzling soul tracks."Too Weak to Fight," "The Road of Love," "I'd Rather Go Blind," and the euphoric "You've Been a Long Time Comin'" are standout moments.
Modern reissues (like those by Ace Records) often pair it with This Is Clarence Carter, adding unreleased tracks that maintain the high standard.
The Dynamic Clarence Carter as a brilliant, essential soul record, highlighting its flawless tracklist and its demonstration of Carter's "malleable talent" as both a singer and guitarist. It's seen as a perfect entry point or a deep dive into classic Southern Soul.
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 Floaters
Written-By – A. Ingram, J. Mitchell, M. Willis
11:49
A2 You Don't Have To Say You Love Me
Written-By – Simon Napier-Bell, Vicki Wickham
4:53
A3 Got To Find A Way
Written-By – A. Ingram, J. Mitchell, M. Willis
3:47
B1 I Bet You Get The One You Love
Written-By – A. Tilmon, J. Mitchell
3:04
B2 Everything Happens For A Reason
Written-By – A. Ingram, J. Mitchell
3:58
B3 Take One Step At A Time
Written-By – A. Ingram, J. Mitchell, M. Willis
4:05
B4 No Stronger Love
Written-By – A. Ingram, J. Mitchell, M. Willis
5:09
B5 I Am So Glad I Took My Time
Written-By – A. Ingram, J. Mitchell, M. Willis
5:20
Label: ABC Records – AB-1030
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Disco
The Floaters' 1977 self-titled album is defined by its massive, iconic hit "Float On," a dreamy, spoken-word soul ballad featuring astrological intros from each member over a lush groove, making it a quintessential, albeit cheesy and campy, 70s slow jam. While "Float On" brought massive success (#1 US R&B, #2 Pop, #1 UK), reviews for the full album are mixed, often calling it generic or second-rate beyond the hit, though some acknowledge its importance and the group's potential.
The album's centerpiece is its nearly 12-minute album version, famous for its atmospheric production by Dennis Coffey and each member's horoscope-themed introduction, creating a unique blend of smooth soul and dated astrological charm. The radio edit became a global smash.
It features classic Detroit soul sounds with strings, bass, and distinctive guitar work, thanks to producer-arranger Dennis Coffey.
The album also included "You Don't Have to Say You Love Me," a cover that charted moderately but didn't replicate the debut's success.
While the album was a commercial success, peaking at #10 on the Billboard 200, many critics found the material inconsistent, with the album largely existing in the shadow of its blockbuster single, cementing The Floaters as "one-hit wonders" despite their live appeal.
Overall, the album is a time capsule of 70s soul, primarily remembered for the groundbreaking, quirky, and enduringly popular "Float On". While the accompanying tracks might not match the hit's quality for some listeners, the album is a significant piece of soul history, lauded for its signature track's unique style and lasting cultural impact, including parodies and samples.
The Gap Band
A2 You Can Count On Me 4:59
A3 Open Up Your Mind (Wide) 7:08
A4 Messin' With My Mind 4:12
B1 Baby Baba Boogie 6:36
B2 I'm In Love 5:25
B3 Got To Get Away 3:48
B4 I Can Sing 5:18
Written by Buddy Jones (tracks: B2), Charles Wilson, Lonnie Simmons, R. Calhoun (tracks: A4), Robert Whitfield (tracks: A4), Robert Wilson, Ronnie Wilson
Label: Mercury – SRM-1-3758
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The Gap Band's 1979 self-titled album (often called Gap Band I), their first on Total Experience, marked a pivotal shift from psychedelic soul to a tighter, more commercial funk sound, blending 70s production with hints of disco and Stevie Wonder influences, featuring standout tracks like the strutting funk of "Shake" and jazzy cuts, serving as a strong foundation for their iconic 80s success despite being less known than later hits. Critics praise its vibrant mix of funk, soul, and early electro-funk, with some reviewers giving it high marks for capturing the band finding its essential groove.
The album bridged their earlier Mercury sound with the streamlined funk that would define their peak, incorporating elements of P-Funk, Stevie Wonder, and EWF. It features bright, cosmopolitan funk, disco-infused tracks like "Baby Baba Boogie," and melodic sophistifunk. While Gap Band II (1980) brought massive singles like "Oops Upside Your Head," this 1979 effort established their core sound and chemistry.
The group released a second self-titled album (The Gap Band II) later in the same year, which included the massive hit "I Don't Believe You Want to Get Up and Dance (Oops Upside Your Head)". Most critics consider the first 1979 album more "70s soulful" and the second as the definitive shift toward their signature P-Funk influenced style.
This album showcases The Gap Band solidifying their identity, delivering fun, groove-heavy tracks with sharp horns and dynamic vocals, making it a vital listen for understanding their evolution into funk legends.
The Gap Band – Gap Band V - Jammin’
Written-By – O. Scott
1:35
A2 Shake A Leg
Written-By – C. Wilson, R. Wilson, R. Taylor
4:01
A3 I'm Ready (If You're Ready)
Written-By – C. Wilson, J. Hamilton, M.H. Nestor
5:30
A4 You're My Everything
Written-By – R. Wilson
4:15
A5 Jammin' In America
Written-By – B. Spears, R. Wilson
5:04
A6 Smile
Arranged By [Strings] – Gene Page
Producer – Lonnie Simmons
Written-By – O. Scott, R. Wilson
3:02
B1 Party Train
Producer, Written-By – Lonnie Simmons
Written-By – C. Wilson, R. Wilson, R/ Taylor
6:10
B2 Jam The Motha'
Remix – Robert Wilson
Written-By – C. Wilson, R. Wilson, R. Taylor
4:18
B3 I Expect More
Written-By – F. Jenkins, K. Rich, R. Wilson
3:55
B4 You're Something Special
Lead Vocals – Ronnie Wilson
Written-By – R. Wilson
5:20
B5 Someday
Backing Vocals – Stevie Wonder
Written-By – B. Young, R. Wilson
4:35
Label: Total Experience Records – TE-1-3004
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Soul, Funk
Style: Eighties Soul, Disco, Funk
Released in 1983, Gap Band V – Jammin’ is often characterized as the final entry in the group’s "golden era" before a noted decline in subsequent releases. While it successfully maintained the group's commercial momentum following the massive success of Gap Band IV, critical reception is mixed, frequently highlighting a shift toward a more commercial sound.
The album retains the band’s trademark "percolated" funk approach—tight, rhythmic lines with a touch of jazz influence—produced primarily by Ronnie Wilson.
Critics note the record is "slicker" and more commercial than its predecessors. It leans heavily on synth-driven dancefloor fillers and introduces socially aware themes, a rarity for the band at the time.
Key Tracks:-
"Party Train": A major R&B hit (reaching #3), this dark, textured groover is considered a dancefloor essential, featuring train sound effects and a driving beat.
"Someday" (feat. Stevie Wonder): A tribute to Dr. Martin Luther King Jr., this track is praised as an "inspired" and "moving" moment that showcases a different, more serious side of the band.
"Shake a Leg": Regarded as one of the catchiest openers in their catalog, it features bright horns and a circular rhythm.
While some reviewers call it "outstanding", others find it uneven. Common complaints include "mediocre and samey" tracks in the middle of the album, with "Jammin' In America" often singled out as a weak point.
The album was a commercial success, reaching #1 on the R&B/Black Albums chart and #28 on the Pop chart, eventually earning Gold certification.
Modern reissues include 12" remixes and bonus tracks like the "Party Train" dance mix. Some users have reported sound quality issues (dropouts) on specific remastered CD versions.
The Girl Don’t Care
Written-By – Curtis Mayfield 2:50
A2 You Can't Hurt Me No More
Written-By – Curtis Mayfield 2:30
A3 Fool For You
Written-By – Carl Davis, Gerald Sims 2:30
A4 Here Comes The Tears
Written-By – Gerald Sims 2:32
A5 Good Times
Written-By – Curtis Mayfield 2:20
A6 The Girl Don't Care
Written-By – E. Dixon, K. Lewis 2:36
B1 To Choose
Written-By – Butler, Davis, Leavill 2:25
B2 Bet You Never Thought
Written-By – Robert Miller 2:30
B3 Baby That's Love
Written-By – Eugene Dixon, Shirley Johnson 2:30
B4 Buddy Ain't It A Shame
Written-By – B. Strong, S. Saunders 2:35
B5 No One Can Love You (Like I Do)
Written-By – B. Strong 2:30
B6 My Love
Written-By – B. Butler, C. Davis, O. Leavill 2:34
Label: Brunswick – BL 754124
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul, Rhythm & Blues
Style: Sixties Soul
Gene Chandler's The Girl Don't Care (1967) is a solid soul album, especially for Northern Soul fans, blending his earlier Constellation hits with new Brunswick tracks, showcasing classy, moody production (like jazz-infused covers) and strong vocals, proving he was more than just "Duke of Earl," but this album highlights his versatility in a sweet spot of his career.
The album cleverly mixes older singles from the defunct Constellation label with new Brunswick recordings, giving it a retrospective feel of his best work around that time.
Tracks like "Nothing Can Stop Me" made it a favorite for Northern Soul DJs, appealing to fans of upbeat, quality soul.
Despite being released in '67, some tracks, like a reimagined "I Wake Up Crying," feature sophisticated, jazzy arrangements with sax and piano that foreshadowed later soul-jazz trends.
It's a strong showcase for Chandler's enduring talent and versatility, reminding listeners of his consistent output beyond his massive hits, with plenty of high-quality soul material.
Expect a mix of uptempo soul burners and slower, more introspective tracks, all delivered with Gene Chandler's signature smooth, powerful voice, backed by quality Chicago soul production. It's a well-regarded album for collectors and fans of classic soul music.
The Girls...
A2 Same Old Song And Dance
A3 High On Love
A4 Hello World
A5 Jesus Is My Kind Of People
B1 The Need To Be
B2 Storms Of Troubled Times
B3 See You Again
B4 Once In A Lifetime Thing
B5 Old Kentucky Moon
Label: Buddah Records – BDS 5688
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
The 1976 album The Girls... by Betty & Dee is a cult soul/funk gem, known for its Barry White-esque smooth, rich production, great tunes, and fantastic vocals from the uncredited singers (speculated to be Betty Davis & Dee Dee Bridgewater). Despite being an elusive, possibly never-officially-released release on Buddah Records (with a mislabeled catalog number), it's praised for its deep grooves, under-the-radar status, and strong, often overlooked, songwriting, making it a must-have for fans of lush 70s soul.
The production is described as lush, rich, and smooth, reminiscent of Barry White's style, focusing on great melodies and powerful vocals.
The singers remain largely anonymous, though fans on forums speculate it's Betty Davis (the funk pioneer) and Dee Dee Bridgewater, adding to its mystique.
It's considered a rare find, with a Buddah catalog number that points to another LP, suggesting it was a clandestine release or a promotional item.
Reviewers highlight its high quality, strong tunes, and deep grooves, calling it an "almost overpowering" album. Its obscurity makes it a hidden treasure, affordable for diligent collectors.
Overall Impression: The Girls... is a highly sought-after, mysterious soul record from 1976 that delivers exceptional smooth funk and soul, offering a rich listening experience for those who appreciate deep cuts and legendary, albeit uncredited, vocal talent.
Betty and Dee Betty & Dee
The Greatest Little Soul Band In The Land
Written-By – John D. Loudermilk
6:08
A2 Tenement Halls
Written-By – Joe Kookoolis, Scott Fagan
5:17
A3 Something For My People
Written-By – J. J. Jackson
4:02
A4 In The Same Old Way
Written-By – J. J. Jackson, Barnes
2:56
B1 A Change Is Gonna Come
Written-By – Sam Cooke
6:31
B2 Fat, Black And Together
Written-By – Al Stewart, J. J. Jackson, Lew Futterman
3:41
B3 Win, Lose Or Draw
Written-By – Ousley
3:59
B4 That's Woman Loving Her Man
Written By – King-Stewart, J.J. Jackson, Sidney Barnes
4:23
Label: Congress – CS-7000
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul-Jazz
J.J. Jackson's The Greatest Little Soul Band in the Land, released around 1969, is a vibrant soul-jazz fusion album known for its "big band-inspired horn arrangements," raw vocals, and deep grooves, reminiscent of Ray Charles, with standout tracks like "Tenement Halls" and powerful covers of soul classics, showcasing a blend of funk, soul, progressive soul, and jazz elements.
A strong mix of soul, jazz, and funk, featuring big band horns and walking basslines that emphasizes Jackson's impassioned, raw vocals. It features "tons of horns" and creative arrangements, with no filler.
The album ncludes originals like "Tenement Halls" (co-written with Scott Fagan) and "Fat, Black, & Together," alongside soulful interpretations of songs like Sam Cooke's "A Change Is Gonna Come" and the classic "Tobacco Road".
A definitive late-60s soul record, blending traditional soul with more progressive musical ideas of the time.
In essence, it's a critically acclaimed album celebrated for its energetic, horn-driven sound and J.J. Jackson's commanding vocal performance, making it a gem for soul music enthusiasts.
The Heat Is On
A2 The Heat Is On (Parts 1 & 2) 5:37
A3 Hope You Feel Better Love (Parts 1 & 2) 6:06
B1 For The Love Of You (Parts 1 & 2) 5:38
B2 Sensuality (Parts 1 & 2) 6:52
B3 Make Me Say It Again Girl (Parts 1 & 2) 7:43
Written and Arranged by – C. Jasper, E. Isley, M. Isley, O. Isley, R. Isley, R. Isley
Label: Epic – EPC 69139
Format: Vinyl, LP, Album
Country: Europe
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The Isley Brothers' The Heat Is On is a landmark funk-soul masterpiece lauded for its seamless blend of hard-hitting funk, rock-infused jams, and lush, romantic ballads, showcasing the band's incredible musicianship (especially Ernie Isley's guitar) and Ronald Isley's powerful vocals, creating a diverse yet cohesive album that became their first #1 hit and cemented their status as R&B legends. Critics praised its irresistible danceability, emotional depth, and overall flawless execution, calling it a perfect summer album and a high point in their prolific career.
The album masterfully shifts from aggressive funk-rock ("Fight the Power," "The Heat Is On") with searing guitar solos to smooth, soulful ballads ("For the Love of You," "Sensuality"). It features enduring hits like "For the Love of You (Parts 1 & 2)" and the powerful "Fight the Power (Parts 1 & 2)".
Praised by Rolling Stone for its dance appeal and by Robert Christgau as "well-nigh flawless," highlighting Ronald Isley's unique vocal delivery.
It's a testament to the Isleys' talent as a self-contained unit, writing, performing, producing, and arranging their own work, and a pivotal album that solidified their transition into the 70s funk/soul scene, proving their ability to evolve and dominate, making them one of the era's biggest black groups alongside Earth, Wind & Fire and Ohio Players.
Considered a must-have, easy to enjoy, and a definitive summer record. It remains a staple on classic R&B and pop radio, showcasing enduring musical excellence.
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 Impressions
A2 Gypsy Woman 2:20
A3 Grow Closer Together 2:12
A4 Little Young Lover 2:14
A5 You've Come Home 2:45
A6 Never Let Me Go 2:30
B1 Minstrel And Queen 2:22
B2 I Need Your Love 2:25
B3 I'm The One Who Loves You 2:28
B4 Sad, Sad Girl And Boy 2:40
B5 As Long As You Love Me 2:27
B6 Twist And Limbo 2:29
Written by – Curtis Mayfield
(tracks: A1 to A5, B1, B3 to B6)
Written-By – Joe Scott (track: A6)
Written-By – Richard Brooks (track: B2)
Label: ABC-Paramount – ABC 450
Format: Vinyl, LP, Album
Country: US
Released: 1963
Genre: R&B Soul
Style: Sixties Soul, Twist, Doo Wop
The Impressions' 1963 self-titled album (often combined with The Never Ending Impressions) is a foundational Soul/R&B record, showcasing Curtis Mayfield's evolving genius, gorgeous harmonies by the trio (Mayfield, Sam Gooden, Fred Cash), and pioneering socially conscious themes alongside sweet ballads, featuring early hits like "Gypsy Woman" and a bridge from gospel to secular soul that set the stage for later classics like "People Get Ready". Reviewers praise its beautiful vocal interplay, Mayfield's songwriting, and its historical importance, calling it a cornerstone of soul music.
The album highlights the exquisite three-part vocal blend of Mayfield, Gooden, and Cash, a signature sound in soul music. Even in these early stages, Mayfield's distinctive voice and songwriting skills shine, moving from tender love songs to deeper, more mature themes.
The sound firmly bridges gospel traditions with secular R&B, a hallmark of the Chicago Soul sound. It features early hits such as "Gypsy Woman," a staple of their catalog. The album captures The Impressions as they defined their sound, foreshadowing the socially conscious anthems that would define the latter half of the 1960s.
Reviewers are often deeply moved by the "ineffable beauty" and "sweetness" of the vocals. It showcases the group's role in shaping R&B and soul, with Mayfield's voice developing from "childlike purity to the hipper ballsier delivery".
In essence, The Impressions (1963) album serves as a vital document of a legendary group finding its voice, offering both catchy, sweet soul and a glimpse into the profound music they were about to create.
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 Johnnie Taylor Philosophy Continues
Written-By – Daron Taylor, George Clinton
4:04
A2 Separation Line
Written-By – We Three
3:40
A3 Love Bones
Written-By – Al Bell, Don Davis
3:58
A4 Love Is A Hurting Thing
Written-By – Ben Raleigh, David Linden
2:27
A5 I Had A Fight With Love
Written-By – We Three
3:00
B1 I Could Never Be President
Written-By – We Three
2:30
B2 It's Amazing
Written-By – Don Davis (2), Gene Current, Kent Barker
2:55
B3 Who Can I Turn To
Written-By – Anthony Newley, Leslie Bricusse
4:30
B4 Games People Play
Written-By – Joe South
3:46
B5 It's Your Thing
Written-By – O'Kelly Isley, Ronald Isley, Rudolph Isley
2:25
Label: Stax – STS 2023
Format: Vinyl, LP, Album
Country: US
Released: 1969
R&B Soul
Style: Sixties Soul, Southern Soul
The Johnnie Taylor Philosophy Continues is a 1969 studio album released on the Stax label that showcases Johnnie Taylor's versatility in the soul and R&B genres. The album is known for its blend of sweet northern soul and gritty southern funk, with production by Don Davis.
The album is Johnnie Taylor's fifth studio album and solidifies his reputation as the "Philosopher of Soul". It features a mix of original songs and covers of contemporary hits, all delivered with Taylor's distinctive smooth vocals and backed by the iconic Stax sound, likely featuring members of Booker T. & the M.G.'s as the backing band. Reviewers on Rate Your Music praise the album as one that "starts strong and keeps getting better," highlighting the grit and funkiness of the tracks.
It spans different soul styles, from blues-drenched ballads to funky workouts and pop covers. Standout songs include the chart-climbing rendition of Parliament's "I Wanna Testify," the "smoking, bouncing, stomping" mid-tempo southern soul track "Love Bones," and the "slightly socio-political funky workout" "I Could Never Be President". The album features strong interpretations of popular songs like Joe South's "Games People Play" and The Isley Brothers' classic "It's Your Thing".
In summary, the album demonstrates Taylor's ability to move from sweet, melodic soul to harder-edged funk. It's a quintessential release from his time at Stax Records, cementing his legacy as "The Philosopher of Soul."
The Joys Of Life
A2 Joys Of Life 4:47
A3 Guiding Star 4:27
A4 Baby Won't You Take My Love 5:18
A5 You Can't Hide (Your Love From Me) 3:28
B1 Dreaming 5:31
B2 Be A Star 5:39
B3 I'm So In Love 4:46
B4 Do You Feel My Love Now Baby 6:15
Label: Island Records – ILPS 9739
Format: Vinyl, LP, Album
Country: UK
Released: 1983
Genre: R&B Soul
Style: Soul, Funk, Boogie
David Joseph's 1983 solo debut, The Joys of Life, is a cornerstone of the Brit-funk movement, produced by Godwin Logie with contributions from members of the group Hi-Tension.
The album is characterized by its blend of electronic, funk, and soul. A mix of Soul, Funk, and Post-Disco Boogie.
Key Tracks... "You Can’t Hide (Your Love From Me)": Often highlighted for its "serious soul" and "earworm" hook; "Guiding Star": Praised as a "great boogie track" exclusive to this LP. "No Time To Waste": A staple of the original album version.
Reviews often describe it as an "excellent" and "super smooth" record. Noted as an "essential listen" for fans of underground funk and soul, even appearing in late 2025 retrospective discussions.
As of 2026, the album maintains a strong reputation among collectors and soul enthusiasts. It holds a high average of 4.33 to 4.48 out of 5 stars across various releases.
The Kid!
Written-By – H. Ousley
5:45
A2 Forget It, I've Got It
Written-By – Wright, Miller
5:11
A3 Me And Bobby McGee
Written-By – F. Foster, K. Kristofferson
9:02
B1 The Prodigal Son
Written-By – H. Ousley
5:47
B2 Come Sunday
Written-By – Duke Ellington
5:42
B3 One For The Masses
Written-By – H. Ousley
8:14
Label: Cobblestone – CST 9017
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Jazz
Style: Soul-Jazz
Released in 1971 on Cobblestone Records, The Kid! is often hailed as a definitive Jazz-Funk essential. It marked a "greasy" stylistic shift for Harold Ousley, moving from his hard bop roots toward a soul-jazz sound that emphasizes deep pockets and heavy grooves.
A
lbum Highlights:-
"Forget It, I've Got It": Frequently cited as the album’s standout track, this piece is praised for its infectious, danceable rhythm.
"One For The Masses": A fan favorite that showcases the tight chemistry of the ensemble.
"Me and Bobby McGee": A rare jazz cover of the Kris Kristofferson classic; while some critics find it less impactful than the originals, it is noted for its unique, non-throwaway arrangement.
Reviews highlight Ousley’s "resonant and husky" tenor sax sound, describing his playing as "soulful, flexible, and witty". The rhythm section is credited with maintaining a "steady groove," while percussionist Danny Barrajanos and pianist Neal Creque are singled out for adding layers of Latin flair and vibrant side work.
Discogs community reviews note that the Cobblestone pressings feature high-fidelity sound, likely due to the label’s backing by Buddah Records. The album maintains a high average rating of 4.36 / 5 among collectors on Discogs.
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 Look Of Love - The Sound Of Soul
Written-By – Aretha Franklin 2:25
A2 What'll I Do 2:43
A3 Please Send Me Someone To Love 3:28
A4 Theme From "Hotel" 3:00
A5 Watch What Happens 2:14
B1 God Only Knows 2:48
B2 I Believe In You 3:06
B3 The Look Of Love 3:18
B4 Release Me 2:48
B5 You'd Better Come Home
Label: Vault – SLP-116
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
Sam Fletcher's The Look of Love – The Sound of Soul, originally released in September 1967 on Vault Records, is widely regarded by critics as a classic showcase of sophisticated mid-century vocal jazz and soul. Known as "The Man with the Golden Voice," Fletcher's performance on this album has earned high praise for its impeccable phrasing and rich, smooth tone.
Critics frequently highlight Fletcher's "class and sophistication," comparing his style to legends like Nat King Cole. His delivery on standards is noted for being both dramatic and versatile.
he album was arranged and conducted by Harry Betts, featuring a blend of pop tunes and jazz standards that transitioned Fletcher from his earlier cabaret-style work into a more contemporary soulful sound.
While the album should have propelled him to international stardom, his career was derailed by a highly publicized legal issue shortly after its release. Today, original vinyl pressings (catalog SLP-116) are highly valued collector's items.
The album maintains strong retrospective ratings, often receiving 5/5 stars on platforms like Discogs and Amazon.
Notable Tracks:
"The Look of Love": The title track is praised for its memorable vocal lines and emotional positivity.
"More Today Than Yesterday": Often included in expanded digital reissues, this track is cited as a beautiful rendition of the late-60s pop classic.
"I Believe in You": A re-recorded version of his 1961 signature song, which serves as a highlight of his vocal range on this LP.
The album has seen modern resurgence through digital remasters, including an expanded edition available on Amazon and Spotify, allowing new audiences to experience what many consider his definitive work.
The Mack
A2 Theme Of The Mack 5:36
A3 I Choose You 3:42
A4 Mack's Stroll / The Getaway (Chase Scene) 3:08
B1 Slick 3:36
B2 Mack Man (Got To Get Over) 5:10
B3 Mother's Theme (Mama) 3:56
B4 Now That It's All Over 4:31
B5 Brother's Gonna Work It Out 4:46
Written by Willie Hutch
Label: Motown – M 766L
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: Soul
Style: Seventies Soul, Funk
Willie Hutch's The Mack soundtrack is a quintessential 1970s blaxploitation album, celebrated for its iconic funk grooves like "Brother's Gonna Work It Out" and "Slick," rich brass, sweeping strings, and emotive vocals that capture the film's gritty yet soulful narrative, standing as a landmark in funk and soul music that remains highly regarded for its timeless production and enduring appeal.
Features classic funk anthems "Brother's Gonna Work It Out" and the title track "The Mack," alongside memorable ballads like "I Choose You" and "Kelly Green".
Considered among the best soundtracks of the era, alongside Curtis Mayfield's Superfly, it perfectly sets the mood for the film's themes of street life and hustling.
Showcases Hutch's signature blend of gritty funk, smooth soul, and lush orchestration, often compared to the sounds of Motown's late 70s output.
Critics praise the album for its lush, melodic arrangements, featuring an 18-piece string ensemble and a powerful brass section. It is noted for a "warm" and "playful" vibe that effectively captures the film's atmosphere.
While perhaps not a massive hit upon release, the album's quality and influential tracks have cemented its status as a beloved classic, frequently sampled and praised decades later.
Reviewers highlight its perfect balance of danceable funk and soulful depth, noting its compelling atmosphere. It's seen as a masterclass in film scoring for the genre, with strong songwriting and Hutch's distinctive vocal delivery.
Fans continue to praise its timeless quality, often calling it a "must-buy" for soul and funk enthusiasts. The album remains a "sample goldmine" for modern producers and is highly recommended for fans of deep soul and orchestral funk.
The Main Squeeze
Written-By – McGriff
4:15
A2 The Sermon
Written-By – J. Smith
3:03
A3 The Blues Train To Georgia
Written-By – McGriff
4:59
A4 Misty
Written-By – Garner, Burke
7:30
B1 The Main Squeeze
Written-By – McGriff
3:40
B2 GMI
Written-By – McGriff
4:45
B3 These Foolish Things Remind Me Of You
Written By – Link Strachey Marvell
5:22
B4 Stella By Starlight
Written By – Young Washington
4:24
Label: Groove Merchant – GM-534
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz
Style: Soul-Jazz, Jazz-Funk
Jimmy McGriff's The Main Squeeze (1974) is widely regarded as a quintessentially soulful organ-jazz session from the Groove Merchant label. Critics and listeners generally describe it as a set of "solid grooves" that lean heavily into blues-based soul jazz.
Reviews on AllMusic describe the album as a collection of "short, sharp, and oh-so-sincere funk workouts". While some critics feel it stays within its comfort zone and never quite "boils over," it is praised for its controlled and skillful grooves.
High-energy numbers like the title track "The Main Squeeze" and the bluesy "The Blues Train To Georgia" are frequently cited as highlights. The soulful rendition of the standard "Misty" is also noted for its "tasty" lead-in.
The quartet features notable contributions from Jimmy Ponder on guitar, whose smooth and melodic tone is often singled out, and Connie Lester on saxophone.
Users on Discogs note that the album is recorded beautifully, with "plenty of air and space" for the instruments to shine. The bass is reported to be deep, and McGriff’s organ sounds "full and rich".
The album maintains a solid reputation among collectors, typically holding a 4 out of 5 star rating on enthusiast platforms.
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 Moods Of Millie Jackson (Her Best Ballads)
2 A Love Of Your Own 4:30
3 I Can't Say Goodbye 4:45
4 From Her Arms To Mine 3:28
5 If Loving You Is Wrong I Don't Want To Be Right 3:49
6 Solitary Love Affair 3:48
7 Special Occasion 4:01
8 It Hurts So Good 3:11
9 Good To The Very Last Drop 3:46
10 I'll Be Rolling (With The Punches) 3:05
11 I'm Tired Of Hiding 3:43
12 I'm Through Trying To Prove My Love To You 5:22
13 How Do You Feel The Morning After 2:59
14 Angel In Your Arms 4:04
15 I Just Can't Stand It 3:03
16 It's Gonna Take Some Time This Time 3:59
17 Loving Arms 3:43
18 Making The Best Of A Bad Situation 2:59
19 I Still Love You (You Still Love Me) 3:28
20 A Child Of God (It's Hard To Believe) 3:40
Label: Kent Soul – CDKEND 391
Format: CD, Compilation
Country: UK
Released: 2013
Genre: R&B Soul
Style: Downtempo Soul, Ballad
The Moods Of Millie Jackson (Her Best Ballads) is a highly praised compilation that serves as a fantastic introduction or deep dive for fans of Millie Jackson's powerful, emotional soul ballads, showcasing her storytelling prowess with hits like "It Hurts So Good" and "If Loving You Is Wrong," along with deep cuts, all programmed to flow like a concept album, capturing her legendary raw delivery of relationship narratives. Reviewers highlight its excellent curation, featuring tracks from writers like Sam Dees and Phillip Mitchell, strong vocal performances, and a smooth sequencing that emphasizes her passionate, often explicit, storytelling.
It collects some of her finest down-tempo moments, ideal for those who prefer ballads over her raps or want a streamlined way to enjoy her slower material.
The album features iconic tracks like "It Hurts So Good," "If Loving You Is Wrong," "Special Occasion," and "Angel In Your Arms," alongside gems like "I Can't Say Goodbye". Compiled by Sean Hampsey, the tracks blend seamlessly, mimicking the feel of a conceptual album and enhancing the emotional journey.
It showcases Jackson's ability to deliver heartbreak and raw emotion through passionate singing and spoken intros, a hallmark of her "raunchy blues" style. It includes songs from renowned writers and highlights Millie's own co-writing contributions, making for a rich listening experience.
Recommended as the ideal entry point for new fans or a superb collection for existing ones. Described as perfect for a relaxed listening session, contrasting with more upbeat compilations. A powerful reminder of Millie Jackson's status as a supreme soul singer, able to convey profound feeling.
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 Music Band Jazz
Written-By – Dickerson, Miller, Brown, Scott, Oskar, Jordan, Allen, Rizzo
10:09
A2 Half Note
Written-By – Dickerson, Miller, Jordan, Allen
10:00
B1 E.R.A.
Written-By – Brown, Scott, Oskar, Jordan, Rabb, Allen, Rizzo, Hammon
5:24
B2 (a) Koronos
Written-By – Brown, Scott, Goldstein, Oskar, Jordan, Rabb, Allen, Rizzo
14:55
B2 (b) Sometimes I Wonder (Is It For Real)
Written-By – Brown, Scott, Oskar, Jordan, Rabb, Allen, Rizzo
B2 (c) A Pattern Of Time
Written-By – Brown, Scott, Goldstein, Oskar, Jordan, Rabb, Allen, Rizzo
Label: MCA Records – MCA-5411
Format: Vinyl, LP, Album
Country: US
Released: 1983
Genre: R&B Jazz, Funk, Soul
Style: Funk, Jazz-Funk
WAR's The Music Band Jazz (1983) is a highly regarded, rare, and atmospheric album often cited as a favorite post-1975 release by fans. It showcases a unique, spaced-out, and cosmic blend of jazz, funk, and electronic influences, frequently described as a hidden gem within the band's discography.
Features core members like Lonnie Jordan (keyboards), Lee Oskar (harmonica), and Harold Brown (drums), alongside later additions like Luther Rabb and Pat Rizzo.
The album features a "spaced out" and "cosmic" feel, blending traditional WAR funk with jazz and electronic elements. It is considered one of the decade's top Cosmic Jazz Funk Soul LPs.
It is noted as one of the most unique albums in the band's catalog, offering a different vibe compared to their earlier, more commercially successful funk records.
While a stellar release, it is sometimes noted for being harder to find on high-quality formats, making it a prized item for collectors.
This album stands out for its experimental, laid-back, yet funky atmosphere, distinguishing it from the more radio-friendly, upbeat hits of their earlier 1970s, such as The World Is A Ghetto or Why Can't We Be Friends.
The Never Ending Impressions
Written-By – Curtis Mayfield 2:23
A2 Little Boy Blue
Written-By – Curtis Mayfield 2:17
A3 Satin Doll
Written-By – Duke Ellington, Johnny Mercer 2:19
A4 Girl Don't You Know Me
Written-By – Curtis Mayfield 2:18
A5 I Gotta Keep On Movin'
Written-By – Curtis Mayfield 3:41
A6 You Always Hurt The One You Love
Written-By – A. Roberts*, D. Fisher 2:05
B1 That's What Love Will Do
Written-By – Curtis Mayfield 2:00
B2 I'm So Proud
Written-By – Curtis Mayfield 2:48
B3 September Song
Written-By – Kurt Weill, M. Anderson 2:15
B4 Lemon Tree
Written-By – Will Holt
Written-By – Curtis Mayfield 4:08
B5 Ten To One
Written-By – Curtis Mayfield 2:18
B6 A Woman Who Loves Me
Written-By – Curtis Mayfield 2:22
Label: ABC-Paramount – ABCS-468
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul
The Never Ending Impressions, a seminal 1964 album by The Impressions, showcases Curtis Mayfield's maturing genius and the group's exquisite harmonies, featuring hits like "I'm So Proud" and "Ten To One," solidifying their Chicago soul sound with Johnny Pate's arrangements, and influencing generations with its beautiful melodies and powerful, truth-filled lyrics.
It's celebrated as a key album in soul history, blending gospel roots with secular themes, and is often paired with their earlier single compilations.
The album is packed with original compositions by Mayfield, demonstrating his evolving, masterful craft. The album highlights the trio's signature, gorgeous three-part harmonies, creating an "ineffably beautiful" sound that bridges gospel and soul.
Working with producer Johnny Pate, the album pushed the Impressions as a supper-club act, adding depth with keyboards and backing vocals while retaining their core soulful sound.
Key songs include the Top 20 hit "I'm So Proud," "Ten To One," "Sister Love," "Little Boy Blue," and "I Gotta Keep Movin'," the latter supposedly inspiring Bob Marley.
While the earlier "Impressions" album compiled singles, The Never Ending Impressions was one of their first full albums, marking a pivotal moment as they developed their unique, influential style.
Critics and fans praise the album for its timeless quality, rich harmonies, and Mayfield's poignant lyrics, recognizing it as a cornerstone of 1960s soul music that set the stage for later socially conscious themes. It's considered essential listening for fans of classic soul and the legendary Curtis Mayfield.
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 New Born Free
Written By – Black-Barry
2:37
A2 Overworked And Underpaid
Written By – Poindexter-Harper-Poindexter
2:59
A3 Love Is Everywhere
Written By – Poindexter-Lewis-Poindexter
2:29
A4 We Only Have One Life
Written By – Poindexter-Harper-Members
3:09
A5 Let's Groove
Written By – Banks-Bates
2:34
A6 I've Gotta Find Her
Written By – Carter-Banks
2:20
B1 I Wish It Could Be Me
Written By – Colson-Poindexter-Poindexter
2:41
B2 Push A Little Bit Harder
Written By – Banks-Bates
2:43
B3 Don't Go
Written By – Bennett-Banks
2:45
B4 I Believe In Love
Written By – Smith-Dorroh-Blakey
2:34
B5 Without Your Love
Written By – Banks-Robinson
2:35
B6 We Can Do It
Written-By – Larry Banks
2:30
Label: Kapp Records – KL-1548
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul, Blues
Style: Sixties Soul
The New Born Free is The Hesitations' 1968 album, a significant release in 60s Soul and R&B, known for its powerful group harmonies, spiritual undertones (especially in their civil rights-infused "Born Free"), and inclusion of original material alongside unique takes on familiar songs, showcasing their talent for sophisticated group soul and Northern Soul, often paired with their Where We're At album on modern compilations for a rich collection of their work.
Features their hit "Born Free" alongside other notable tracks like "Overworked & Underpaid," and "I Wish I Could Be Me." The album is frequently cited by collectors as one of the group's strongest works, particularly for the title track's vocal arrangement. The sessions featured prominent Motown "Funk Brothers" musicians, assembled by Jack Ashford and Shelley Haims.
It represents the peak of the group's sound, often bundled with their Where We're At album on CD reissues, offering a comprehensive look at their excellent 1960s output. Original vinyl pressings can often be found through collectors' marketplaces like Discogs or Dusty Groove.
In essence, The New Born Free captures The Hesitations at their best, delivering soulful, harmony-driven tracks that are both commercially appealing and socially conscious, making it a cherished piece of 60s music history.
The New Lee Dorsey
Written-By – Toussaint
A2 Can You Hear Me
Written-By – Toussaint
A3 The Greatest Love
Written-By – Toussaint
A4 A Mellow Good Time
Written-By – Toussaint
A5 Mexico
Written-By – Toussaint
A6 Get Out My Life, Woman
Written-By – Toussaint
B1 Ride Your Pony
Written-By – Neville
B2 Confusion
Written-By – Toussaint
B3 Holy Cow
Written-By – Toussaint
B4 Don't You Ever Leave
Written-By – Toussaint
B5 Neighbour's Daughter
Written-By – Toussaint
B6 A Little Dab A Do Ya
Written-By – Toussaint
Label: Stateside – SSL 10192
Format: Vinyl, LP, Album
Country: UK
Released: 1966
Genre: R&B Soul, Blues
Style: Sixties Soul
The New Lee Dorsey album - Stateside SSL 10192 pressing is an acclaimed UK mono release of Lee Dorsey's classic album, a cornerstone of New Orleans R&B produced by Allen Toussaint, praised for its "funky backbeat," humorous lyrics, and signature hits like "Working in the Coal Mine," offering a unique sound with strong bass/drums and brass, making it a highly sought-after, "wonderfully incredible" pressing for fans of classic Soul and Toussaint's legendary production.
The album epitomizes New Orleans Soul with its playful humor, catchy tunes, and distinctive loping, funky rhythms, a hallmark of Toussaint's work. It features legendary producer Allen Toussaint and the legendary Meters, delivering a consistent, winning combination of good-time music.
Includes iconic tracks like "Working in the Coal Mine" and "Holy Cow," alongside other dancers and humor-filled tracks. This specific English mono pressing from 1966 is noted for its "wonderfully incredible" audio quality and is highly regarded by collectors for its superior sound, outperforming some stereo reissues.
Why It's Praised: The interplay of rhythmic bass, drums, and brass defines Toussaint's signature New Orleans sound. Lee Dorsey's magnificent, charming vocal delivery is a key element. The original mono pressing is considered a fantastic find for its audio fidelity and capturing the essence of the era.
The New Look
Written-By – Bob Hilliard, M. Garson
3:45
A2 How Glad I Am
Written-By – Jimmy Williams (3), Larry Harrison
2:41
A3 Oh No, Not My Baby
Written-By – Gerry Goffin & Carol King
2:39
A4 Rescue Me
Written-By – Carl Smith (2), Reynard Miner
2:50
A5 Gee Whiz
Written-By – Carla Thomas
2:28
A6 I'm A Woman
Written-By – Jerry Leiber & Mike Stoller
2:29
B1 Since I Fell For You
Written-By – Buddy Johnson
3:24
B2 Impossible
Written-By – B. F. Flip, O. Jones
2:49
B3 You've Lost That Lovin' Feelin'
Written-By – Mann, Weil, Spector
3:24
B4 Soul Of The Man
Written-By – Oliver Sain
3:30
B5 Come And Get These Memories
Written-By – Dozier & Holland
2:18
B6 I Know
Written-By – Barbara George
3:08
Label: Checker – LP 2997
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul, Funk
Style: Sixties Soul, Rhythm & Blues
Released in 1966 on the Checker label (a subsidiary of Chess Records), The ‘New’ Look is the debut studio album by Fontella Bass. It was famously rushed into production to capitalize on the massive success of her signature hit, "Rescue Me".
Reviews highlight Bass’s voice as "powerful yet nuanced," demonstrating her skill as an interpreter of diverse material beyond standard soul.
Unlike the high-energy R&B of "Rescue Me," much of the album leans toward vocal jazz and pop-soul, which may surprise listeners expecting a full album of gritty soul anthems.
Critics often describe it as a typical mid-60s "hit-plus-covers" LP. While the musicianship is top-tier—featuring Chess legends like Maurice White and Lester Bowie—the album relies heavily on covers (9 out of 11 tracks).
Key Tracks:-
"Rescue Me": The album’s undeniable centerpiece and its only major original hit.
Notable Covers: Includes her interpretations of "Our Day Will Come," "How Glad I Am," and "You've Lost That Lovin' Feelin'".
"Impossible": A standout original ballad featuring understated organ work by Sonny Thompson.
The album maintains high scores on collector sites, averaging around 4.3 to 5 stars on Discogs and Amazon. Audiophiles praise the 1960s mastering for its clarity and dynamic range, noting it has "stood the test of time" better than many modern recordings.
The Original Ray Charles
A2 Honey, Honey
A3 Ray Charles Blues
A4 Don't Put All Your Dreams In One Basket
A5 St. Pete Florida Blues
A6 You Always Miss The Water (When The Well Goes Dry)
B1 Jack, She's On The Ball
B2 Can Anyone Ask For More
B3 Let's Have A Ball
B4 If I Give You My Love
B5 Sitting On The Top Of The World
B6 I've Had My Fun
Label: Hollywood Records – HLP 504
Format: Vinyl, LP, Compilation
Country: US
Released: 1961
Genre: R&B Jazz
Style: Jazz-Soul
The Original Ray Charles (Hollywood Records – HLP 504) is a compilation album that gathers early tracks from Ray Charles’s tenure with the Swing Time and Down Beat labels. While not a studio-concept album like his later 1961 works (Genius + Soul = Jazz), it provides a historical look at his formative years.
The album primarily features jazz and jump blues. Unlike the soul and gospel-infused sound that defined his later Atlantic Records era, these recordings showcase a younger Charles heavily influenced by the Nat King Cole trio and Charles Brown.
The 12-track collection includes several of Charles's earliest recordings. Critics view this material as the foundation of his career, capturing the "ancient standards" and early R&B sounds he would later revolutionize.
Listeners often note the "50s sound" and Charles’s exceptional piano skills, though the production lacks the "soul whammy" of his later, more refined big-band arrangements.
While later reissues (such as those by Analogue Productions) have improved the audio quality of early Charles recordings, the original 1961 Hollywood pressing is a standard mono production typical of early 1960s budget or compilation labels.
In essence, The Original Ray Charles serves as a vital historical document of Ray Charles's burgeoning talent, a must-have for deep fans wanting to hear the roots of the legend before his mainstream explosion.
The Original Spinners
A2 I'll Always Love You 2:43
A3 Truly Yours 2:58
A4 For All We Know 2:53
A5 It Hurts To Be In Love 2:22
A6 Tomorrow May Never Come 2:27
B1 Sweet Thing 2:40
B2 I Cross My Heart 2:57
B3 Where Is That Girl 2:59
B4 Like A Good Man Should 2:15
B5 How Can I 2:38
B6 I Just Can't Help But Feel The Pain 2:35
Label: Motown – MS 639
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Soul, Motown
The Original Spinners (1967) showcases the group's early Motown sound, a strong collection of Detroit soul with "Grade-B" charm, featuring standout tracks like "Truly Yours," "I'll Always Love You," and Smokey Robinson's "Like A Good Man Should," offering fantastic harmonies and production despite limited chart success at the time, making it a beloved classic for Motown fans.
A mix of Motown's signature sound with unique twists from producers like Ivy Jo Hunter, delivering powerful vocals, lush harmonies, and soulful ballads alongside uptempo stompers, predating their later Philly Soul success.
Standout Tracks: "Truly Yours" and "I'll Always Love You" (Hunter/Stevenson) are highlights, showcasing incredible vocal talent, while "Like A Good Man Should" offers a rare, energetic Smokey Robinson gem.
Features strong, care-filled production, even on tracks not produced by the famous Holland-Dozier-Holland team, with strong, heartfelt performances.
Although not massive hits then, songs like "Truly Yours" and "I'll Always Love You" are now considered essential Motown deep cuts, proving the group's immense talent even in the shadow of Motown's biggest stars.
The album is highly regarded by fans, who appreciate its raw energy and classic soul sound, often preferring it over slicker later material for its authentic feel.
In summary, The Original Spinners is a must-have for soul music lovers, capturing the nascent brilliance of the group before their superstardom, offering genuine Detroit magic with rich harmonies and timeless tracks
The Other Woman
Voice [Talking] – Doug E. Fresh, MissJones
Written-By – Avon Marshall, Tarsha Jones
0:40
2 Dance Wit Me
Rap – Doug E. Fresh
Written-By – Charles Farrar, Mary Brown, Troy Taylor
Written-By [Sample From "Dance To The Drummer's Beat"] – H. Kelly
4:00
3 You And Me (Intro)
Written-By – Chad Elliott, Tarsha Jones
1:03
4 You And Me
Written-By – Al West, Chad Elliott, Charmelle Cofield, Tarsha Jones
3:29
5 Baby Maybe
Written-By – Chris Liggio, Felicia Adams
Written-By [Portions Of "Back At You"] – A. Johnson, B. Bachrach, H. David, K. Muchita
4:00
6 Need Somebody
Rap – Big Chad
Written-By – Al West, Chad Elliott, Charmelle Cofield, Rufus Blaq
Written-By [Portions Of "Mango Meat"] – Wilson, Wilson, Wilson
3:17
7 Won't Stop
Featuring – Craig Mack
Written-By – Armando Colon, Rashad Smith, Reneé Neufville
Written-By [Sample From "Put Your Body In It"] – E. Moore, H. King
3:29
8 I Care (Interlude)
Written-By – Chad Elliott, Tarsha Jones
1:31
9 So Amazing
Written-By – Kenny Hickson, Mario Winans, Tarsha Jones
3:59
10 Me And MissJones
Featuring – Jazz
Voice [Intro] – Doug E. Fresh
Written-By – Carey Gilbert, Kenny Gamble, Leon Huff
2:43
11 Love Under New Management
Written-By – Annette Hardaman, Gabrielle Hardaman
5:51
12 Smooth
Written-By – Charles Farrar, Taral Hicks, Troy Taylor
4:44
13 2 Way Street
Written-By – Kenny Hickson, Mario Winans, Tarsha Jones
3:55
14 My First Love
Written-By – Melissa Ritter, Ricky Jones, Robert Jerald
4:45
15 Raindown
Written-By – Al West, Chad Elliott, Charmelle Cofield, Doug Watts
4:13
16 Pushing Me Away
Written-By – Janice Dempsey, Mike Clemons, Nate Clemons, Phil Weatherspoon, Tarsha Jones
4:47
17 Lies
Written-By – Bernard Grobman, Reneé Neufville, Tarsha Jones
4:45
18 2 Way Street (#1 Lady)
Rap – Big Punisher, MissJones
Written-By – Chad Elliott, Charmelle Cofield, Christopher Rios, Tarsha Jones
Label: Motown – 314530949-2
Format: CD, Album
Country: US
Released: 1998
Genre: Hip Hop, Funk, Soul
Style: Contemporary R&B
Released in 1998 under Motown, The Other Woman is the debut studio album by Missjones (Tarsha Nicole Jones). Critical and user reception highlights the album as a solid example of late-90s hip-hop soul and R&B.
Missjones as an "ambitious performer" who effectively blends hip-hop and urban R&B. While he noted the album might run a bit long and adheres closely to the formula established by Mary J. Blige, he praised the results as "sexy, melodic, and danceable".
The album maintains a high reputation among collectors and genre enthusiasts, holding an average rating of 4.4 to 4.6 out of 5 on Discogs and Rate Your Music.
Listeners often refer to it as a "hidden gem" or "one that got away," noting that despite receiving limited airplay at the time, the production and "great beats" still sound fresh decades later.
The album features "2 Way Street" (including a remix featuring Big Pun) and "Dance Wit Me" (featuring Doug E. Fresh). Includes guest appearances from Craig Mack on "Won't Stop" and Larry "Jazz" Anthony (of Dru Hill) on "Me and Miss Jones".
The album features heavy-hitting 90s production from Rashad Smith, Mario Winans, and Chad Elliott. Released in 1998, it is a key piece of 90s urban soul, with high praise for its, at the time, fresh production.
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 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 Pleasure Seekers
Vocals – Audrey Wheeler 4:39
A2 It Takes 2 4:12
A3 Big City Beat 3:25
A4 Love Won't Wait For Lovin'
Written-By – Paul Pesco 4:47
B1 This Is For You 4:57
B2 My Radio Rocks
Vocals – Denise Chaplin 3:43
B3 Did In By A Friend 3:11
B4 I Don't Run From Danger 4:45
Producer, Written, and Arranged by David Frank & Mic Murphy
Label: Mirage – 90281-1
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul, Electronic Funk
Style: Synth-pop, Disco
The Pleasure Seekers is the third studio album by the synth-pop and electronic funk duo The System, consisting of Mic Murphy and David Frank.
The album is characterized by its distinctive mid-80s blend of electro-funk, synth-pop, and soul. Produced, written, and arranged by Murphy and Frank, the record utilizes heavy electronic textures and "technological trickery" that pushed contemporary pop boundaries. Notable contributors include guitarist Paul Pesco and percussionist Jimmy Maelen.
Key Tracks:
"The Pleasure Seekers": The title track and a major single featuring guest vocals from Audrey Wheeler. It is described as a complex electronic track more suitable for listening than dancing.
"This Is for You": A commercially successful single regarded as a classic "soul dancer" with a strong groove.
"It Takes 2": Highlighted by critics as a standout track and a perfect example of the duo's cohesive sound.
"I Don't Run From Danger": The album's closer, known for its nervous, jittery electro-funk energy.
The album reached the Billboard R&B Albums chart in 1985. Retrospective reviews often describe it as a "strong, cohesive record" that captures the peak of the synth-pop revolution, though some critics feel it lacks consistency across its entire length compared to their biggest hits.
The production is clean and polished, with layered synths and strong vocals, even if some tracks feel a bit dated now.
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 Promise Of Love
Written-By – Gold, Deene 3:34
A2 You've Been Doing Me Wrong
Written-By – Gold, Deene 3:49
A3 Mr. Heartbreak
Written-By – Grenville Harding 4:21
A4 Let Me Take You To The Sun
Written-By – Coley, Bailey 4:04
A5 Back Door Love
Written-By – Gold, Deene 2:52
B1 Where Is The Love (We Used To Know)
Written-By – Gold, Deene 4:02
B2 Soul Trippin'
Written-By – Gold, Deene 3:54
B3 Oh Honey
Written-By – Gold, Deene 4:07
B4 Someone Oughta Write A Song (About You Baby)
Written-By – Gold, Deene 5:43
B5 Love Is Like A Fire
Written-By – Harding, Bailey 3:19
Label: Shadybrook Records – SB-010
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
The Promise of Love by Delegation (1977) is a highly-regarded British soul/disco album praised for its smooth grooves, rich vocals, and romantic themes, featuring standout tracks like the soulful ballad "Oh, Honey" (a US crossover hit) and dancefloor fillers like "Heartache No. 9," making it essential for fans of classic 70s R&B, disco, and quiet storm, especially with modern reissues offering bonus tracks and excellent sound.
The album delivers that classic late-70s sophisticated soul sound, blending heartfelt ballads with uptempo disco-funk.
Lyrically, it's centered on love, heartbreak, and relationships, with tracks like "Darlin' (I Think About You)" capturing sweet devotion.
It features great basslines, strings, and melodic arrangements, with strong vocal performances from lead singer Ricky Bailey.
Standout Tracks:
"Oh, Honey": A signature, smooth, extended ballad that became a significant US crossover hit.
"Heartache No. 9": A popular, funky dance track with a witty narrative about romantic woes.
"Where Is The Love (We Used to Know)" & "You've Been Doing Me Wrong": Early UK hits showcasing their smooth soul-pop style.
"Mr. Heartbreak" & "Let Me Take You to The Sun": Notable inclusions on the US version, offering more depth.
The album is a must-have for lovers of authentic 70s dance music and sophisticated soul.
The 40th-anniversary editions by Big Break Records are highly praised for remastering and bonus content (B-sides, alternate tracks). Its classic sound and strong songwriting ensure it remains compelling listening today.
In essence, The Promise of Love is considered a high-class, essential effort from a great British soul group, delivering consistent quality across its romantic and dance-oriented tracks.
The Reddings
Producer – Billy Osborne, Zane Giles
Written-By – B. Osborne, A.Z. Giles
4:30
A2 So In Love With You
Producer – Robert Brookins
Written-By – R. Brookins, The Reddings
4:10
A3 Come Back To Me
Producer – The Reddings
Written-By – The Reddings
4:20
A4 Jealous Heart
Producer – The Reddings
Written-By – The Reddings
3:59
A5 R.O.C.C.
Producer – Robert Brookins
Written-By – R. Brookins, The Reddings
4:15
B1 Serious
Producer – B. Osborne, A.Z. Giles, Billy Osborne, Zane Giles
4:10
B2 Let's Stop Pretending
Producer – Billy Osborne, Zane Giles
Written-By – C. Mims, E. Booker
4:34
B3 Company
Producer – Robert Brookins
Written-By – R. Brookins, T. Haynes
4:30
B4 This Is My Life
Producer – The Reddings
Written-By – The Reddings
3:32
B5 Call The Law
Producer – The Reddings
Written-By – Autofrat, The Reddings
3:40
Label: Polydor – 422 835 292-1
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul
Style: Eighties Soul, Funk
The Reddings' 1988 self-titled album is a solid, though lesser-known, entry in their discography that leans heavily into a sophisticated late 80s R&B, funk, and post-disco sound. General consensus from consumer ratings suggests positive reception, with an average rating around 4 out of 5 stars on platforms like Discogs and Amazon, often praised for its sound quality and nostalgic value.
Unlike the early 80s "naked funk" style found on some of their previous albums like Back to Basics (1983) or the Earth, Wind & Fire influence on Class (1981), the 1988 album is characterized by polished, well-produced tracks typical of the era. Listeners describe the music as having:
The album features clean, sweet grooves and strong vocal harmonies. The production aligns with late 80s R&B standards, potentially utilizing synthesizers and drum programming that were popular at the time.
It is considered an enjoyable, catchy R&B record from that period, with some consumers highlighting specific, albeit forgotten, "gems" among the love songs. For fans of The Reddings or 80s funk/soul, the album is a valued addition to their collection, sometimes being a sought-after record.
The album generally receives high marks from collectors and fans. Many positive reviews on sites like Amazon mention the album's ability to evoke the "best years" for the listener, suggesting a strong sentimental connection for those who listened to it at the time of its release.
In summary, while it may not have achieved the widespread critical acclaim of their father Otis Redding's work in the 60s, the 1988 self-titled album is a respected and enjoyable record for fans of the Reddings' specific 80s funk and R&B sound.
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 Show Must Go On
Written-By – David Camon, Sam Dees 6:15
A2 The Show Must Go On
Written-By – Sam Dees 3:25
A3 Come Back Strong
Written-By – Sam Dees 3:03
A4 Just Out Of My Reach
Written-By – Jesse J. Lewis, Sam Dees 3:39
A5 Claim Jumpin'
Written-By – Bill Brandon, Sam Dees 2:50
B1 Troubled Child
Written-By – Al Gardner, David Camon, Sam Dees 3:42
B2 What's It Gonna Be
Written-By – Sam Dees 4:45
B3 Worn Out Broken Heart
Written-By – Sam Dees, Sandra Drayton 3:19
B4 Good Guys
Written-By – Sam Dees 3:17
B5 So Tied Up
Written-By – Bill Brandon, Sam Dees 3:49
Label: Atlantic – SD 18134
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Southern Soul
Sam Dees' The Show Must Go On (1975) is widely hailed by soul aficionados as a masterpiece of Deep Soul and Southern Soul, celebrated for Dees' poignant songwriting, passionate vocals, and masterful blend of emotional ballads and modern soul tracks, standing as a pivotal, timeless album in the genre despite limited initial mainstream recognition, with its quality often compared favorably to contemporaries.
Dees shines as a storyteller, delivering deeply personal lyrics full of wisdom, passion, and social commentary, drawing comparisons to Curtis Mayfield in theme and style, notes AudioSoundMusic and Audiophile Audition. While not a traditional powerhouse, Dees' voice conveys unmistakable emotion and hurt, particularly on slow, dramatic tracks.
The production features lush strings, weeping guitars, and a solid rhythm section that perfectly supports Dees' soulful narratives, according to Derek's Music Blog and Audiophile Audition.
Standout Tracks: "Come Back Strong" is a modern soul classic, while ballads like "Worn Out Broken Heart" and "Just Out Of My Reach" are deeply emotive.
Considered a cornerstone of Deep Soul and a must-have for rare groove collectors, it blends Southern soul grit with Chicago soul sophistication.
Reviewers note the album holds up exceptionally well, with its emotional depth and quality surpassing many contemporaries. It's praised as an outstanding, essential 70s soul album, a true showcase of a master songwriter's art.
The Softones
Arranged By – Van McCoy
Written-By – G. D. Weiss, Hugo & Luigi 3:30
A2 Everybody Knew But Me
Arranged By – Van McCoy
Written-By – G. D. Weiss, Hugo & Luigi 3:00
A3 Can't Help Falling In Love
Arranged By – Sammy Lowe
Written-By – G. D. Weiss, Hugo & Luigi 2:52
A4 Extra-Ordinary People
Arranged By – Van McCoy
Written-By – G. D. Weiss, Hugo & Luigi 2:54
A5 I'm Gonna Prove It
Arranged By – Sammy Lowe
Written-By – D. Oriolo, M. Barkan 3:15
B1 Why, Why, Baby
Arranged By [Rhythm] – Al Gorgoni
Written-By – G. D. Weiss, Hugo & Luigi 5:18
B2 And I Remember Your Face
Arranged By – Van McCoy
Written-By – G. D. Weiss, Hugo & Luigi 3:04
?4 Never Let A Woman Like That Go By
Arranged By [Rhythm] – Al Gorgoni
Written-By – G. D. Weiss, Hugo & Luigi 4:07
B3 My Dream
Arranged By – John Lampkin
Written-By – K. Glascoe, M. Brown 3:15
Label: Avco – AV-11011-598
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Sweet Soul
The Softones' 1973 self-titled debut album is a highly regarded "sweet soul" classic, celebrated for its gorgeous harmonies, J. Marvin Brown's soaring falsetto, and a mix of smooth, dreamy romance and funky grooves, featuring standout tracks like the funky breakbeat "World" and soulful ballads, making it a favorite among vinyl collectors and soul fans for its raw production and enduring vibe.
Known for "sweet harmonies," "heavy soul," and a "raw production vibe" that captures authentic 70s soul, it features the distinctive high falsetto of lead singer J. Marvin Brown.
Produced by the famous duo Hugo & Luigi (Hugo Peretti & Luigi Creatore) and arranged by Van McCoy, who also used his top New York session players as the house band, similar to his work with The Stylistics.
Includes the funky, drum-heavy "World," along with other favorites like "Friends By Day (Lovers By Night)" and "Try Me".
Considered a must-have for collectors, praised as perhaps the best by this legendary Baltimore group, capturing the essence of 70s soul.
What Reviewers Say: "An instant classic" with "sweet harmonies, heavy soul, and a very raw production vibe". Offers a "serene and dream-like atmosphere" for listeners.
A beloved entry in the 70s soul scene, often compared to groups like The Stylistics but with a unique sound, the album established The Softones as purveyors of romantic, heartfelt soul music, with lush orchestrations that blended seamlessly with their tender vocals, making it a staple of 70s soul.
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 Album
Written-By – Robinson, Redding, Cropper 2:55
A2 It's Growing
Written-By – Robinson, Moore 2:40
A3 Cigarettes And Coffee
Written-By – Thomas, Walker, Butler 4:00
A4 Chain Gang
Written-By – Cooke, Cooke 2:58
A5 Nobody Knows You (When You're Down And Out)
Written-By – Cox 3:10
B1 Good To Me
Written-By – Green, Redding 3:45
B2 Scratch My Back
Written-By – Moore 2:45
B3 Treat Her Right
Written-By – Head 2:10
B4 Everybody Makes A Mistake
Written-By – Isbell, Floyd 3:00
B5 Any Ole Way
Written-By – Redding, Cropper 2:32
B6 634-5789
Written-By – Floyd, Cropper 2:50
Label: Volt – VOLT 413
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Southern Soul
Otis Redding's The Soul Album (1966) is a critically acclaimed Stax release showcasing his raw power and tender sensitivity, featuring brilliant covers ("Cigarettes and Coffee", "Just One More Day") backed by Booker T. & the MG's and Memphis Horns, proving his mastery at transforming others' songs into deeply personal anthems, despite some reviewers finding lesser tracks average. It's a crucial, powerful collection cementing his "King of Soul" status, blending energetic stompers with heartbreaking ballads.}
Redding's voice shines, delivering primal power and nuanced emotion, from pleading ("Just One More Day") to soulful yearning.
The tight, brilliant backing of Booker T. & the MG's and The Memphis Horns provides iconic Stax soul instrumentation.
He reinterprets songs by Sam Cooke, Smokey Robinson, and Wilson Pickett, making them his own through intense, soulful performances.
Standout Tracks: "Cigarettes and Coffee" is often cited as a jewel, alongside "Just One More Day" and "Good to Me".
It is Generally seen as a flawless work and essential to his catalog. A few find some covers, like "Treat Her Right," weaker than the originals, or the overall album slightly less iconic than Otis Blue, though still strong.
In essence, The Soul Album is an essential listen for its powerful soul performances, brilliant musicianship, and Redding's unique ability to inhabit any song, solidifying his legendary status.
The Soul of Ike and Tina Turner
Written-By – Turner, Bussong
A2 I Idolize You
Written-By – Ike Turner
A3 If
Written-By – Ike Turner
A4 Letter From Tina
Written-By – Ike Turner
A5 You Can't Love Two
Written-By – Ike Turner
A6 I Had A Notion
Written-By – Joe Morris
B1 A Fool In Love
Written-By – Ike Turner
B2 Sleepless
Written-By – Ike Turner
B3 Chances Are
Written-By – Ike Turner
B4 You Can't Blame Me
Written-By – Ike Turner
B5 You're My Baby
Written-By – Ike Turner
B6 The Way You Love Me
Written-By – Ike Turner
Label: Sue Records Inc. – LP 2001
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B Soul, Blues, Rock
Style: Rhythm & Blues
The Soul of Ike & Tina Turner (1961) is widely considered a pivotal and potent debut album that captures the raw, foundational sound of the duo's early R&B and soul style. It is praised by critics and fans for its energetic performances and historical significance in showcasing the development of soul music.
The album is highly regarded for its authentic, black sound of the early 1960s, blending bluesy elements with gospel fervor. Reviewers often highlight the "rawness and earthiness" of the recordings, which gives them a potent and undimmed power. Tina Turner's vocals are frequently described as "majestic," "scathing," and having a "lusty, uninhibited sex appeal and self-confidence" that elevates even the less inspired compositions.
The album is seen as a key historical document of the Turners' early years on the Sue Records label, where they had their first substantial hits like "A Fool in Love", "I Idolize You", and "I'm Jealous". It provides great insight into their musical direction before their later, more polished and commercially successful rock and roll hybrid sound of the late 1960s and 1970s.
Ike Turner's production and compositions are noted for establishing the "chunky, recognizable sound" of the band, with the backing vocals from The Ikettes adding a precise call-and-response dynamic that emphasizes the link between soul and gospel music.
User reviews are largely positive, with many people giving the album high ratings and praising the sound quality of remastered editions.
Fans describe the album as an excellent introduction for anyone wanting to explore the Turners' early career and a "soul treasure" for R&B enthusiasts. Many appreciate the less commercial, "raw" feel of the early recordings compared to their later work.
Some minor criticisms mention that the sound quality on certain older releases isn't always perfect or that a few tracks are less engaging than the hit singles. Overall, the consensus is that the album is a fantastic and enjoyable listen.
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 Soulful Moods Of Marvin Gaye
Written By – Allie Wrubel
Written-By – Herbert Magidson 5:01
2 My Funny Valentine
Written-By – Richard Rodgers/Lorenz Hart 3:33
3 Witchcraft
Written By – Cy Coleman
Written-By – Carolyn Leigh 2:28
4 Easy Living
Written By – Ralph Rainger
Written-By – Leo Robin 3:08
5 How Deep Is The Ocean (How High Is The Sky)
Written-By – Irving Berlin 3:12
6 Love For Sale
Written-By – Cole Porter 2:58
7 Always
Written-By – Irving Berlin 3:02
8 How High The Moon
Written By – Nancy Hamilton
Written-By – Morgan Lewis 2:33
9 Let Your Conscience Be Your Guide
Written-By – Berry Gordy 3:05
10 Never Let You Go (Sha-Lu Bop)
Written By – Anna Gordy
Written-By – Harvey Fuqua 2:45
11 You Don't Know What Love Is
Written By – Gene DePaul
Written-By – Don Raye 3:58
Label: Tamla – TM-221
Format: Vinyl, LP, Album
Country: US
Released: 1961
Genre: R&B Soul, Jazz
Style: Sixties Soul, Motown
The Soulful Moods of Marvin Gaye, his 1961 Tamla debut, is a fascinating but flawed album showing a young Gaye aiming to be a jazz-pop crooner like Nat King Cole, filled with Great American Songbook standards and light jazz arrangements, offering glimpses of his talent but contrasting sharply with his later R&B/soul stardom, making it more for diehard fans than a defining work.
While pleasant and showcasing his versatile voice and occasional piano/drumming, reviewers find it somewhat uninspired "background music" with weak production and forgettable moments, though standout tracks like "Easy Living" hint at the genius to come.
Gaye wanted to be a jazz/pop vocalist, leading to an album of standards ("My Funny Valentine," "Love for Sale") rather than R&B.
Produced by Berry Gordy, it features early Motown instrumentation but lacks the signature Motown punch, with some finding the arrangements bland or the musicianship subpar.
He plays piano and drums, showing versatility, but often sounds like he's trying to fit into a difficult genre rather than defining it.
The album is not a classic but reveals potential, with tracks like "Easy Living" being highlights, while some R&B numbers (like "Stubborn Kind of Fellow") hint at his true future.
In essence, The Soulful Moods is a worthwhile listen to track Gaye's early journey, but it's not where his iconic sound was forged; that would come later with true Motown innovation.
The Sound Of Silence
Written-By – Paul Simon 3:02
A2 I Got It Bad And That Ain't Good
Written-By – Duke Ellington, Paul Francis Webster 3:24
A3 MacArthur Park
Written-By – Jim Webb 4:00
A4 Watch What Happens
Written-By – Michel Le Grand, Norman Gimbel 2:33
A5 Stardust
Written-By – Hoagy Carmichael, Mitchell Parish 4:04
A6 Don't Go Away
Written-By – Margo Guryan 2:15
B1 Gloomy Sunday
Written-By – Laszlo Javor, Rezso Seress, Sam M. Lewis 4:08
B2 I Sold My Heart To The Junkman
Written-By – Leon Rene, Otis Rene 3:38
B3 Poor Butterfly
Written-By – John L. Golden, Raymond Hubbell 2:16
B4 My Heart Reminds Me
Written-By – Al Stillman, C. Bargoni, Danpa 2:27
B5 The Folks Who Live On The Hill
Written-By – Jerome Kern, Oscar Hammerstein II 4:25
B6 Can You Tell
Written-By – Margo Guryan 2:11
Label: Atlantic – SD 8200
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Jazz
Style: Vocal, Pop
Carmen McRae's The Sound of Silence (1968) is celebrated for her unique, soulful jazz interpretations of contemporary pop and older standards, showcasing her impeccable timing, expressive voice, and ability to blend genres, making hits like "Sound of Silence" and "MacArthur Park" deeply personal, distinct from the originals, and appealing to diverse listeners beyond strict jazz fans, solidifying her status as a master vocalist.
Produced by Nesuhi Ertegun for Atlantic Records, featuring arrangements by Shorty Rogers and Jimmy Jones, McRae stamps her distinctive identity on every track, transforming familiar songs into something new and deeply felt. The album brilliantly mixes jazz with pop, R&B, and easy listening, appealing to a broad audience.
Standout Tracks: Features her unique takes on Simon & Garfunkel's "The Sound of Silence," Jimmy Webb's "MacArthur Park," and standards like "I Got It Bad (And That Ain't Good)" and "Stardust".
What Reviewers Say:
"Carmen always stamped her identity on each and every song with her soulful voice."
"...light and groovy one minute, deeply expressive the other – but all with a sense of balance that few other singers can touch..."
"This omission of the last word, however, proves that Carmen McRae really does bring a meaning to The Sound of Silence." (referring to her vocal delivery)
"Just hearing her version of the song alone was worth the price of the CD for me."
In summary, The Sound of Silence is considered a classic in her discography, demonstrating McRae's genius for reinterpreting material and delivering emotionally truthful performances, making it a must-listen for fans of vocal jazz and sophisticated pop covers.
The Sound Of Wilson Pickett
Written-By – Jerry Wexler, Wilson Pickett
2:38
A2 Funky Broadway
Written-By – Lester Christian
3:33
A3 I Need A Lot Of Loving Every Day
Written-By – Dan Penn, Lindon Oldham
2:20
A4 I Found A Love, Part I
Written-By – Robert West, W. Schofield, Wilson Pickett
2:30
A5 I Found A Love, Part II
Written-By – Robert West, W. Schofield, Wilson Pickett
2:59
A6 You Can't Stand Alone
Written-By – Rudy Clark
2:47
B1 Mojo Mamma
Written-By – Bert Berns, Jerry Wexler
1:59
B2 I Found The One
Written-By – Bobby Womack
2:30
B3 Something Within Me
Written-By – Bobby Womack
3:40
B4 I'm Sorry About That
Written-By – Bobby Womack
3:03
B5 Love Is A Beautiful Thing
Written-By – Eddie Brigati, Felix Cavaliere
2:12
Label: Atlantic – SD 8145
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
The Sound of Wilson Pickett, released in 1967 by Atlantic Records, is widely regarded as a "gritty soul masterpiece" that captures the artist at the peak of his vocal power.
Reviewers frequently highlight Pickett’s "rough-and-ready" soul shouting and aggressive, breathless delivery that managed to stay highly musical even during his strongest outbursts. He is often cited for eliminating "Uncle-Tom warmth" in soul music in favor of a harder, rocking sound.
Co-produced by Jerry Wexler and Rick Hall at FAME Studios in Muscle Shoals, the album features a legendary roster of session musicians, including Roger Hawkins (drums), Spooner Oldham (organ/piano), and Tommy Cogbill (bass/guitar).
Modern retrospectives praise the album for its lack of "weak syrupy tracks," maintaining a high quality throughout that has not aged since its release.
Key Tracks:-
"Funky Broadway": A smash hit originally by Arlester Christian, Pickett's version is a cornerstone of early funk.
"I Found a Love (Parts 1 & 2)": A re-recording of his earlier work with The Falcons, noted for its "grittiest wailing ever committed to vinyl".
"Soul Dance Number Three": A signature high-energy track co-written by Pickett and Wexler.
"Mojo Mamma": Described as a thumping track with "ominous horns" and a relentless groove.
Several reviewers note that while this album lacks the massive crossover singles of his earlier works (like "Mustang Sally"), it is a more "consistent and satisfying" front-to-back listening experience without "weak syrupy tracks".
The Spice Of Life
Written-By – Miller, Shaw, Evans 6:02
A2 Call It Stormy Monday
Written-By – Walker 3:01
A3 Where Can I Go
Written-By – Fuld, Berland, Miller 2:21
A4 I'm Satisfied
Written-By – Dollison 2:48
A5 I Wish I Knew (How It Would Feel To Be Free)
Written-By – Taylor, Dallas 3:12
B1 Liberation Conversation
Written-By – Miller, Shaw 2:03
B2 California Soul
Written-By – Ashford & Simpson 2:59
B3 Go Away Little Boy
Written-By – Goffin & King 2:45
B4 Looking Thru The Eyes Of Love
Written-By – Mann & Weil 3:00
B5 Anyone Can Move A Mountain
Written-By – Marks 3:03
Label: Cadet – LPS-833
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Funk
Style: Sixties Soul, Jazz-Soul
Marlena Shaw's The Spice of Life (1969) is a seminal soul/jazz album, praised for its potent mix of funk, proto-disco, and conscious lyrics, featuring timeless classics like the socially charged "Woman of the Ghetto" and the soulful "California Soul," with exceptional arrangements by Charles Stepney and Richard Evans that laid groundwork for hip-hop sampling and remain fresh and relevant decades later.
The album seamlessly blends soul, jazz, gospel, and emerging funk with lush orchestrations. It features socially conscious themes, especially "Woman of the Ghetto," a raw depiction of poverty.
It became incredibly influential, providing breakbeats and grooves for countless hip-hop tracks, notes this review from Jive Time Records and this blog post from Tracks & Tales.
The partnership between producer Charles Stepney and arranger Richard Evans created a rich, inventive soundscape, featuring distinctive kalimbas, psych-guitar, and dynamic bass.
The album is home to iconic tracks "Woman of the Ghetto" and her signature cover of "California Soul," celebrated for their emotional depth and musicality.
It's Considered by many fans and critics as Shaw's definitive work and a true hidden gem of 1960s soul. It's lauded for its blend of entertainment and provocation, sounding as modern and essential today as it did in 1969.
The Spinners
Written-By – Vinnie Barrett
3:42
A2 Just You And Me Baby
Written-By – Yvette Davis
2:56
A3 Don't Let The Green Grass Fool You
Written-By – Akines, Bellmon, Turner, Drayton
4:01
A4 I Could Never (Repay Your Love)
Written-By – Bruce Hawes
6:56
A5 I'll Be Around
Written-By – Phil Hurtt, Thom Bell
3:10
B1 One Of A Kind (Love Affair)
Written-By – Joseph B. Jefferson
3:31
B2 We Belong Together
Written-By – Yvette Davis
4:12
B3 Ghetto Child
Written-By – Linda Creed, Thom Bell
3:47
B4 How Could I Let You Get Away
Written-By – Yvette Davis
3:46
B5 Could It Be I'm Falling In Love
Written-By – Mystro & Lyric
4:13
Label: Atlantic – SD 7256
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Philly
The Spinners (1973) is a masterpiece of Philly soul, marking the group's transition from Motown to Atlantic Records with producer Thom Bell. Featuring hits "I'll Be Around" and "Could It Be I'm Falling in Love," the album is praised for its flawless, lush production, rich harmonies, and a perfect mix of grit and sophistication.
Produced by Thom Bell, the album is characterized by a "silky" and "creamy" sound, featuring sweeping strings, punctual horns, and vibraphone. It is considered a cornerstone of the Philadelphia soul sound. The album showcases the smooth lead vocals of Bobby Smith and the energetic, gospel-influenced ad-libs of Philippe Wynne.
The album yielded five Top 100 hits in the U.S. and reached #14 on the Billboard 200.. Hit singles include: "I'll Be Around": Widely regarded as a quintessential soul classic; "Could It Be I'm Falling in Love": Another major hit that solidified their success; "One of a Kind (Love Affair)": A high-charting, soulful track; "Ghetto Child": A UK hit noted for its poignant social commentary on racial inequality and urban struggle.
This self-titled Atlantic debut is frequently described as essential listening for fans of 1970s R&B and soul. The album is considered a "filler-free" set and often cited as one of the best soul albums of 1973.
The Staple Singers – Let’s Do It Again (Original Soundtrack)
Written-By – Curtis Mayfield
4:52
A2 Funky Love
Written-By – Curtis Mayfield
4:48
A3 A Whole Lot Of Love
Written-By – Curtis Mayfield
3:52
A4 New Orleans
Written-By – Curtis Mayfield
4:23
B1 I Want To Thank You
Written-By – Curtis Mayfield
5:22
B2 Big Mac
Written-By – Curtis Mayfield
6:05
B3 After Sex
Written-By – Curtis Mayfield
6:43
B4 Chase
Written-By – Curtis Mayfield, Floyd Morris, Gary Thompson (25), Joseph Scott, Phillip Upchurch*, Quinton Joseph
4:14
Label: Curtom – CU 5005
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Stage & Screen
Style: Soundtrack, Soul, Funk
The Staple Singers' 1975 Let's Do It Again soundtrack, produced by Curtis Mayfield, is celebrated for its iconic, chart-topping title track and joyful funk/soul, balancing the group's spiritual roots with worldly themes, though some reviews note unevenness with forgettable instrumentals; it's considered an essential, underrated gem for soul collectors, especially for Mavis Staples' stunning vocals.
The centerpiece, "Let's Do It Again," is a gorgeous, risqué funk-soul classic, a huge #1 pop/R&B hit, praised for Mavis Staples' voice and its blissful, ambling groove. The album beautifully blends The Staples' trademark sanctified vocals with deep funk, featuring tracks like the funkafied "New Orleans" and the uplifting "I Want To Thank You".
Written and produced by Mayfield, it showcases his genius for crafting soulful, transcendental content, elevating it above many blaxploitation soundtracks. While the Mayfield-penned vocal tracks are stellar, some instrumental cuts (like "Big Mac") are seen as filler, but the overall album is deemed a must-have for soul fans.
The soundtrack influenced pop culture (influencing artists like Camp Lo) and remains a significant part of The Staple Singers' legendary catalog, marking their first major success post-Stax.
Despite some instrumental filler, Let's Do It Again is a standout soundtrack, a testament to the synergy between The Staple Singers and Curtis Mayfield, delivering classic soul and funk that remains deeply loved and highly recommended for fans of the genre.
The Staple Swingers
Written-By – Bettye Crutcher, Mack Rice, Tommy Tate 4:20
A2 What's Your Thing
Written-By – Mark Rice 4:21
A3 You've Got To Earn It
Written-By – Cornelius Grant, Smokey Robinson 3:28
A4 You're Gonna Make Me Cry
Written-By – D. Malone 5:04
A5 Little Boy
Written-By – Carson Whitsett 3:25
A6 How Do You Move A Mountain
Written-By – Adam Levy, Myrna March 2:34
B1 Almost
Written-By – Harold Thomas, Leroy Mason 4:16
B2 I'm A Lover
Written-By – Charles Bevel, James Mabone 3:43
B3 Love Is Plentiful
Written-By – Bettye Crutcher, Bobby Manuel 2:30
B4 Heavy Makes You Happy (Sha-Na-Boom-Boom)
Written-By – Bobby Bloom, Jeff Barry 2:58
B5 I Like The Things About You
Written-By – Martha Stubbs, Roebuck "Pops" Staples 3:21
B6 Give A Hand - Take A Hand
Written-By – Barry Gibb, Maurice Gibb 3:55
Label: Stax – STS 2034
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul
The Staple Swingers (1971) is a landmark album for The Staple Singers, marking their full embrace of 70s funk-pop with hits like "Heavy Makes You Happy," showcasing their gospel roots fused with Stax's Muscle Shoals soul, featuring the Bar-Kays' horns, and delivering powerful, optimistic messages on tracks like "This Is a Perfect World," making it a gritty, essential release praised with perfect scores by critics like AllMusic.
A pivotal shift from soul-folk to funk-pop, blending gospel purity with bluesy grit, heavy bass, organ, and the iconic guitar of Pops Staples. The first album with Stax producer Al Bell and sister Yvonne replacing Tyrone, recorded with The Bar-Kays' horns in Muscle Shoals.
Uplifting, subtly delivering social and political messages with hope, evident in songs like "This Is a Perfect World" and "What's Your Thing". Produced iconic singles like "Heavy Makes You Happy (Sha-Na-Boom Boom)" and "You've Got To Earn It".
The album captures the group at their creative peak during their Stax Records heyday. It's considered one of their finest overall, with no weak tracks, full of infectious grooves and powerful vocals. It's a definitive Americana record, blending deep-south soul with the burgeoning funk sound of the early 70s.
Reviewers consistently highlight the album as a turning point, "the flowering of the Staple Singers' mid-tempo, gospel-flavored '70s funk-pop". It was their first commercial breakthrough, reaching number nine on Billboard's R&B albums chart.
The Stinger Man
Written-By – F. Robinson
2:33
A2 You Ain't Nothing But A Devil
Written-By – J. McCrackin
2:42
A3 I've Been Trying
Written-By – M. Galore, Vee Pea
2:43
A4 You're In My Book First
Written-By – J. McCrackin
2:40
A5 Drown In My Own Tears
Written-By – H. Glover
3:35
A6 I Had To Get With It
Written-By – J. McCrackin
2:58
B1 What's Going On?
Written-By – J. McCrackin
2:29
B2 You Know Who To Turn To
Written-By – J. McCrackin
3:12
B3 I Likes Ya
Written-By – F. Robinson
3:10
B4 I Know You Know I Know
Written-By – M. Galore, M. Higgins
2:43
B5 How About That?
Written-By – J. McCrackin
2:16
B6 Knock On Wood
Written-By – E. Floyd, S. Cropper
3:02
Label: Minit – LP-24017
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Blues
Style: Soul-Blues
Released in 1969, Jimmy McCracklin's The Stinger Man is a highly regarded, strong, and underrated album blending upbeat soul-blues with funk influences. Featuring guitarist Freddy Robinson, the record offers a well-recorded, energetic sound that captures a pivotal moment of blues artists incorporating soul, making it a sought-after item.
The album features a mix of funk-heavy, soulful blues. It is noted for good sound quality and separation, with standout lead guitar work from Freddy Robinson. It is described by listeners as a "fun, strong album" that acts as a hidden gem from the era.
Released during a time when blues artists were incorporating funk and soul, it represents a mature, groovy sound for McCracklin. The original recordings are praised for their "punchy Mono" sound and "nice separation," making it a favorite for audiophiles seeking authentic 1960s party records.
The album is considered a great find for fans of late 60s, funk-influenced blues. While it didn't achieve massive commercial success at the time, it holds a high community rating (approximately 4.5/5 stars) on Discogs and is considered a must-own for fans of the San Francisco Bay Area blues scene.
Despite its "curiously hued funereal cover design," the music is vibrant and energetic. Original 1969 vinyl pressings are increasingly rare, with collectors often paying between £100 and £200 for copies in excellent condition, though modern reissues have made it more accessible to casual listeners.
The Sweet Inspirations
Written-By – Darryl Carter, Lindon Dewey Oldham, Wallace Pennington 2:36
A2 Blues Stay Away From Me
Written-By – Alton Delmore, Henry Glover, Rabon Delmore, Wayne Raney 3:22
A3 Don't Let Me Lose This Dream
Written-By – Aretha Franklin 2:20
A4 Knock On Wood
Written-By – Eddie Floyd, Steve Cropper 3:00
A5 Do Right Woman - Do Right Man
Written-By – Chips Moman, Dan Penn 3:03
A6 Don't Fight It
Written-By – Steve Cropper, Wilson Pickett 2:25
B1 Sweet Inspiration
Written-By – Lindon Dewey Oldham, Wallace Pennington 2:50
B2 Let It Be Me
Written-By – Gilbert Becaud, Mann Curtis, Pierre Delanoe 2:41
B3 I'm Blue
Written-By – Ike Turner 2:08
B4 Reach Out For Me
Written-By – Hal David & Burt Bacharach 2:19
B5 Here I Am (Take Me)
Written-By – David Porter & Isaac Hayes 3:04
B6 Why (Am I Treated So Bad)
Written-By – Roebuck Staples 2:46
Label: Atlantic – SD 8155
Format: Vinyl, LP, Album
Country: US
Released: 1967
Genre: R&B Soul
Style: Sixties Soul
The Sweet Inspirations' 1967 debut album is lauded as a peak of late '60s soul, showcasing Cissy Houston's powerful lead vocals and the group's gospel-infused harmonies on soulful covers like "Let It Be Me" and "I'm Blue," creating a joyous, intense sound that blends pop hits with deep soul, solidifying their reputation as elite backing singers for Aretha Franklin & Elvis Presley. Critics praise its authentic soul, passionate delivery, and the group's unique ability to transform familiar songs into gospel-fueled gems, making it a must-have for soul fans.
The album's strength lies in Cissy Houston's incredible lead voice, supported by Myrna Smith, Sylvia Shemwell, and Estelle Brown, delivering raw emotion and perfect harmonies.
Their background in gospel shines through, infusing pop standards and soul hits with profound feeling, turning covers into deeply personal expressions.
Tracks like the Bee Gees' "To Love Somebody," Sam & Dave's "When Something is Wrong With My Baby," and Ike Turner's "I'm Blue" are reinterpreted with full-blown soul abandon.
Produced by legends like Tom Dowd and Jerry Wexler, the album captures the classic Atlantic Records sound, recorded in NY, Memphis, Muscle Shoals, and Philly.
While maybe too intense for mainstream pop, it's considered a masterpiece for soul aficionados, showcasing a rare vocal artistry that defined their legendary status as backup singers.
Described as "late '60s soul at its best," "pure musical abandon," and a "joyous explosion of voices".
Considered a definitive work, far superior to much of their later output, and a cornerstone for soul music history.
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 Sylvers II
Written-By – Leon Sylvers III 2:40
A2 Through The Love In My Heart
Written-By – Leon Sylvers III 3:18
A3 Handle It
Written-By – Leon Sylvers III 2:40
A4 I'll Never Let You Go
Written-By – Leon Sylvers III 4:30
A5 Cry Of A Dreamer
Written-By – Leon Sylvers III 4:36
B1 Stay Away From Me
Written-By – Leon Sylvers III 3:43
B2 I Don't Need To Prove Myself
Written-By – Leon Sylvers III 3:33
B3 Let It Be Me
Written-By – Becaud, Curtis, Delanoe 5:00
B4 Love Me, Love Me Not
Written-By – Leon Sylvers III 3:20
B5 I Remember
Written-By – Leon Sylvers III 4:50
B6 Yesterday
Written-By – Lennon-McCartney 2:25
Label: Pride – PRD-0026
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Funk
The Sylvers II is critically acclaimed as a "masterpiece" of golden-era soul and funk, praised for its rich production, strong songwriting by Leon Sylvers III, and vibrant arrangements. It is widely considered one of the group's strongest albums and a prime example of 1970s soul music.
Critics and users alike praise the album for its sophisticated blend of soul, funk, boogie, and pop, with some minor critiques regarding consistency.
Reviewers from outlets like Wax Poetics highlight the album as one of the "best-sounding soul LPs of the 1970s", with vivid production, upfront drums, and lush string and horn arrangements by David Crawford. The mixing by engineer Jim Shifflett also receives high marks for expertly combining all the musical elements.
The majority of the songs were written by Leon Sylvers III, and are noted for their strong melodic and rhythmic hooks. The tracks are often sampled by modern hip-hop artists, including Madlib, Ghostface Killah, and 9th Wonder, a testament to their enduring quality and musical depth.
The family's vocal talents are frequently mentioned, with reviewers on Amazon calling their voices "impressive" and a highlight of the album's R&B soul style. Some reviewers, such as Sputnikmusic, note a couple of instances where the "corn goes too far" in sentimentality, and one critique specifically mentions the concluding a cappella cover of The Beatles' "Yesterday" as a "bunk" closer, despite showcasing their vocal range.
Standout Tracks:
"We Can Make It If We Try": The album opener is an "awesome mid-tempo" track praised for its pop potential and strong composition.
"Stay Away from Me": Described as "bold and biting," this track was a single and was notably sampled on Ghostface Killah's "Be Easy".
"I Remember": A late-album highlight featuring stunning string arrangements and a profound, modern feel.
"I'll Never Let You Go": This track is a ballad described as both "groovy and spooky" with beautiful arrangements that elevate it from good to great.
Overall, The Sylvers II (1973) is a highly-regarded and influential album that masterfully blends pop and soul, demonstrating the family's immense talent in performance and songwriting, making it a "true funk-soul masterpiece" for many listeners.
The Temptations Sing Smokey
Written-By – Rogers, Robinson
2:35
A2 Baby, Baby I Need You
Written-By – Robinson
2:53
A3 My Girl
Written-By – White, Robinson
2:53
A4 What Love Has Joined Together
Written-By – Rogers, Robinson
2:55
A5 You'll Lose A Precious Love
Written-By – Robinson
2:25
A6 It's Growing
Written-By – Robinson, Moore
2:57
B1 Who's Lovin' You
Written-By – Robinson
2:55
B2 What's So Good About Goodbye
Written-By – Robinson
2:36
B3 You Beat Me To The Punch
Written-By – White, Robinson
2:43
B4 Way Over There
Written-By – Robinson
3:00
B5 You've Really Got A Hold On Me
Written-By – Robinson
2:58
B6 (You Can) Depend On Me
Written-By – Gordy, Robinson
2:31
Label: Gordy – 912
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul
Style: Sixties Soul, Motown
The Temptations Sing Smokey (1965) is a pivotal album showcasing the group's early magic, blending Smokey Robinson's songwriting with their burgeoning harmonies, featuring their first major hit, "The Way You Do the Things You Do," and the iconic "My Girl," though some reviewers note the second side, composed mostly of Miracles' covers, feels less focused but still shines with strong vocal performances and captures early Motown soul perfectly. It's praised for its seamless sound, vocal versatility, and capturing the era's youthful romance, making it a classic despite some filler.
The album revealed the group's potential, with standout moments from Eddie Kendricks (falsetto) and David Ruffin, though harmonies weren't fully polished. It contains their breakthrough "The Way You Do the Things You Do" and the timeless, joyful ballad "My Girl," considered one of the best love songs ever.
The entire record is a testament to Smokey Robinson's songwriting, with songs like "It's Growing" and "What Love Has Joined Together" highlighting his talent. It perfectly embodies early Motown soulful pop, with rich soundscapes and emotive vocals that feel authentic and versatile.
Some critics find the second half, mainly covers of Miracles' songs, less essential, with tracks like "You've Really Got a Hold on Me" lacking the original's punch and feeling like filler. While strong, some tracks exhibit a "lounge lizard" feel or underdeveloped melodies compared to later works, according to one source.
Overall Impression: The Temptations Sing Smokey is essential listening, a beautiful whole where each track serves the album's purpose of showcasing this legendary group and Smokey's songwriting, even with minor weaknesses in track selection. It's a snapshot of early Motown perfection, full of youthful exuberance and enduring soul.
The Three Degrees
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
4:33
A2 Can't You See What You're Doing To Me
Arranged By – Lenny Pakula
Written-By – B. Hawes, J. B. Jefferson
2:31
A3 A Woman Needs A Good Man
Arranged By – Norman Harris
Written-By – B. Sigler, M. Jackson, M. Farrow
4:19
A4 When Will I See You Again
Arranged By – Bobby Martin
Written-By – K. Gamble, L. Huff
2:58
B1 I Didn't Know
Arranged By – Richard Rome
Written-By – B. Sigler, J. Lang
2:50
B2 I Like Being A Woman
Arranged By – Richard Rome
Written-By – B. Hawes, J. B. Jefferson
3:56
B3 If And When
Arranged By – Lenny Pakula
Written-By – B. Sigler, J. B. Jefferson
7:07
B4 Year Of Decision
Arranged By – Norman Harris
Written-By – K. Gamble, L. Huff
2:42
Label: Philadelphia International Records – KZ 32406
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventies Soul, Philly
The Three Degrees' self-titled 1973 Philadelphia International Records album is generally praised as a classic Philly Soul/disco blend, showcasing their gorgeous harmonies and smooth vocals, with standout tracks like "Dirty Old Man" and" When Will I See You Again," though some critics find later albums better or note dated elements in tracks.
Reviewers highlight its seamless mix of soul and dance-floor magic, often calling it a masterpiece for its pure vocals and timeless sound, earning it top marks from sources like AllMusic.
It's seen as a prime example of the genre, blending heavenly soul with disco and R&B, featuring the legendary MFSB as the backing band. The trio's tight harmonies, precise singing, and ability to deliver both soulful ballads and dance tracks are consistently praised.
The album features the iconic "When Will I See You Again," their massive international hit, and" Dirty Old Man," a huge dance hit. Produced by the legendary Gamble & Huff, the album is lauded as a great production, though some reviewers prefer their other Gamble & Huff records.
While considered a classic, some tracks, especially compared to their earlier Philadelphia International work, are noted as potentially sounding dated to modern ears, though the core quality remains.
Fans love it for evoking memories, having great sound quality, and showcasing the group's vocal and performance skills. Many consider it a masterpiece, showcasing the best of Philly soul and disco fusion.
The Two Sides Of Gene Chandler
Written-By – Barry Despenza, Carl Wolfolk
A2 Familiar Footsteps
Written-By – Eugene Dixon, Kenny Lewis
A3 This Guy's In Love With You
Written-By – Burt Bacharach-Hal David
A4 If You Would Love Me
Written-By – Carl Davis, Eugene Record
A5 Suicide
Written-By – Eugene Dixon, Kenny Lewis
B1 Eleanor Rigby
Written-By – John Lennon-Paul McCartney
B2 Yesterdays
Written-By – Jerome Kern, Otto Harbach
B3 The Sun Died
Written-By – A. Gregory, H. Giraud, P. Delanoe, R. Charles
B4 Honey
Written-By – Bobby Russell
B5 This Bitter Earth
Written-By – Clyde Otis
Label: Brunswick – BL 754149
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul
Style: Sixties Soul
Gene Chandler's The Two Sides Of Gene Chandler is a sophisticated, often darker soul album, showcasing a mature, "Iceman" persona with deep material like the harrowing "Suicide," a contrast to his earlier hits, making it a "lost" gem that reveals his depth beyond the "Duke of Earl" novelty, featuring classy arrangements and soulful depth.
Key Aspects:
The album moves beyond novelty with rich, moody arrangements and serious themes and featuring tracks exploring deep sorrow, most notably the powerful "Suicide," a Chicago soul classic with classy instrumentation, including jazz guitar and bluesy piano, giving it a fresh feel.
The album features production by Carl Davis & Eugene Record, with arrangements by Sonny Sanders & Thomas Washington.
Issued before his big comeback on Mercury, it's often overlooked but highly regarded by collectorsm and proves Chandler was more than just the "Duke of Earl," demonstrating serious performance and taste.
In essence, The Two Sides Of Gene Chandler is celebrated as a sophisticated and darker soul record that highlights his versatility as a powerful vocalist, not just a novelty act.
The Two Sides Of Sam Cooke
Arranged By – Sam Cooke
2:57
A2 Touch The Hem Of His Garment
Written-By – Sam Cooke
2:01
A3 Jesus Gave Me Water
Written-By – Lucie Campbell
2:28
A4 Were You There
Arranged By – Senior Roy Crain
2:29
A5 Pilgrim Of Sorrow
Written-By – M. C. Durham
2:36
A6 He's My Guide
Written-By – Sam Cooke
2:33
B1 I'll Come Running Back To You
Written-By – Bill Cook
2:11
B2 I Don't Want To Cry
Written-By – L.C. Cook
2:47
B3 Lovable
Written-By – Sam Cooke, Tony Harris
2:21
B4 That's All I Need To Know
Written-By – L.C. Cook
2:21
B5 Forever
Written-By – Alvin Tyler
2:56
B6 Happy In Love
Written-By – L.C. Cook
1:54
Label: Specialty – SPS 2119
Format: Vinyl, LP, Compilation
Country: US
Released: 1970
Genre: R&B Soul
Style: Sixties Soul
The Two Sides Of Sam Cooke, a post-humous 1970 compilation, showcases Cooke's diverse artistry by balancing his secular pop hits with his profound gospel roots, offering listeners a cohesive experience of his smooth vocals on both soulful love songs and spiritually-infused tracks, revealing a deeper, more intimate side to the "King of Soul" often overshadowed by his chart-toppers, with reviewers praising its classic feel and demonstrating why this classic was missed when out-of-print.
The album is noted for its historical importance, documenting the bold move of a gospel superstar to transition into secular music, a move that was "literally sacrilege" at the time. The pop side is seen as containing some of the "best soul singles ever released" and instrumental in giving "birth to an entire genre".
As the title suggests, the album highlights two distinct, yet equally compelling, facets of Cooke's talent: the romantic crooner and the deeply religious gospel singer.
It features powerful readings of biblical stories set to catchy rhythms, making it a valuable tool for understanding Cooke's faith and passion, appreciated by fans and clergy alike.
While some tracks offer upbeat moments, the album generally maintains a low-key, somber, and cohesive atmosphere, allowing Cooke's smooth, expressive voice and soulful delivery to shine.
Some reviewers note that the album "does not work" as a cohesive listening experience due to the stark contrast between the intense gospel songs and the love songs that follow, making the latter "sound off". However, this unique structure also serves to powerfully illustrate the difference in emotional depth between the two styles of music.
The album is seen as a fantastic, essential collection for anyone wanting to explore beyond Sam Cooke's biggest pop hits, revealing the heart and soul of the influential "King of Soul,"
The Undisputed Truth
Written-By – B. Strong, N. Whitfield
2:57
A2 Save My Love For A Rainy Day
Written-By – N. Whitfield, R. Penzabene
3:50
A3 California Soul
Written-By – N. Ashford, V. Simpson
3:45
A4 Aquarius
Written-By – G. MacDermot, G. Ragni, J. Rado
2:39
A5 Ball Of Confusion (That's What The World Is Today)
Written-By – B. Strong, N. Whitfield
10:20
B1 Smiling Faces Sometimes
Written-By – B. Strong, N. Whitfield
3:05
B2 We've Got A Way Out Love
Written-By – Holland, Dozier, Holland
2:55
B3 Since I've Lost You
Written-By – B. Strong, N. Whitfield
3:10
B4 Ain't No Sun Since You've Been Gone
Written-By – C. Grant, N. Whitfield, S. Moy
2:42
B5 I Heard It Through The Grapevine
Written-By – B. Strong, N. Whitfield
2:51
B6 Like A Rolling Stone
Written-By – B. Dylan
6:30
Label: Gordy – G 955L
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Funk
The Undisputed Truth's 1971 self-titled debut is a landmark psychedelic soul album produced by Norman Whitfield. It features the massive hit "Smiling Faces Sometimes" and a blend of eerie, funk-driven covers and original tracks, showcasing the group's haunting harmonies and innovative, socially conscious sound.
The album is heavily defined by Norman Whitfield and Barrett Strong, utilizing a, at times, "throwback" uptown Motown sound blended with modern, experimental psychedelic-funk edges.
Features the distinct, soaring vocals of Joe Harris, Billie Calvin, and Brenda Evans. Includes the hit "Smiling Faces Sometimes," "You Got the Love I Need," "Save My Love for a Rainy Day," and covers of "Ball of Confusion," "California Soul," and "Like a Rolling Stone".
While praised for its innovative sound, some critics consider the album to have a mix of genius, such as "Smiling Faces Sometimes," alongside, at times, less consistent, experimental filler tracks.
The album was a commercial success, with the single "Smiling Faces Sometimes" hitting #3 on the Billboard Hot 100. It is viewed as a "masterclass in psychedelic soul" and a "captivating snapshot of early-70s, paranoia-fueled funk".
It peaked at #7 on the US R&B charts and #43 on the Pop charts. While sometimes described as "tentative and flawed," it is hailed by soul connoisseurs as a "hidden gem" that pushed the boundaries of the Motown sound into the 1970s.
Recent reissues in late 2024 and early 2025 by labels like Elemental Music and Kent Soul have sparked renewed interest in the album's high-quality production and 180gm vinyl sound quality.
The Very Original Greatest Hits
Written-By – Jacobs, Crane
2:38
A2 The Love Of A Boy
Written-By – Bacharach/David
2:25
A3 If I Never Get To Love You
Written-By – Bacharach/David
2:29
A4 I Apologize
Written-By – Goodhart, Hoffman, Nelson
2:50
A5 Just Say I Love Him
Written-By – Val, Dale, Kalmanoff, Ward
2:55
A6 What's A Matter Baby
Written-By – Otis, Byers
2:30
A7 I'll Never Fall In Love Again
Written-By – Jimmie Currie, Lonnie Donegan
2:35
A8 Fever
Written-By – Colley, Davenport
3:01
B1 Smile
Written-By – Chaplin, Parsons, Turner
2:48
B2 I Ain't Gonna Cry No More
Written-By – Byers
2:32
Timi Yuro's The Very Original Greatest Hits offers a powerful showcase of her distinctive, emotive, blue-eyed soul voice, with fans praising its fantastic sound and mix of blues, country, and soul, though some compilations might feature slight background noise on certain tracks, likely due to source tape issues; it's considered an excellent collection highlighting hits like "Hurt," "Make the World Go Away," and soulful covers, confirming her status as a powerhouse performer even decades later.
The main draw is Yuro's deep, resonant contralto voice, often compared to Dinah Washington, described as "sensational," "powerhouse," and full of "hurt & anger".
Features a strong mix of R&B, blues, and country-infused soul, showcasing her versatility. Includes essential songs like her iconic hit "Hurt," "Make the World Go Away," "Fever," "Smile," "What's a Matter Baby," and covers of Burt Bacharach songs.
A collection of timeless performances from a unique, influential artist often called the "little girl with the big voice". A great introduction to Yuro for those discovering her after seeing her in films like The Krays or hearing her iconic "Hurt". Listeners love how she "lives" the song, conveying deep emotion and making the music compelling.
Overall, a highly recommended collection for fans of powerful, soulful singing, celebrated for its emotive quality and great song selection. Reviewers and fans consistently praise the emotional depth and raw power of Timi Yuro's vocals, with some calling her "one of the best ever" soul singers. The compilation is seen as an excellent introduction to her work, featuring many of her most well-known and affecting songs.
Yuro's voice is described as a "powerhouse" with a deep, strident, and soulful quality that carries immense emotional weight. Listeners note that she "lives" the songs she performs, often bringing listeners to tears.
The Vision
Producer – Howard Johnson, Monte Moir
Written-By – Howard Johnson, Jerry Knight
4:21
A2 Knees
Producer – Jimmy Jam & Terry Lewis
Written-By – Terry Lewis, James Harris III
5:31
A3 So Tuff
Producer, Written-By – Rick Timas, Vincent Brantley
4:50
A4 Outta My Head
Producer, Written-By – Rick Timas, Vincent Brantley
5:15
B1 You've Got A Lot To Learn
Producer, Written-By – Monte Moir
4:09
B2 Show Me How
Producer, Written-By – Rick Timas, Vincent Brantley
4:46
B3 All We Have Is Love
Producer – Howard Johnson, Jermaine Jackson, John McClain
Written-By – Candy Parton, Kevin Moore
4:23
B4 Older Girl
Producer, Written-By – Monte Moir
4:50
Label: A&M Records – SP 4982
Format: Vinyl, LP, Album
Country: US
Released: 1985
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
Released in 1985 on A&M Records, The Vision is the third and final solo studio album by R&B vocalist Howard Johnson. The album is characterized by its mid-80s soul and funk sound, featuring "bouncy digital bass" and "brassy keyboard" arrangements typical of that era's contemporary R&B.
The album is notable for its diverse production credits, which unified several trendy mid-80s R&B styles into a cohesive dance-groove record:
The iconic production duo (Flyte Tyme Productions) served as executive producers and handled key tracks, including the hits "Stand Up" and "Knees".
Monte Moir: A frequent Jam & Lewis collaborator who produced "Older Girl," a track described as capturing the "light-hearted nature of '80s R&B".
Jermaine Jackson: Co-produced the ballad "All We Have Is Love," which provided a stylistic departure from the album's general dance-oriented tone.
Vincent Brantley and Rick Timas: Produced tracks like "So Tuff" and "Outta My Head".
While Howard Johnson's earlier work was heavily influenced by Kashif's "Mellow Music" sound, The Vision represented a modern update to his style, successfully incorporating the dominant electronic funk sound popularized by the Minneapolis scene.
The album remains a cult favorite for fans of 1980s funk and has been reissued in various formats, including an expanded CD edition by Vinyl Masterpiece.
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.
Theater Of The Mind
Written-By – J. Mtume
2:14
2 P.O.P. Generation
Written-By – J. Mtume
4:01
3 Breathless
Written-By – J. Mtume
4:44
4 I Don't Believe You Heard Me (A Tribute To James Brown)
Written-By – E. Moore, J. Mtume, R. Parker
4:12
5 Body & Soul (Take Me)
Written-By – J. Mtume
4:33
6 New Face Deli
Written-By – W. Collins, J. Mtume
5:56
7 I'd Rather Be With You
Written-By – W. Collins, G. Cooper, G. Clinton
4:44
8 Deep Freeze (Rap-A-Song) (Part 1)
Rap – Dr. Jeckyll & Mr. Hyde
Written-By – J. Mtume
6:28
9 Deep Freeze (Tree's Thing)
Guitar, Soloist – Ed "Tree" Moore
Written-By – E. Moore, J. Mtume
2:27
Theater of the Mind (1986) is the final studio album from the R&B/funk group Mtume, led by James Mtume. It is widely regarded as a sophisticated, synth-heavy "concept album" that blends mid-80s electronic funk with biting social and political commentary.
The album features heavy use of drum machines and synthesizers, characteristic of the era's "electro-funk" or "sophisti-funk" sound. It explores themes of media control, social class, and the commercialization of music. Notably, the track "New Face Deli" critiques the plastic surgery trends of the 1980s.
Lead singer Tawatha Agee is frequently highlighted for her powerful, "gospel-drenched" vocals that balance the album's electronic textures.
Key Tracks:
"Breathless": Often cited as the standout track and a club favorite, known for its smooth, laid-back groove.
"P.O.P. Generation": A critique of pop culture that remains one of the album's most recognizable songs.
"Body & Soul (Take Me)": A "slinky late-night" quiet storm number that showcases the group's R&B versatility.
"I Don’t Believe You Heard Me": A funk-heavy tribute to the legendary James Brown.
"New Face Deli": A quirky, satirical funk track featuring Bootsy Collins on bass (though uncredited on some versions).
While not as commercially successful as their earlier hit "Juicy Fruit", many fans and critics now view it as a "masterpiece" of 80s synth-funk and a highly creative swan song for the group.
Some listeners find the album's "concept" elements—including skits and a closing rap—a bit dated or goofy, while others feel these additions make it a "weird, quirky, and interesting" cinematic experience.
The album is highly recommended for collectors of 80s funk and R&B, particularly those who appreciate music with a sharp, satirical edge. More details on their discography can be found on Jazz Music Archives or Discogs.
There Was A Time
Written-By – Eugene Dixon, Karl Tarleton
2:42
A2 Never Give You Up (Never Gonna Give Up)
Directed By [Orchestra With Chorus] – Willie Henderson
Written-By – Kenneth Gamble-Leon Huff, Jerry Butler
2:25
A3 Blind Heart
Directed By [Orchestra] – Willie Henderson
Written-By – Eugene Dixon, Keni Lewis
2:10
A4 Since You’ve Been Gone
Directed By [Orchestra With Chorus] – Willie Henderson
Written-By – Aretha Franklin, Ted White
2:18
A5 Laughter To Tears
Directed By [Orchestra] – Willie Henderson
Written-By – Eugene Dixon, Keni Lewis
2:14
A6 There Was A Time
Written-By – Buddy Hobgood, James Brown
3:27
B1 Pit Of Loneliness
Directed By [Orchestra] – Willie Henderson
Written-By – Eugene Dixon, Keni Lewis
2:25
B2 Teacher Teacher
Directed By [Orchestra] – Willie Henderson
Written-By – Eugene Dixon, Keni Lewis
2:03
B3 Cowboys To Girls
Directed By [Orchestra And Chorus] – Willie Henderson
Written-By – Kenneth Gamble-Leon Huff
2:21
Label: Brunswick – BL 754131
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Gene Chandler's There Was A Time, a 1968 album (often reissued), showcases his strong Chicago soul with a focus on driving rhythms, featuring his popular James Brown cover and a notable absence of strings for a fresh, raw feel with piano, sax, and guitar, making it an underrated gem appreciated by fans for its energetic sound, though it cemented his image beyond "Duke of Earl" but still found him in his signature persona.
An early Brunswick release, it's praised as a strong start for his work with the label, blending serious performance with his established style. The title track, "There Was A Time" is a highlight.
A key feature noted in reviews is the lack of strings, relying instead on piano, sax, and guitar, giving tracks like the Burt Bacharach cover "I Wake Up Crying" a distinct, moody, and refreshing edge.
Many listeners consider it an underrated album, appreciating its fantastic sound and pressing quality, especially on vinyl.
While it continued his "Duke of Earl" image, the album solidified him as a serious artist, even if he never quite recaptured that debut single's massive success.
Overall, There Was A Time is a solid entry in Gene Chandler's catalog, offering energetic Chicago soul with a raw instrumentation that sets it apart, making it a worthwhile listen for fans of Northern Soul, R&B, and classic soul from that era.
There’s No Me Without You
Written-By – Edward Bivins
3:38
A2 We Made It
Written-By – Winfred Lovett
4:13
A3 Wish That You Were Mine
Written-By – Winfred Lovett
4:17
A4 I'm Not A Run Around
Written-By – Roger Joyce, Teddy Randazzo
3:14
A5 Soul Train
Written-By – Little Harlem, Winfred Lovett
4:40
B1 You'd Better Believe It
Written-By – John Fowlkes, Roger Genger
4:26
B2 It's So Hard Loving You
Written-By – Charles Reed, Winfred Lovett
2:30
B3 The Day The Robin Sang To Me
Written-By – Kenneth Kelly
3:43
B4 Falling Apart At The Seams
Written-By – Souren Mozian, Teddy Randazzo, Victoria Pike
2:17
B5 The Other Side Of Me
Written-By – Edward Bivins, Gerald Alston
3:09
Label: Columbia – KC 32444
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre: R&B Soul
Style: Seventy Soul, Philly
The Manhattans' There's No Me Without You (1973) is praised as a strong album of quality Philly Soul, showcasing beautiful vocals from Gerald Alston and featuring Blue Lovett's iconic spoken-word on the hit title track, which was a significant step towards their later mega-success with tracks like "Kiss and Say Goodbye," offering a blend of heartfelt ballads and soulful mid-tempo grooves that avoided the disco trend.
The album is packed with classic 70s soul, produced with the help of M.F.S.B. and The Sweethearts of Sigma, giving it a smooth Philly Soul feel.
It highlights Gerald Alston's beautiful lead vocals and Blue Lovett's distinctive spoken-word delivery, particularly on the popular title track.
The album spawned successful singles, including the title track (No. 3 R&B), "You'd Better Believe It" (No. 18 R&B), and "Wish That You Were Mine" (No. 19 R&B).
While their breakthrough came with later albums (like 1976's The Manhattans), There's No Me Without You proved their quality and set the stage for their massive commercial success.
They maintained their soulful roots, offering memorable ballads but also showing they could fill a dancefloor with mid-tempo numbers, largely resisting the disco wave.
Overall, It's considered a strong album, offering memorable, heartfelt soul music that solidified The Manhattans as a leading group in the genre, even before their biggest chart-toppers.
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 Brook Benton
Written-By – B. Crewe/B. Gaudio
4:20
A2 It Started All Over Again
Written-By – A. Goodman, H. Ray, W. Morris
3:51
A3 Weekend With Feathers
Written-By – B. Benjamin, S. Marcus
3:38
A4 All In Love Is Fair
Written-By – Stevie Wonder
4:15
A5 Now Is The Time
Written-By – B. Lowe, S. Lowe
4:10
B1 My Funny Valentine
Written-By – R. Rogers / L. Hart
6:08
B2 You Were Gone
Written-By – A. Goodman, H. Ray, W. Morris
4:22
B3 Nightingale In Berkeley Square
Written-By – E. Maschwitz, M. Sherwin
3:34
B4 I Had To Learn (The Hard Way)
Written-By – B. Lowe, S. Lowe
3:38
Label: All Platinum – AP-3015
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul
Released in 1976, This Is Brook Benton is a soulful studio album from the deep-voiced baritone’s tenure with Sylvia Robinson’s All Platinum Records. The album captures Benton during a period where he leaned into contemporary R&B and crossover soul while maintaining his signature smooth, orchestral delivery.
Reviewers frequently praise his "buttermilk croon" and "silky smooth tones," noting that his voice carries a deep, rich sound that elevates standard ballads. Unlike some of his earlier, more stripped-back singles, this era of recordings is defined by typical lush string arrangements that provide a romantic backdrop for his vocals.
The album features several classic covers and "Greatest Hits" style inclusions, though different reissues (such as those by RCA or All Platinum) may vary slightly in their tracklists.
On community platforms like Discogs, the album maintains a solid moderate rating (approx. 3.4/5), while Rate Your Music users lean slightly lower at 2.9/5, often comparing it to his more commercially explosive 1960s work.
Note: Be careful when searching for this title on streaming platforms like Spotify; several compilations share the name This Is Brook Benton but contain his earlier hits from the 1950s and 60s. The 1976 original is distinguished by its 9-track list and All Platinum/Sugar Hill labeling.
This is Niecy
Written-By – Clarence MacDonald, June Deniece Williams, Fritz Baskett 4:21
A2 That's What Friends Are For
Written-By – Clarence MacDonald, June Deniece Williams, Fritz Baskett, Lani Groves 4:27
A3 Slip Away
Written-By – Clarence MacDonald, June Deniece Williams, Lani Groves 3:49
A4 Cause You Love Me Baby
Written-By – June Deniece Williams 4:08
B1 Free
Written-By – June Deniece Williams, Hank Redd, Nathan Watts, Susaye Green 5:57
B2 Watching Over
Written-By – Al McKay, June Deniece Williams, Freddie White, Jerry Peters, Maurice White, Verdine White 3:53
B3 If You Don't Believe
Written-By – Clarence MacDonald, June Deniece Williams, Fritz Baskett 7:54
Label: Columbia – PC 34242
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Disco
Deniece Williams - This Is Niecy is considered a soulful masterpiece, a flawless debut produced by Maurice White/EWF, praised for Deniece's stunning voice and lush arrangements, featuring hits like "Free" and "That's What Friends Are For," blending R&B, soul, and jazz with depth and emotion, often cited as her best work and a perfect companion to EWF's Spirit.
Critics consistently highlight Williams' unique, acrobatic soprano, comparing her silkiness to Diana Ross and her exuberance to Linda Lewis, solidifying her status as a top soul singer.
The heavy involvement of Earth, Wind & Fire, especially Maurice White and Charles Stepney, lends a polished, deeply soulful, and funky sound, full of intricate arrangements.
Standout Tracks: "Free" is a universally acclaimed epic, praised for its irresistible, laid-back groove. "That's What Friends Are For" is noted for its joyous quality, while "Cause You Love Me Baby" and the longer "If You Don't Believe" are also favorites.
Many reviewers call it a near-perfect debut, avoiding fillers, with deep, emotionally resonant tracks that shine even years later.
Modern reissues by BBR Records are lauded for their excellent sound quality and bonus tracks, making the album a must-have.
In summary, This Is Niecy is widely regarded as a foundational album in 70s soul, a beautiful showcase of Deniece Williams' talent, and a timeless listen for fans of sophisticated R&B and funk.
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.
Those Southern Knights
Written-By – Joe Sample 6:14
A2 Keep That Same Old Feeling
Written-By – Wayne Henderson 5:36
A3 My Mama Told Me So
Written-By – Joe Sample 4:50
A4 Til The Sun Shines
Written-By – Larry Carlton 2:42
B1 And Then There Was The Blues
Written-By – Nesbert "Stix" Hooper 9:43
B2 Serenity
Written-By – Wilton Felder 7:17
B3 Feeling Funky
Written-By – Robert Popwell 3:00
Label: ABC Blue Thumb – BTSD-6024
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Jazz
Style: Jazz Fusion, Jazz-Funk
Those Southern Knights (1976) is a landmark jazz-funk album by The Crusaders, showcasing their signature blend of soulful grooves, funky rhythms, and sharp jazz improvisation, featuring hits like "Keep That Same Old Feeling" and "Spiral," solidifying their status as masters of the genre with slick production and iconic solos from Joe Sample, Stix Hooper, and Larry Carlton. It's celebrated for its smooth yet explosive fusion of soul, R&B, and funk, making it a quintessential 70s jazz record.
Featuring deep, "fat pocket" grooves, energetic solos, and a soulful, funky vibe. Key Tracks: "Keep That Same Old Feeling," "Spiral," "And Then There Was the Blues," "Feeling Funky".
Featured core members: Joe Sample (keys), Stix Hooper (drums), Wilton Felder (sax), Wayne Henderson (trombone), plus guitarist Larry Carlton and bassist Robert "Pops" Popwell.
A classic in their extensive catalog, praised for its quality production and essential tracks that define 70s jazz-funk.
This album marked The Crusaders' full emergence as leaders in the pop-soul-jazz genre they helped create. It produced popular singles like "Keep That Same Old Feeling," a fan favorite.
A highly regarded album, capturing their iconic sound during a prolific period. Reviewers and fans consistently call it a treat and a highlight in The Crusaders' catalog, a testament to their mastery in the pop-soul-jazz genre, with some critics noting its accessible groove over complex exploration but still highly recommending it for its feel-good, quality sound.
Through All Times
Written-By – G. Zekley, M. Bottler 3:36
A2 Put A Little Love Away
Written-By – B. Potter, D. Lambert 3:17
A3 Talk A Little Less
Written-By – B. Potter, D. Lambert 3:10
A4 Roller Coaster
Written-By – M. James 2:58
A5 Slowly But Surely
Written-By – D. Walsh, H. Price, S. Barri 3:17
A6 I Only Get This Feeling
Written-By – D. Ervin 2:59
B1 Through All Times
Written-By – B. Siller, D. Gibbs 4:19
B2 Just A Little Tear
Written-By – D. Walsh, H. Price, R. Kailing, W. Entner 3:04
B3 Maybe This Will Be The Morning
Written-By – D. Ervin 3:31
B4 If That's The Way You Want It
Written-By – B. Potter, D. Lambert 3:24
B5 If Only You Believe
Written-By – B. Potter, D. Lambert 3:28
Label: ABC Records – ABCX-798
Format: Vinyl, LP, Album
Country: US
Released: 1973
Genre:R&B Soul, Funk
Style: Seventies Soul
Chuck Jackson's Through All Times (1973) is a highly-regarded, often overlooked gem in his discography, showcasing a rootsy, sometimes funky West Coast studio soul sound, bridging his classic hits era with later work, featuring standout tracks like the Northern Soul-leaning "I Only Get This Feeling" and the sample-worthy "Talk A Little Less," praised by fans for its strong R&B, deep emotion, and hidden depth.
A blend of smooth soul, funk, and rootsy West Coast vibes, different from his earlier polished hits but equally compelling, notes Funk My Soul.
Many consider it an underrated album that deserved more attention upon release, a strong companion to his Motown era, say Amazon UK and Sessiondays.
Standout Tracks: "I Only Get This Feeling" is noted as a Northern Soul highlight, while "Talk A Little Less" is a killer soul track with great sampling potential, according to Funk My Soul.
Jackson's powerful, emotional vocals shine, delivering deep feeling and professionalism, as highlighted in this YouTube video and Elusive Disc.
Fans on Discogs call it a "perfect album" with "soul vocal at its best," with an average rating of over 4 out of 5 stars. It's seen as a mature, compelling work showcasing his enduring talent in the 70s soul scene.
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.
Tighten Up
Written-By – Archie Bell, Billy Buttier 3:10
A2 Tighten Up (Part 2)
Written-By – Archie Bell, Billy Buttier 2:52
A3 I Don't Wanna Be A Playboy
Written-By – Earl Hines, James Bonner 3:00
A4 You're Mine
Written-By – Cal Thomas 2:46
A5 Knock On Wood
Written-By – Eddie Floyd, Steve Cropper 2:30
B1 Give Me Time
Written-By – Sunny Ozuna 2:29
B2 In The Midnight Hour
Written-By – Steve Cropper, Wilson Pickett 2:27
B3 When You Left Heartache Began
Written-By – Archie Bell 2:36
B4 A Thousand Wonders
Written-By – Cal Thomas 2:08
B5 A Soldier's Prayer, 1967
Written-By – Archie Bell 2:54
Label: Atlantic – SC 8181
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Sixties Soul
Archie Bell & The Drells' Tighten Up (1968) album, centered around the iconic, two-chord funk/soul party anthem "Tighten Up," is celebrated as quintessential feel-good, danceable music, showcasing infectious grooves, strong Hammond organ work from the T.S.U. Tornadoes (who provided the instrumental backing), and Bell's energetic MC-style vocals, offering a blueprint for future funk and disco, even if some tracks lean into simple, joyous party vibes over complex song structures, making it a classic for its undeniable, lasting energy.
"Tighten Up" itself is a simple but powerful groove built on two chords, a funky bassline, and iconic brass, becoming a massive #1 hit by capturing the spirit of a hot summer party.
The album is full of happy, danceable tracks like "I Can't Stop Dancing," focusing on fun, rhythm, and getting people on the floor, a signature of the band's sound. The T.S.U. Tornadoes (including organist Robert Sanders) are crucial, providing the vibrant, soulful, bluesy organ and instrumental foundation that drives the record.
While simple, the album showcases an early, innocent sound that evolves into more sophisticated dance tracks on later albums, with producers Kenny Gamble and Leon Huff later refining their style.
Tighten Up is considered an influential early funk record, laying groundwork for disco, despite its minimalist nature and James Brown's existing funk dominance.
Critics and fans love Tighten Up for its pure, unadulterated fun and its role in defining early funk and dance music, with its catchy rhythms and joyful spirit holding up well for listeners seeking feel-good tunes. It's a beloved staple for its nostalgic charm and irresistible beat.
Times Have Changed
Arranged By – R. Hampton, C. Mayfield 6:22
A2 Times Have Changed
Arranged By – R. Hampton, C. Mayfield 3:15
A3 Inner City Blues
Arranged By – L. Hutson
Written-By – Nyx, Gaye 3:12
A4 Our Love Goes On And On
Arranged By – R. Hampton, C. Mayfield
Written-By – C. Mayfield 3:28
B1 Potent Love
Arranged By – J. Pate, C. Mayfield
Written-By – C. Mayfield 6:45
B2 I Need To Belong To Someone
Arranged By – R. Hampton, C. Mayfield
Written-By – C. Mayfield 3:54
B3 This Loves For Real
Arranged By – L. Hutson 2:50
Written-By L. Hutson. Hawkins
B4 Love Me
Written-By – C. Mayfield 4:14
Label: Curtom – CRS 8012
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
The Impressions' "Times Have Changed" (1972) is a pivotal album, marking Leroy Hutson's sole lead vocal tenure, a Curtis Mayfield-produced masterpiece of early '70s soul, praised for its potent social commentary (title track, "Stop the War"), funky grooves ("Love Me"), smooth ballads, and Hutson's compelling voice complementing Sam Gooden's, bridging Mayfield's era with Hutson's solo brilliance, considered a must-have soul classic.}
It's the only Impressions album featuring Leroy Hutson as the primary lead singer, stepping in after Curtis Mayfield's departure, but with Mayfield still producing and writing.
The album blends classic Impressions harmonies with burgeoning '70s soul, featuring Curtis's signature production, funk, fuzz, and sophisticated orchestrations, similar to his own early solo work.
Standout Tracks:
"Stop the War," "Times Have Changed," "Potent Love": Powerful, socially conscious tracks with strong grooves.
"Love Me": An upbeat, funky dancer that charted.
"Our Love Goes On and On": A notable cover of the Gladys Knight & the Pips hit, showcasing the group's vocal interplay.
"Inner City Blues": A respected cover of the Marvin Gaye classic.
The album highlights Hutson's talent and smooth baritone, alongside Sam Gooden, proving the group's strength beyond Mayfield.
Highly regarded by soul fans and critics, it's seen as a perfect introduction to Hutson's talent before his solo career and a strong entry in the Impressions' catalog, essential for its high-standard songwriting and performances.
In summary, "Times Have Changed" is celebrated as an essential early 70s soul record, perfectly capturing a pivotal moment for The Impressions, full of socially relevant themes and fantastic musicianship, solidifying its place in soul music history.
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 Be Continued
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.
Togetherness
Arranged By [Horns, Strings] – Bobby Martin
Arranged By [Rhythm], Written-By – John T. McGhee
Arranged By [Vocals], Written-By – Jeffrey Osborne
Drums, Percussion [Additional] – Melvin D. Webb
3:57
A2 We Both Deserve Each Other's Love
Arranged By – James E. Davis
Arranged By [Vocals], Written-By – Jeffrey Osborne
Drums, Percussion – Jeffrey L. Osborne
Written-By – James Davis
3:05
A3 Jam
Arranged By [Horns] – Bobby Martin
Arranged By [Rhythm], Written-By – Jake Riley
Drums, Percussion – Jeffrey L. Osborne
Written-By – John T. McGhee
4:38
A4 You Must Have Known I Needed Love
Arranged By – Bobby Martin
Arranged By [Vocals], Written-By – Len Ron Hanks And Zane Grey
Drums, Percussion [Additional] – Melvin D. Webb
3:33
A5 Don't Stop Loving Me Now
Arranged By – Bobby Martin
Drums, Percussion [Additional] – Melvin D. Webb
Written-By – LeRoy M. Bell And Casey James
3:56
B1 It's Time To Be Real
Arranged By [Rhythm, Horns], Written-By – Henry Davis
Arranged By [Strings] – Bobby Martin
Arranged By [Vocals], Written-By – Jeffrey Osborne
Bass, Clavinet – Henry E. Davis
Drums, Percussion – Jeffrey L. Osborne
3:28
B2 Concentrate On You
Arranged By – Bobby Martin
Drums, Percussion – Jeffrey L. Osborne
Written-By – Harold Johnson
4:45
B3 You Fooled Me
Arranged By – Bobby Martin
Arranged By [Vocals], Written-By – Len Ron Hanks And Zane Grey
Drums, Percussion [Additional] – Melvin D. Webb
3:14
B4 Together Forever
Arranged By [Horns, Vocals], Clavinet, Drums, Electric Piano, Organ, Percussion, Piano, Piano [Acoustic], Written-By – Billy Osborne
Arranged By [Rhythm, Horns], Written-By – Carle Vickers
3:45
B5 Let's All Live And Give Together
Arranged By [Horns] – Jake Riley
Arranged By [Rhythm], Written-By – Billy Osborne
Arranged By [Strings] – Bobby Martin
Arranged By [Vocals], Written-By – Jeffrey Osborne
Drums, Percussion – Jeffrey L. Osborne
4:15
Label: A&M Records – SP-4705
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul
Style: Seventies Soul, Disco
L.T.D.'s 1978 album Togetherness is a platinum-selling funk/R&B record, known for its blend of smooth ballads and uptempo grooves, featuring #1 R&B hit "Holding On (When Love Is Gone)" and popular tracks like "We Both Deserve Each Other's Love" and "Jam," showcasing lead singer Jeffrey Osborne's vocals and solidifying the band's crossover appeal with Philly soul influences and classic funk arrangements.
Key Singles: "Holding On (When Love Is Gone)" (a #1 R&B hit) and "We Both Deserve Each Other's Love" (a Top 20 R&B hit).
Producer: Bobby Martin, who added Philly dance grooves.
Sound: A strong mix of soulful ballads and catchy funk tracks, with rich horn arrangements and tight rhythms.
Success: Became the band's most successful album, achieving platinum status.
Standout Tracks: "Jam," "Concentrate On You," "It's Time To Be Real," "Don't Stop Loving Me Now," and the gospel-infused "Let's All Live And Give Together".
Togetherness is considered a career highlight for L.T.D. and lead vocalist Jeffrey Osborne, demonstrating their ability to deliver both dancefloor fillers and heartfelt ballads, cementing their place among top crossover funk bands of the era.
LTD
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.
Toni Braxton
Written-By – Babyface, Daryl Simmons
5:01
2 Breathe Again
Written-By – Babyface
4:29
3 Seven Whole Days
Written-By – Babyface, L.A. Reid
6:22
4 Love Affair
Written-By – Tim Thomas, Ted Bishop
4:28
5 Candlelight
Written-By – Gaylor D, John Barnes
4:36
6 Spending My Time With You
Written-By – Bo, McArthur
4:08
7 Love Shoulda Brought You Home
Written-By – Babyface, Bo Watson, Daryl Simmons
4:56
8 I Belong To You
Written-By – Ronald Spearman, Vassal Benford
3:53
9 How Many Ways
Written-By – Toni Braxton, Vincent Herbert
4:45
10 You Mean The World To Me
Written-By – Babyface, Daryl Simmons, L.A. Reid
4:53
11 Best Friend
Written-By – Toni Braxton, Vance Taylor
4:28
12 Breathe Again (Reprise)
Written-By – Babyface
1:19
Label: LaFace Records – 73008-26007-2
Format: CD, Album
Country: US
Released: 1993
Genre: R&B Soul, Funk
Style: Contemporary R&B, Ballad, Soul
Toni Braxton's 1993 self-titled debut is widely hailed as an R&B classic, praised for Braxton's husky, sensual voice, bridging sophisticated soul with urban sensibilities, and featuring hit singles like "Another Sad Love Song" and "Breathe Again," establishing her as a major star with commercial success and Grammy wins for its smooth production by Babyface and L.A. Reid.
Critics noted its mature, emotionally deep delivery and elegant sound, even while some felt it lost steam mid-album, ultimately cementing it as a defining R&B debut.
Her distinctive, deep alto voice was compared to Anita Baker and Phyllis Hyman, balancing earthy sensuality with dignified emotion, creating a unique sound.
The album was a triumph for LaFace Records, with Babyface and L.A. Reid crafting a polished, sophisticated sound that blended R&B, soul, and hints of hip-hop.
While largely positive, some critics found it slightly uneven but acknowledged its impact, with Rolling Stone calling it "slick" but praising Braxton's talent.
Commercial Success: A massive hit, selling millions and earning three Grammy Awards, including Best New Artist, boosted by hits like "Another Sad Love Song," "Breathe Again," and "You Mean the World to Me". Many fans consider it a flawless "no-skip" album, with almost every track being a strong contender for radio play.
It served as a powerful introduction, making Braxton a household name and a major crossover star, especially on urban and pop charts. Its blend of smooth grooves and heartfelt ballads made it popular with a broad audience, defining 90s R&B.
Too Tuff
Arranged By [Arr] – Brick
Lyrics By [Lyrics] – Eddie Irons, Jimmy Brown, Ray Ransom, Regi Hargis Hickman
Mixed By – Winston Johnson
Music By [Music] – Eddie Irons, Ray Ransom
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 4:25
A2 Bring Your Love Back (To Me)
Lyrics By [Lyrics] – Mark Philpot
Music By [Music], Arranged By [Arr] – Ray Ransom
Written By – Ray Ransom & Mark Philpart
Written-By – Mark Philpart, Ray Ransom 5:00
A3 Got To Be Where You Are
Arranged By [Arr] – Regi Hargis Hickman
Lyrics By [Lyrics] – Brick
Music By [Music] – Eddie Irons, Jimmy Brown, Ray Ransom
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 4:20
A4 Slide
Arranged By [Arr] – Regi Hargis Hickman
Lyrics By [Lyrics] – Brick
Mixed By – Winston Johnson
Music By [Music] – Eddie Irons, Jimmy Brown, Ray Ransom
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 4:10
B1 Too Tuff
Arranged By [Arr] – Eddie Irons, Ray Ransom
Lyrics By [Lyrics] – Brick
Music By [Music] – Eddie Irons, Ray Ransom
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 5:00
B2 Say The Word
Music By [Music], Lyrics By [Lyrics], Arranged By [Arranger] – Ray Ransom
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 3:57
B3 Do Me Right
Lyrics By [Lyrics] – Ray Ransom
Music By [Music], Arranged By [Arr] – Jimmy Brown
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 3:45
B4 A Part Of Me
Arranged By [Arr] – Jimmy Brown
Music By [Music] – Eddie Irons, Jimmy Brown, Regi Hargis Hickman
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 3:38
B5 Dazz
Arranged By [Arr] – Eddie Irons, Ray Ransom, Regi Hargis Hickman
Lyrics By [Lyrics] – Eddie Irons, Ray Ransom
Mixed By – The Latin Rascals
Music By [Music] – Regi Hargis Hickman
Written By – J. Brown, R. Hickman, R. Ransom & E. Irons
Written-By – E. Irons, J. Brown, R. Ransom, R. Hickman 4:18
Label: Magic City Records – MCR-1001-LP
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Funk
Style: Boogie, Disco, Funk
Brick's Too Tuff (1988) is a strong late-era Funk/R&B album praised for its smooth grooves, sophisticated musicianship (especially those jazz chops), catchy hooks, and standout tracks like the fun-infused "Dusic," showcasing the band's enduring appeal with danceable rhythms, creamy soul, and eclectic flair, making it a solid, forgotten gem in 70s Funk/R&B.
The album blends classic Funk with Jazz sensibilities, a signature of Brick's style, allowing for musical exploration beyond typical disco.
Expect deep, chugging dance tracks and feel-good vibes, with a focus on rhythm and infectious grooves. Tracks are full of hooks, often featuring memorable melodies and engaging lyrics, fitting for radio play and dance floors.
Highlights: "Dusic": A massive dance hit combining Disco and Music, continuing their chart success after "Dazz"; "Happy": Showcases the band's eccentric side with a quirky, unique groove; "We Don't Wanna Sit Down, We Wanna Get Down": A perfect mission statement for their energetic, party-starting music; "Good Morning Sunshine": A standout creamy soul ballad, proving their versatility.
Often viewed as a strong, underrated Funk album from the era, demonstrating Brick's skill and evolution. It maintained their R&B/Funk foundation while incorporating diverse sounds like light Reggae skanking and soulful ballads.
Overall, Too Tuff is a testament to Brick's staying power, delivering a polished, enjoyable funk experience that's both nostalgic and fresh, solidifying its place as a beloved album in the genre.
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.
Touch Of The Blues
Written-By – D. Malone
3:15
A2 Set Me Free
Written-By – D. Malone
2:33
A3 That Did It
Written-By – D. Clark, P. Woods
3:38
A4 Road Of Broken Hearted Men
Written-By – D. Malone
2:25
A5 Sweet Loving
Written-By – D. Malone, J. Scott
2:35
B1 Driftin' Blues
Written-By – C. Brown, E. Williams, J. Moore
3:25
B2 Sweet Lips Of Joy
Written-By – D. Malone, J. Scott
2:35
B3 Sad Feeling
Written-By – D. Malone
3:10
B4 Shoes
Written-By – D. Malone
2:37
B5 One Horse Town
Written-By – D. Malone, J. Scott
2:40
Label: Duke – DLP 88
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul, Blues
Style: Soul-Blues
Bobby "Blue" Bland’s A Touch of the Blues is a highly regarded 1960s soul-blues album showcasing his dramatic, rich vocal peak during his prime AllMusic. It blends heartfelt ballads with electric Texas blues, noted for its incredible production quality, making it a must-have for fans of the genre.
Known for his signature, smooth-yet-gritty voice, Bland delivers intense emotional depth, often overcoming overly orchestrated or sentimental material.
The album represents a pinnacle of 1960s soul-blues, characterized by a refined, polished sound that stands out from the raw, gritty blues of the era.
Audiophiles have praised the recording and mastering of this era's material, often describing it as "fantastic" and "must-have". Often paired with Spotlighting the Man on reissues, it is considered a crucial, high-quality document of Bobby Bland’s peak.
Often considered a definitive example of early-60s soul-blues, the album is a testament to Bobby "Blue" Bland's ability to bridge blues, R&B, and soul with a truly unique, commanding voice. Released toward the end of his prolific Duke era, it remains one of the last major works before his transition to the ABC/Dunhill label in the 1970s.
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.
Track Of The Cat
Written-By – L. Creed, T. Bell
6:54
A2 His House And Me
Written-By – L. Creed, T. Bell
4:50
A3 Ronnie Lee
Written-By – L. Creed, T. Bell
3:39
A4 World Of My Dreams
Written-By – L. Creed, T. Bell
3:59
B1 Jealousy
Written-By – S. Marshall, T. Wortham, V. Barrett
3:24
B2 This Is Love
Written-By – S. Marshall, T. Bell
3:30
B3 Love Me One More Time
Written-By – L. Creed, T. Bell
4:11
B4 Once You Hit The Road
Written-By – C. Simmons, J. Jefferson
4:03
Label: Warner Bros. Records – BS 2893
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Philly
Track of the Cat (1975) is a critically acclaimed but commercially underrated album produced by Thom Bell, featuring a mature, polished blend of Philadelphia soul and pop.
It is considered an artistic triumph for Dionne Warwick, showcasing her sophisticated vocals alongside consistent, well-written tracks that create a cohesive, sometimes mysterious atmosphere.
Produced by Thom Bell, known for his work with The Spinners, the album features lush, string-heavy arrangements and a "sleek and sexy" Philly soul sound.
Despite a peak of only No. 79 on the Billboard Pop chart, it is highly regarded by critics, with some, including AllMusic and The Rolling Stone Album Guide, giving it a perfect five-star rating.
Highlight Tracks:-
"Once You Hit the Road": A standout single that reached No. 5 on the R&B charts, described as "pure upbeat Philly soul" with potent strings.
"Track of the Cat": The nearly 7-minute title track is praised for its slinky, funky, and mysterious atmosphere.
"His House and Me": Noted for its emotional depth and resonance with Warwick’s personal life at the time.
Contemporary and retrospective reviews often call it an "artistic triumph" and a hidden gem from her Warner Bros. era. Rolling Stone famously hailed it as "her best album in years" upon its release.
The album touches upon themes of jealousy and suspicion, offering a more mature sound for Warwick during the mid-70s. It is highly recommended for fans of 1970s soul and is considered a "must-have" album for its consistent quality.
Tropea
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – J. Tropea
4:36
A2 7th Heaven
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards, Arranged By, Orchestrated By – Don Grolnick
Percussion – Rubens Bassini
Written-By – Grolnick
4:08
A3 The Jingle
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Don Payne
Contrabass [Matracca] – C. Conrad
Drums – Alan Schwartzberg
Guitar [Guitars] – Tropea
Keyboards – Kenny Ascher
Percussion – Nick Remo, Ron Tropea, Rubens Bassini
Written-By – J. Tropea
3:32
A4 Just Blue
Alto Saxophone, Soloist – George Young
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Written-By – J. Tropea
8:13
B1 Muff
Arranged By – R. Marotta, W. Lee
Arranged By, Orchestrated By – J. Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Saxophone, Soloist – Dave Sanborn
Written-By – Marotta, Lee
Written-By, Guitar [Guitars] – Tropea
5:52
B2 Cisco Disco
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Flute [Flutes] – Bob Mintzer
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – Mintzer
3:48
B3 The Bratt
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Lead Guitar – Tropea
Rhythm Guitar, Arranged By, Orchestrated By – David Spinozza
Written-By – Spinozza
5:05
B4 Dreams
Bass – Richard Davis
Drums – Rick Marotta
Keyboards, Arranged By, Orchestrated By – Eumir Deodato
Percussion – Rubens Bassini
Trombone, Soloist – Sam Burtis
Written-By, Guitar [Guitars] – Tropea
4:44
Label: Marlin – MARLIN 2200
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk, Fusion, Disco
John Tropea’s self-titled debut album, released in 1975, is widely regarded as a foundational "70s fusion gem" that defined his transition from a prolific session guitarist (working with artists like Paul Simon and Steely Dan) to a jazz-funk leader.
Reviewers highlight the album for its eclectic mix of styles, moving seamlessly between hard funk, soul-infused fusion, and progressive jazz-rock. This debut established Tropea as a leader in the fusion movement, following his extensive work as a sideman for major artists like Paul Simon and Steely Dan.
Critics often note Tropea’s "masterful" feel and technical precision, describing his playing as witty and well-placed without being overly showy. Modern reviews of remastered versions praise the high-quality sound and the sophisticated arrangements that anticipate later developments in electric guitar fusion.
Listeners have noted that Tropea's work on this album (specifically tracks like "Can't Hide Love") may have influenced major fusion figures such as John McLaughlin and Jaco Pastorius.
Track Highlights:-
"Tambourine": The album typically opens with this high-energy funk number.
"Can’t Hide Love": A soft, soul-esque fusion piece that showcased a more melodic, atmospheric side of his playing.
"You Can’t Have It All": A fan favorite noted for its cross-over appeal between disco, blues, and fusion.
"Tropea": The title track is described as a "spacey" fusion piece utilizing synthesizers to create an ambient, progressive atmosphere.
"A Twist of the Wrist": A high-tempo closing track that displays his technical dexterity.
The album holds an average rating of 4.5 / 5 among collectors on community platforms like Discogs. It is frequently recommended for fans of 1970s fusion and those interested in the "C.T.I. sound" (Creed Taylor Inc.)—a polished, studio-rich style of jazz-funk.
Trouble Man
2:30
A2 "T" Plays It Cool
4:29
A3 Poor Abbey Walsh 4:11
A4 Break In (Police Shoot Big) 2:01
A5 Cleo's Apartment 2:13
A6 Trouble Man
3:48
A7 Theme From Trouble Man
2:02
B1 "T" Stands For Trouble
4:50
B2 Main Theme From Trouble Man
3:54
B3 Life Is A Gamble
2:31
B4 Deep-In-It
1:25
B5 Don't Mess With Mister "T"
3:05
B6 There Goes Mister "T"
1:37
Label: Tamla – T322L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Soul, Jazz-Funk
Trouble Man (1972) is a critically acclaimed, dark, and moody jazz-funk soundtrack by Marvin Gaye that deviates from his soul hits to showcase his prowess as a composer, producer, and arranger. While the film itself was considered average, the album is highly regarded for its atmospheric, instrumental-heavy soundscapes, featuring notable tracks like "T Plays It Cool" and the title song.
The album is often described as a, sexy, and late-night soundtrack that successfully captures the gritty mood of 1970s Blaxploitation films. Following the massive success of What’s Going On, Trouble Man marked a pivot towards instrumental, jazz-based compositions, with Gaye heavily utilizing Moog synthesizers and piano.
Gaye handled the orchestration and production, utilizing a more varied, textured palette than typical soul records of the era. Key Tracks: The title track ("Trouble Man"), "T Plays It Cool", "Cleo's Apartment", and "T Stands For Trouble" are frequently highlighted.
Often compared to other great soundtracks like Superfly or Shaft, it is considered a deeply personal and underrated work in Gaye's catalog. Reviewers often point out that the soundtrack is far superior to the movie it was written for, which quickly faded into obscurity.
The expanded edition includes the original soundtrack, plus a second disc of the full film score, which provides deeper insight into the composition process.
Truck Turner (Original Soundtrack)
2:43
A2 House Of Beauty
3:05
A3 Blue's Crib
5:15
A4 Driving In The Sun
6:07
B1 Breakthrough
3:07
B2 Now We're One
2:25
B3 The Duke
2:34
B4 Dorinda's Party
4:37
C1 Pursuit Of The Pimpmobile
9:05
C2 We Need Each Other, Girl
3:21
C3 A House Full Of Girls
3:56
C4 Hospital Shootout
2:54
D1 You're In My Arms Again
4:50
D2 Give It To Me
4:36
D3 Drinking
3:34
D4 The Insurance Company
7:00
D5 End Theme 1:59
Label: Enterprise – ENS-2-7507
Format: 2 x Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul, Funk
Style: Soul-Jazz, Funk, Soundtrack
Released in 1974, Isaac Hayes' Truck Turner (Original Soundtrack) is a critically lauded masterpiece of Blaxploitation funk, often considered superior to his Shaft score. It features a potent blend of wah-wah guitar, rich orchestral strings, and deep soul, offering an expansive 72-minute listening experience that functions perfectly as a standalone album.
The album is defined by its, gritty, funk-laden atmosphere, featuring driving, rhythmic compositions suitable for chase scenes alongside romantic, slow-burn soul ballads.
Key highlights include the intense "Main Title," the suspenseful "Pursuit of the Pimpmobile," the laid-back "Blues Crib," and the soulful "You're in My Arms Again".
he production showcases complex, skillful arrangements, with heavy, rhythmic basslines and sophisticated horn sections that define the 1970s Stax sound.
While sometimes described as a "period piece," the album is highly regarded for its high-quality production, with some critics ranking it as the peak of Hayes’ career.
Many reviewers claim it "beats Shaft at its own game" in terms of pure instrumental intensity and rhythm, even if the title track doesn't quite reach the cultural heights of the "Theme from Shaft."
Truck Turner remains a highly sought-after, essential recording for fans of 1970s soul-jazz and funk, often re-released as a premium vinyl set.
Truckload Of Lovin’
Written-By – Mack Rise 4:07
A2 Gonna Make It Somehow
Written-By – Carl Thomas 4:11
A3 Sensation, Communication Together
Written-By – Mack Rise, Mary Davis 7:24
A4 I'm Your Mate
Written-By – Eddie Floyd, Henry Hopkins 4:39
B1 Truckload Of Lovin'
Written-By – Jimmy Lewis 4:33
B2 Hold Hands With One Another
Backing Vocals – Jeanie Arnold
Written-By – Bobby Eli, Terry Collins 4:56
B3 Cadillac Assembly Line
Written-By – Mack Rise 4:52
B4 Nobody Wants A Loser
Written-By – Herman Kelly 5:00
Label: Tomato – TOM-6003
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Blues
Style: Electric Blues, Rhythm & Blues
Albert King's Truckload of Lovin' (1976) is a divisive album, praised by some for its groovy 70s soul/funk production, horns, and backup singers that complement his stinging guitar, making it a fun, accessible blend of blues and pop, with standout tracks like the title track and "Cold Women With Warm Hearts". However, other critics find this commercial polish buries his raw power, drowning his signature licks in strings and making it a disappointing, overly smooth effort that failed to please both old fans and new.
The album, produced by R&B producers Tony Silvester and Bert DeCoteaux, is often criticized for a "sea of strings and backup vocals" that drown out King's distinctive guitar licks and powerful vocals. Reviewers from sources like AllMusic felt the production was too polished and a "failed attempt at commercialism".
Many blues purists and critics were disappointed with the album's pop and borderline disco aesthetic, feeling that King's formidable talents were rendered "impotent". Some critics noted that this represented a transitional period where King temporarily abandoned his more effective straight blues direction.
The album features prominent horns, strings, and backing vocals for a rich, mid-70s soul/pop sound. Features top-notch session players like Joe Sample and Wa Wa Watson provide a strong foundation. "Truckload of Lovin'" and "Cold Women With Warm Hearts" are often highlighted as album favorites.
The album's reception largely depends on the listener's preference. One reviewer noted that the mid-70s pop aesthetic will either "turn your stomach or turn you on," suggesting that those who appreciate soul-fusion music with that '70s vibe might enjoy the grooves. Truckload of Lovin' is best viewed as an interesting, if flawed, chapter in King's career, showcasing his versatility but sacrificing some of his raw blues grit for a slicker soul-funk sound that divides opinion.
Trustmaker
Written-By – B. Jackson, C.M. Jackson
2:34
A2 The Crutch
Written-By – B. Jackson
5:35
A3 Miss Grace
Written-By – J. Hall, J. Hall
3:11
A4 Are You Lookin'
Written-By – B. Jackson, E. Darby
9:19
B1 So Much In Love
Written-By – Jackson, Williams, Straigia
3:00
B2 The Sha-La Bandit
Written-By – J. Ferguson, W. Davis
4:09
B3 Innerloop!
Lyrics By [Spanish] – Luz Rivera
Written-By – Ferguson, Lee, Davis
3:58
B4 The North Hills
Written-By – A.C. Berry, III, J. Grant
2:51
B5 You Little Trustmaker
Written-By – C.M. Jackson
2:49
Label: RCA Victor – APL1-0727
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
The 1974 album Trustmaker by The Tymes is widely regarded as a solid, though occasionally inconsistent, foray into the Philadelphia soul sound. Following their 60s doo-wop success, this album successfully updated their style with lush arrangements and impeccable vocal harmonies.
Critics and listeners alike praise the group’s "spot-on" performances and "impeccable harmonies". The lead vocals by George Williams are frequently highlighted for their soulful quality.
Standout Tracks:-
"Ms. Grace": Often cited as the album's crown jewel, it is described as a "beautiful sweet soul song" and remains a classic of the genre.
"You Little Trustmaker": The titular hit is noted for being "undeniably catchy," though some find it slightly more pop-oriented than the rest of the record.
"The Sha-La Bandit": Recommended for listeners who want to hear the group’s vocal blend at its most definitive.
"So Much In Love" (Updated): The album features a studio-recorded "live" version of their 1963 smash hit, which includes electrifying vocal imitations of artists like the Spinners and Sly Stone.
Recorded at Sigma Sound Studios with TSOP (The Sound of Philadelphia) musicians, the album features the sophisticated string and horn arrangements characteristic of the era's top soul acts.
The album maintains an average rating of approximately 4 out of 5 stars across major collector platforms like Discogs. While the individual tracks are strong, some reviewers feel the album as a whole is a bit of a "mishmash" that struggles to reach the consistent heights of label-mates like The O'Jays or The Spinners.
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.
Turn The Music Up!
Written-By – Chris Hills, Laurel Dann
6:47
A2 The Closer I Get To You
Written-By – James M'Tume, Reggie Lucas
4:41
A3 Everybody Dance
Written-By – Bernard Edwards - Nile Rodgers
6:48
B1 I Wish
Alto Saxophone – Dave Sanborn
Arranged By – Jack Perricone
Bass – Wilbur Bascomb
Congas – M'Tume
Guitar – Steve Khan
Piano – L. Leon Pendarvis
Tenor Saxophone – Mike Brecker
Trumpet – Jon Faddis
Written-By – Stevie Wonder
5:43
B2 More Than A Little Bit
Written-By – Chris Hills, Laurel Dann
6:27
B3 Ride The Groove
Written-By – Chris Hills, Laurel Dann
6:44
Label: Vanguard – VSD 79421
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Jazz, Funk, Soul
Style: Seventies Soul, Disco
Turn The Music Up! (1979) by The Players Association (Vanguard – VSD • 79421) is highly regarded by fans and critics as a peak example of late-70s jazz-funk and disco. The album is notable for featuring top-tier New York session musicians, including the Brecker Brothers, David Sanborn, and Jon Faddis, who brought a high level of technical skill to the dance-oriented tracks.
Led by Chris Hills, the group consisted of elite New York session musicians who blended disco, jazz-funk, and soul. The album is characterized by high-energy dance tracks alongside sophisticated jazz-oriented solos.
The title track was a massive club hit, reaching number 8 on the UK Singles Chart in 1979. The second single, "Ride The Groove," also charted in the UK.
The album maintains strong ratings across collector platforms:- Discogs: Averages range from 4.33/5 to 4.7/5 across different pressings. Amazon: Many reviews give it a full 5.0 out of 5 stars, praising its "clean sound" and "spirit session" energy.
While the title track is universally praised, some listeners find the remaining tracks less memorable, though they are still considered high-quality "driving music" or "mellow funk".
The album consists of original compositions and high-energy covers:
Turn The Music Up! (6:47) – The standout anthem featuring heavy disco-funk orchestration.
The Closer I Get To You (4:41) – A more mellow, jazzy selection.
Everybody Dance (6:48) – A dancefloor-ready cover that often draws comparisons to Chic.
I Wish (5:43) – A funky cover of the Stevie Wonder classic.
More Than A Little Bit (6:27) – Described by fans as a "groovy" sleeper hit.
Ride The Groove (6:44) – Highly praised for its funk instrumentation; some collectors consider this track alone worth the purchase.
In essence, it's a sophisticated, fun, and highly skilled album that exemplifies the best of jazz-infused dance music from the era.
The Players Association The Players Association
Turn This Mutha Out
Baritone Saxophone – Ronnie Cuber
Bass – Wilbur Bascomb
Guitar – Charlie Brown
Guitar [Solo] – Hiram Bullock
Harp – Margaret Ross
Percussion – Rubens Bassini, Sue Evans
Solo Vocal – Frank Floyd
Soprano Saxophone – David Tofani
Synthesizer [Solo] – Cliff Carter
Tenor Saxophone [Solo] – Mike Brecker
Trumpet – Jon Faddis, Randy Brecker
Vocals – Ray Simpson, Bill Eaton, Zachary Sanders
8:37
A2 Camby Bolongo
Bass – Wilbur Bascomb
Flute [Solo] – Jeremy Steig
Guitar – Charlie Brown , Hugh McCracken
Percussion – Sue Evans
Trumpet [Solo] – Randy Brecker
3:50
A3 Turn This Mutha Out
Bass – Wilbur Bascomb
Guitar [Solo] – Hiram Bullock
Keyboards – Cliff Carter
Percussion – Sue Evans
Vocals – Frank Floyd, Ken Williams, Zachary Sanders
6:50
B1 Tasty Cakes
Bass – Wilbur Bascomb
Guitar [Solo] – Hiram Bullock
Keyboards – Cliff Carter
Percussion – Sue Evans
Vocals – Frank Floyd, Ken Williams, Zachary Sanders
4:23
B2 Crab Apple
Baritone Saxophone – Ronnie Cuber
Bass – Wilbur Bascomb
Guitar – Charlie Brown
Guitar [Solo] – Hiram Bullock
Percussion – Sue Evans
Soprano Saxophone – David Tofani
Synthesizer [Solo] – Cliff Carter
Tenor Saxophone [Solo] – Mike Brecker
5:07
B3 Moon Hymn
Baritone Saxophone – Ronnie Cuber
Bass – Wilbur Bascomb
Guitar – Charlie Brown
Percussion – Sue Evans
Soprano Saxophone – David Tofani
Synthesizer – Cliff Carter
4:22
B4 Say What
Bass – Wilbur Bascomb
Flute [Solo] – Jeremy Steig
Guitar – Charlie Brown , Hugh McCracken
Guitar [Solo] – Eric Gale
4:05
Label: Kudu – KU-34
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Disco
Turn This Mutha Out is a landmark 1977 album by pioneering New Orleans drummer Idris Muhammad, released on the Kudu label. Produced and arranged by David Matthews, it marks a significant shift from Muhammad's jazz roots toward a commercial, groove-heavy blend of jazz-funk, disco, and R&B.
ften described as a "disco jazz funk" classic, the album prioritizes infectious rhythms and sleek production over traditional jazz improvisation.
Features a "who's who" of legendary 1970s session musicians, including Michael Brecker (tenor sax), Randy Brecker (trumpet), Hiram Bullock and Eric Gale (guitar), Wilbur Bascomb (bass), and Jeremy Steig (flute).
It was one of the few Kudu albums not produced by Creed Taylor. David Matthews brought a hard-hitting, cinematic sound influenced by his work with James Brown.
Track Highlights:-
"Could Heaven Ever Be Like This": An enduring dancefloor anthem and undisputed classic of the jazz-funk genre. It has been sampled at least 17 times, most notably by Jamiroquai (for "Love Foolosophy") and Drake.
"Turn This Mutha Out": The title track is a hard-hitting disco-funk floor-filler featuring clanking cowbell percussion and energetic vocal choruses.
"Camby Bolongo": A percussion-heavy, African-inspired instrumental that showcases the album's creative rhythmic depth.
"Crab Apple": A laid-back, bubbling funk groove frequently favored by hip-hop samplers for its prominent bass line.
"Moon Hymn": A dreamy, atmospheric soprano sax ballad that leans toward smooth jazz territory.
While initially criticized by jazz purists for its pop leanings, the album successfully broadened Muhammad's audience. It remains a staple for deep-funk collectors and has seen numerous high-quality reissues, including recent remasters on CD and vinyl through labels like Soul Brother Records. A notable Japanese CD reissue was released as recently as March 21, 2025.
Turnin’ On
Arranged By – Sylvester Rivers
Producer – Kent Washburn
Written-By – Clay Drayton
4:08
A2 You Can't Turn Me Off (In The Middle Of Turning Me On)
Arranged By – Sylvester Rivers
Producer – Kent Washburn
Written-By – Marilyn McLeod, Pam Sawyer
5:09
A3 Some Kinda Magic
Arranged By – Greg Poree
Producer – Al Willis, Dee Ervin
Written-By – Al Willis
4:36
A4 Searchin' (I've Got To Find My Love)
Arranged By – William Bickelhaupt
Producer – Kent Washburn
Written-By – Barbara Mitchell, Gary Washburn, Kent Washburn, Troy Laws
4:16
B1 Ain't No Love Left (In My Heart For You)
Arranged By – Sylvester Rivers
Producer – Kent Washburn
Written-By – Clay Drayton, Tamy Smith
2:59
B2 Let Me Get Close To You
Arranged By – Gary Washburn
Producer – Kent Washburn
Written-By – Faye Usher
3:41
B3 Save It For A Rainy Day
Arranged By – Greg Poree
Producer – Al Willis, Dee Ervin
Written-By – James Ingram, Merria Ross
3:17
B4 Could This Be Love
Arranged By – Greg Poree
Producer – Al Willis, Dee Ervin
Written-By – James Ingram, Merria Ross
4:04
B5 High School
Arranged By – Jimmy Holiday, William Bickelhaupt
Producer – Jimmy Holiday
Written-By – Friendly Womack, Jimmy Holiday, Mel Bolton, Troy Laws
3:45
Label: Gordy – G6-978S1
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Turnin' On (1977) is the debut album by Motown quartet High Inergy, peaking at #6 R&B and #28 Pop, driven by the smash hit "You Can't Turn Me Off (In The Middle Of Turning Me On)". The album offers a lush, mid-tempo blend of late-era Supremes-style soul and disco, featuring strong harmonies and standout ballads like "Let Me Get Close to You".
Beyond the popular title track, highlights include "Love Is All You Need" and the ballad "Save It for a Rainy Day". The album is characterized by smooth, orchestrated soul, capturing the late-seventies disco-soul crossover sound.
Expanded CD editions, such as the one from Soul and Jazz and Funk, include bonus tracks like the single version of "You Can't Turn Me Off" and expanded liner notes.
The group consisted of vocalists Vernessa and Barbara Mitchell with dancers Linda Howard and Michelle Martin, often compared to the Supremes.
The album is considered essential for fans of 1970s soul and disco, marking a high point in the group's career.
On platforms like Discogs, the album maintains a solid average rating of 3.94/5, with many fans considering it a "timeless" example of smooth soul. However, some critics suggest the group's momentum was hampered by their lack of live touring.
Turnin On Turnin On
Turning Around
Written-By – Jim Webb 3:27
A2 More Today Than Yesterday
Written-By – Patrick Upton 4:10
A3 Who Will The Next Fool Be
Written-By – Charlie Rich 3:40
A4 I'm Glad I'm A Woman
Written-By – Mike Utley, Steven Bogard 2:57
A5 She Didn't Know (She Kept On Talking)
Written-By – Charlie Whitehead, Gary Bonds, Jerry Williams 3:45
B1 A Girl Who'll Satisfy Her Man
Written-By – Jerry Crutchfield 3:25
B2 I Ain't Got To Love Nobody Else
Written-By – Charlie Lee Moore, Lee Wesley Jones Jr., Robert Wrightsil 3:06
B3 I'm Only Human
Written-By – George Soule, Terry Woodford 3:10
B4 Make Love To Me
Written-By – Joe Cobb, Van McCoy 2:45
B5 Down So Low
Written-By – Tracy Nelson 4:16
Label: ATCO Records – SD 33-337
Format: Vinyl, LP, Album
Country: US
Released: 1970
Genre: R&B Soul
Style: Seventies Soul, Southern Soul
Dee Dee Warwick's Turning Around (1970) is a powerful Southern Soul/R&B album on Atco Records, produced by Dave Crawford, featuring her deep, gospel-infused voice backed by The Sweet Inspirations, offering classic soul tracks like "She Didn't Know" and a soulful "More Today Than Yesterday," showcasing her as a formidable soul artist with rich harmonies and deep emotion, ideal for soul fans.
With this album Warwick made a significant move towards a grittier, Southern Soul sound, reminiscent of Memphis and Muscle Shoals styles, compared to some of her earlier work.
Recorded at Criteria Studios with producer Dave Crawford, featuring the studio band The Dixie Flyers and legendary backup singers, The Sweet Inspirations (who also backed Aretha Franklin), the album highlights Dee Dee's rich, emotive voice, blending gospel roots with sophisticated R&B.
Includes the R&B hit "She Didn't Know (She Kept On Talking)," "If This Was The Last Song," "I'm Glad I'm A Woman," and a standout soul cover of "More Today Than Yesterday".
Considered by some fans as her finest work, showcasing her powerful artistry and deepening her appeal in the soul scene, even if it didn't lead to further major R&B chart success.
In essence, Turning Around is a pivotal album that captured Dee Dee Warwick at her soulful best, delivering classic, heartfelt soul music with stunning vocal performances.
Turning Point
A2 Baby I Love You 2:35
A3 In The Eyes Of My Girl 2:33
A4 I Don't Want To Hear It 2:50
A5 Everybody Needs Help 2:55
A6 We Forgot About Love 3:23
B1 I'm Gonna Move To The City 2:29
B2 I've Got To Live While I Can 2:30
B3 Give Me Your Love 2:20
B4 Everything Is Love 2:58
B5 Nobody's Fault But Your Own 2:11
B6 We Got A Good Thing Goin' 2:19
Written by Jimmy Holiday
Label: Minit – LP-24005
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Southern Soul, Deep Soul
Jimmy Holiday's 1966 album, The Turning Point, is a highly-regarded lost soul gem, praised for its deep, emotional, and powerful soul music, showcasing Holiday's incredible vocal pathos, with tracks like the title song, "I'm Gonna Use What I Got To Get What I Want," and "I'm Gonna Help Hurry My Brothers Back Home" standing out as classics, blending poignant ballads with uptempo soul, making it a definitive album for soul connoisseurs despite Holiday's career being cut short by health issues.
Sound: Rootsy, intense, emotionally rich, with a mix of soulful ballads and uptempo grooves, comparable to mid-60s Ben E. King but with Minit label grit.
Features iconic tracks like "The Turning Point," "I'm Gonna Use What I Got (To Get What I Need)," "I'm Gonna Help Hurry My Brothers Back Home," and "Baby I Love You".
Produced by Calvin Carter, with arrangements by Rene Hall and Jimmy Gordon, it's a classic that solidified Holiday's reputation as a profound vocalist and songwriter, despite his career being shortened by chronic health problems, leading him to focus more on writing hits for others, like "Put A Little Love In Your Heart".
Most of the tracks were composed by Holiday himself, a rarity for the era that helped establish his unique musical identity. The album features arrangements by Rene Hall and Jimmy Gordon, with liner notes contributed by Holiday's friend and mentor, Ray Charles.
Though not a massive commercial blockbuster, the title track reached the Billboard R&B charts, and the album is now considered a "hidden masterpiece" by soul connoisseurs for its classy, timeless sound.
In essence, The Turning Point is a must-have for soul fans, capturing Jimmy Holiday at his peak, delivering heartfelt performances and timeless music.
Original vinyl pressings are highly sought after by collectors. The material is also available on several retrospectives, such as the Ace Records compilation titled Spread Your Love: The Complete Minit Singles 1966-1970, which includes the full album contents.
Turning Point
Producer, Arranged By – Gary Goetzman
Saxophone [Solo] – Joel Peskin
Synthesizer, Bass, Drums, Guitar, Producer, Arranged By – Mike Piccirillo
Written-By – G. Goetzman, M. Piccirillo
4:03
A2 Slippery People
Guitar – David Byrne
Percussion – Mark Wolfson
Producer, Arranged By – Gary Goetzman
Synthesizer, Drums, Bass – Mike Piccirillo
Written-By – C. Frantz, D. Byrne, J. Harrison, T/ Weymouth
4:19
A3 Bridges Instead Of Walls
Written-By – C. Hampton, H. Banks, R. Jackson
3:48
A4 The Turning Point
Written-By – J. Black, L.J. McNally
3:22
B1 Right Decision
Written-By – B. Rush
5:30
B2 H-A-T-E (Don't Live Here Anymore)
Written-By – E. Thomas, G. Jackson, M. Franklin
4:19
B3 On My Own Again
Written-By – B. Bowles, B.L. Eager
4:30
B4 That's What Friends Are For
Written-By – M. Rice
3:30
Label: Epic – EPC 26212
Format: Vinyl, LP, Album
Country: UK
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Funk
The Staple Singers' "Turning Point" (1984) is a significant album noted for its stylistic shift to 80s synth-funk and boogie, updating their classic soul sound with electronic textures, yet retaining their signature gospel harmonies and social message, highlighted by David Byrne's guest appearance on their popular cover of "Slippery People," making it a strong, if different, comeback album for the legendary family group.
It moved from their classic Stax soul towards mid-80s synth-funk, boogie, and New Wave, incorporating synthesizers and electronic rhythms. The album maintained the group's commitment to spiritual and social themes, with songs like "Hate Don't Live Here Anymore" and "Right Decision".
Featured production by Pervis Staples and Henry Bush, with key tracks produced by Gary Goetzman and Mike Piccirillo, bringing a modern, danceable feel.
The cover of Talking Heads' "Slippery People," with David Byrne on guitar, became a major R&B and dance hit, showcasing their ability to adapt. Despite the electronic sound, critics praised the enduring, powerful four-part harmonies and Mavis Staples' soulful lead vocals.
Standout Tracks:-
"Slippery People": This cover of the Talking Heads song is considered the album's centerpiece. It features David Byrne on guitar and became a major club hit, reaching #4 on the Dance/Club charts.
"This Is Our Night": A "joyous," uptempo dance-floor friendly track that served as the third single.
"H-A-T-E (Don't Live Here Anymore)": A message song featuring Pops Staples on lead, praised for its relevant lyrics and funky arrangement.
"On My Own Again": Described as the "slowest and probably saddest" song, highlighting Mavis Staples' raw emotional range.
Many reviewers found it a successful, stylish update, praising its energy and the effective blending of classic Staples strengths with contemporary sounds, particularly "Slippery People" and "This Is Our Night".
Some felt the heavy 80s production, especially the bright synths, didn't age as well as their earlier work, though the vocals often rescued the tracks.
Considered a worthwhile "new direction" and a strong comeback that proved the legendary group could evolve, even if it didn't replicate the iconic Stax era.
A digitally remastered and expanded edition was released in January 2012 by SoulMusic.com, featuring five bonus tracks, including the single "Can You Hang".
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.
Two Steps From The Blues
Written-By – Malone, Brown
A2 Cry Cry Cry
Written-By – Malone
A3 I'm Not Ashamed
Written-By – Robey, Scott
A4 Don't Cry No More
Written-By – Malone
A5 Lead Me On
Written-By – Malone
A6 I Pity The Fool
Written-By – Malone
B1 I've Just Got To Forget You
Written-By – Malone
B2 Little Boy Blue
Written-By – Harper
B3 St. James Infirmary
Written-By – Primrose
B4 I'll Take Care Of You
Written-By – Benton
B5 I Don't Want No Woman
Written-By – Robey
B6 I've Been Wrong So Long
Written-By – Malone, Agee
Label: Duke – DLP 74
Format: Vinyl, LP, Album
Country: US
Released: 1962
Genre: R&B Blues
Style: Soul-Blues
Bobby "Blue" Bland's Two Steps From The Blues (1961) is a landmark album hailed as a masterclass in soul-blues, praised for seamlessly blending juke joint blues with gospel and Southern soul through Bland's powerful, emotive vocals and Joe Scott's stellar horn arrangements on hits like "I Pity the Fool" and "Cry, Cry, Cry," making it a quintessential, influential record in modern blues.
Critics and fans alike laud its raw emotion, sophisticated arrangements, and status as a perfect entry point for newcomers to Bland's work, earning spots on 'greatest albums' lists from Rolling Stone and DownBeat. It's considered a pivotal album that helped shape the soul-blues sound, bridging traditional blues with R&B and gospel.
Key Tracks :-
"I Pity the Fool": A chart-topping R&B hit noted for its power and Bland's signature squalls.
"Cry, Cry, Cry": Highlighted for its emotional intensity and seamless blend of aggression and vulnerability.
"I'll Take Care of You": A minor-key ballad praised for its stark atmosphere and Bland's sympathetic phrasing.
"Lead Me On": Often cited as a standout ballad that showcases his "gospel highway preacher" influence.
Bland's ability to convey deep anguish, vulnerability, and raw power is a central highlight, with critics noting his unique expressive range.
The memorable horn charts and instrumentation by Joe Scott are frequently praised for complementing Bland's vocals perfectly.
Widely regarded as a classic, it's recommended as a starting point for anyone exploring Bobby Bland's extensive catalog.
The album is Ranked #217 on Rolling Stone Magazine's list of the "500 Greatest Albums of All Time". It offers deep emotional resonance, turning heartbreak into powerful, cathartic music rather than just sadness.
Fans find it consistently excellent, with no wasted tracks, and a strong representation of Bland's genius.
As of early 2026, the album maintains high ratings on community platforms like Discogs, with an average score of roughly 4.4 to 4.7 out of 5 based on hundreds of user ratings.
Unbelievable
Written-By – DuBose Heyward, George Gershwin 4:12
A2 Foggy Day
Written-By – George & Ira Gershwin 4:15
A3 Teach Me Tonight
Written-By – Gene DePaul, Sammy Cahn 4:58
A4 Canadian Sunset
Written-By – E. Heywood, N. Gimbel 2:48
A5 Time After Time
Written-By – Jule Styne, Sammy Cahn 2:37
A6 Misty
Written-By – Erroll Garner, Johnny Burke 3:15
B1 Moon River
Written-By – Henry Mancini, John Mercer 3:55
B2 My Funny Valentine
Written-By – Lorenz Hart, Richard Rodgers 3:59
B3 Love Is Here To Stay
Written-By – George & Ira Gershwin 2:52
B4 That Old Black Magic
Written-By – Harold Arlen & John Mercer 3:10
B5 Almost Like Being In Love
Written-By – Frederick Loewe & Alan Jay Lerner 2:18
B6 Over The Rainbow
Written-By – E. Y. Harburg, Harold Arlen 3:48
Label: Chess – LP-1499
Format: Vinyl, LP, Album
Country: US
Released: 1965
Genre: R&B Soul, Pop
Style: Sixties Soul, Vocal
Billy Stewart's Unbelievable album, often found as a Chess Records LP, is celebrated for its soulful, idiosyncratic take on standards, especially his iconic, quirky rendition of "Summertime," showcasing his unique voice and personality, making it a beloved classic in soul music, though reviewers often note its title variations (sometimes Summertime) and the deep emotional core of Stewart's delivery before his untimely passing.
Stewart's voice is unique, and this album captures his expressive, "odd angles," making familiar standards feel fresh and personal.
The standout track is his version of "Summertime," considered by many to be perfect and filled with his personality, even if it appears on different-titled pressings.
The album features old standards reinterpreted through Stewart's soulful lens.
It's a significant release on the Chess Label, with variations in titles (e.g., Unbelievable vs. Summertime) and stereo/mono formats across pressings.
The music resonates with deep feeling, reflecting Stewart's powerful presence on tracks like "Summertime".
In essence, Unbelievable is a testament to Billy Stewart's singular talent, a collection of standards transformed by his inimitable style, with a standout "Summertime" that embodies his brilliance and soul.
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.
Up Tight (Motion Picture Soundtrack)
Vocals – Booker T. Jones
Written-By – B. Jones
3:00
A2 Cleveland Now
Written-By – B. Jones
3:08
A3 Children, Don't Get Weary
Vocals – Judy Clay
Written-By – F. Williams
3:35
A4 Tank's Lament
Written-By – B. Jones
2:49
A5 Blues In The Gutter
Vocals – Booker T. Jones
Written-By – B. Jones
3:24
B1 We've Got Johnny Wells
Written-By – B. Jones
3:46
B2 Down At Ralph's Joint
Written-By – B. Jones
3:51
B3 Deadwood Dick
Written-By – B. Jones
4:29
B4 Run Tank Run
Written-By – B. Jones
2:37
B5 Time Is Tight
Written-By – B. Jones
4:55
Label: Stax – STS 2006
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Stage & Screen
Style: Soul, Funk, Soundtrack
Booker T. & the M.G.'s Up Tight (1968) soundtrack album is a significant work, lauded for its atmospheric soul-jazz and funk, featuring the iconic, chart-topping "Time Is Tight," though some find it less consistently stellar than their other LPs, showcasing the band's instrumental depth in a film score context, bridging their early soul with their later experimental sounds like Melting Pot, and proving to be a vital, influential release despite some criticisms of occasional blandness or standard instrumentation compared to their peak.
Key Highlights:
"Time Is Tight": The album's centerpiece and the band's second-highest charting single, is a classic blend of soul, funk, and groove that became a signature track and influential piece, noted for its tight arrangement and impressive organ and drum work. It's a prime example of soul, soul-jazz, and funk, capturing the atmospheric mood of the film while delivering strong instrumental performances.
The album serves as a transitional record, moving from the earlier Stax sound towards the more experimental Melting Pot, with Robert Christgau calling it an exception to their sometimes "mechanical" LPs.
While praised as a "superb score" and a definitive work by some, others find it less consistent than their best albums, though still highly regarded for its musicianship. The album's sound, especially "Time Is Tight," has been covered by artists like The Clash, showcasing its lasting impact.
Overall Impression: Up Tight is considered an essential entry in the Booker T. & the M.G.'s discography, demonstrating their prowess as both session musicians and creative artists, delivering powerful instrumentals that defined a moment in soul music and set the stage for future classics, making it a must-listen for fans of instrumental soul and funk.
Uptown
Written-By, Producer – Lewis, Lewis, Farmer
7:22
A2 I'll Call You Back Later
Written-By – Lewis, Lewis, Farmer
3:10
A3 I Found Myself
Written-By, Producer – Lewis, Lewis, Farmer
3:35
B1 Gotta Get Away
Written-By – Ohio Players
2:35
B2 You Don't Mean It
Written-By – Ohio Players
3:00
B3 Home
Written-By – Bobby Dixon
2:39
B4 She Wants A Stand In
Written-By – Lewis, Lewis, Farmer
2:30
B5 I'll Go All The Way
Written-By – Bobby Dixon
2:29
Label: Maple Records – M-6006
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul, Funk
Style: Seventies Soul
Released in 1971, Uptown is the sole full-length album by Harlem-born soul singer Gloria Barnes (who also recorded as Towanda Barnes). Originally released on the obscure Maple label, the album is considered a "rare groove" masterpiece, with original pressings fetching four-figure sums among collectors.
Barnes is noted for her powerful, raspy, and emotive vocal style, often compared to a female version of Lee Moses. The album is described as a mix of "insanely raw soul," gritty funk, and heart-aching deep soul ballads. Produced by Johnny Brantley, it features a rugged, "dive bar" sound and a live-performance feel. The instrumentation is provided by legendary funk and soul groups, including The Ohio Players, Lee Moses & The Disciples, and The Hustlers.
Key Tracks: "Old Before My Time": A seven-minute opening showstopper that highlights Barnes’ vocal prowess and intensity; "You Don't Mean It": A song penned by the Ohio Players that became a staple of the UK's Northern Soul movement; "I’ll Call You Back Later": A funky, upbeat dance track; "Gotta Get Away": Another high-energy track featuring heavy breakbeats.
Due to its limited initial run, it became one of the most sought-after soul records of its era. The album was reissued for the first time in 2017 by Colemine Records (under their Remined imprint), making it accessible to a wider audience. Its tracks have been sampled by modern artists such as Caribou.
Valerie Simpson
A2 Benjie 2:51
A3 Drink The Wine 3:42
A4 One More Baby Child Born 4:07
A5 Keep It Coming 3:20
B1 I Believe I'm Gonna Take This Ride 2:54
B2 Could Have Been Sweeter 2:09
B3 Silly Wasn't I 2:09
B4 Genius I 4:22
B5 Genius II 3:15
Written-By – Nickolas Ashford, Valerie Simpson (tracks: A1 to B2, B4, B5)
Written-By – Joshie Armstead, Nickolas Ashford, Valerie Simpson (track B3)
Label: Tamla – T-317 L
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Funk
Valerie Simpson's 1972 self-titled album is a highly-regarded soul/funk gem, showcasing her songwriting genius and versatile vocals with a blend of sensual ballads, gospel-infused tracks, and danceable grooves, featuring the acclaimed Funk Brothers and hits like "Drink the Wine," proving her talent beyond Ashford & Simpson hits, despite being overshadowed at the time by her production work and its predecessor, Exposed.
A rich mix of mid-tempo soul, funk, and gospel, with intricate arrangements, strong percussion, and prominent guitar licks. While not Aretha-level powerful, her voice is described as authentically musical and emotive, carrying themes of love and spirituality.
Standout Tracks: "Drink the Wine" (an irresistible, Gladys Knight-esque track), "Sinner Man" (a psychedelic, multi-instrumental number), and "World Without Sunlight" are frequently praised.
Features Motown's legendary Funk Brothers, providing a perfect pulse, with arrangements that hint at her acclaimed work as a songwriter/producer with Nick Ashford.
A significant step in her solo career, demonstrating her own artistic vision, though it was initially overshadowed by her massive success as half of Ashford & Simpson.
In essence, Valerie Simpson (1972) is a beautifully crafted soul record, offering listeners a deep dive into her artistry, filled with timeless music from one of Motown's brightest talents.
Very Extremely Dangerous
Written-By – Eddie Hinton
2:59
A2 Concept World
Written-By – Alvin Howard, Eddie Hinton
4:04
A3 I Got The Feeling
Written-By – Eddie Hinton
5:06
A4 Shout Bamalama
Written-By – Otis Redding
4:13
A5 Get Off In It
Written-By – Alvin Howard, Donnie Fritts, Eddie Hinton
3:17
B1 Brand New Man
Written-By – Alvin Howard, Eddie Hinton
3:39
B2 Shoot The Moon
Written-By – Dan Penn, Eddie Hinton
4:57
B3 We Got It
Written-By – Eddie Hinton
5:19
B4 Yeah Man
Written-By – Eddie Hinton
3:46
B5 I Want It All
Written-By – Alvin Howard, Eddie Hinton, Sandra Hinton
4:34
Label: Capricorn Records – CPN 0204
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Funk, Rock
Style: Southern Soul
Eddie Hinton's Very Extremely Dangerous is widely hailed as a Southern Soul masterpiece, showcasing his stunning, Otis Redding-esque vocals and searing guitar over the legendary Muscle Shoals rhythm section, though some find inconsistent songwriting; it captures Hinton at his peak, blending fiery soul with deep grooves, making it a must-have for fans of classic soul despite its OOP status and focus on raw, heartfelt delivery.
Described as powerful, passionate, and compared directly to Otis Redding, with a boundless exuberance. Hinton's lead guitar work is central, weaving intricate patterns and searing solos.
Recorded with the core Muscle Shoals crew (David Hood, Barry Beckett, etc.), giving it an authentic, integrated groove. Features strong originals like "Get Off On It," alongside soulful covers, demonstrating his knack for capturing deep feeling.
Considered by many to be Hinton's definitive album, capturing his "star-crossed genius" before his untimely death, and is a cornerstone for Southern Soul enthusiasts. Praised for its raw emotion, flawless musicianship, and being "the best white soul singer that there has ever been".
Some reviewers note that while Hinton's voice shines, the songwriting can occasionally be inconsistent, leading to moments of "mediocrity".
A cult classic, celebrated for its authentic sound, though Hinton's tragic life and sporadic career kept him under the radar. It is cited as a major influence on modern Southern rock bands like Drive-By Truckers, who have covered Hinton’s songs and frequently champion his legacy.
If you love classic Southern Soul and artists like Otis Redding and Wilson Pickett, this album delivers that deep, rhythmic groove and passionate delivery, showcasing a unique talent at his absolute best.
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.
Vibrations
Written-By – B. Reichmer, R. Graham
2:55
A2 Quiet Nights Of Quiet Stars
Written-By – A. Jobim, G. Lees
2:15
A3 (There Is) No Greater Love
Written-By – I. Jones, M. Symes
4:03
A4 Meditation
Written-By – A. Jobim, Mendonca, Gimbel
3:26
A5 P.S. I Love You
Written-By – G. Jenkins, J. Mercer
3:20
B1 Charade
Written-By – H. Mancini, J. Mercer
2:37
B2 The Genie
Written-By – G. Berry
2:55
B3 My Cup Runneth Over
Written-By – C. Stone, H. Wallis
2:14
B4 You'd Be So Nice To Come Home To
Written-By – C. Porter
2:59
B5 If I Could Be With You (One Hour Tonight)
Written-By – H. Creamer, J. Johnson
3:07
Label: Tangerine Records – TRCS-1507
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Pop
Style: Soul-Jazz
Rita Graham's 1969 debut album, Vibrations, is a notable jazz-soul record produced by Ray Charles on his Tangerine Records label. It is historic for being the only major project Charles personally produced for a female artist on that label.
The album is characterized by "lush standards" and jazz-pop arrangements. Critics and fans describe it as a smooth, elegant collection where Graham's vocals shine on both jazz-inflected tracks and orchestral ballads. While the album is primarily jazz-vocal, the track "My Cup Runneth Over With Love" became a significant hit in the UK Northern Soul scene.
The album features Graham's interpretations of classics and contemporary hits of the era: "My Cup Runneth Over": Often cited as the standout track and a soul staple; "Meditation": A bossa nova-inspired track; "Quiet Nights of Quiet Stars": Another jazz standard highlighting her vocal range; "Charade": A cinematic cover that fits the album's sophisticated atmosphere.
Ray Charles's production is frequently praised for its high fidelity and orchestral depth, though some listeners find it more "pop-leaning" than his grittier soul work. Original vinyl pressings (Tangerine TRC-1507) are considered rare. As of late 2025, median prices for original copies hover around $17, with high-quality sealed versions reaching over $40.
The album maintains a solid reputation among collectors, with a 4.2 / 5 average rating on Discogs and a 3.3 / 5 on Rate Your Music.
Vibrations
Written-By – Edwin Birdsong, Roy Ayers 4:00
A2 Baby I Need Your Love
Drums – Dennis Davis
Written-By – Roy Ayers 2:30
A3 Higher
Drums – Bernard "Pretty" Purdy
Written-By – Roy Ayers 4:02
A4 The Memory
Drums – Marvin Sparks
Featuring [Very Special Guest], Vocals [Lead & Background Vocals With Roy], Strings [Ensemble] – Edwin Birdsong
Written-By – Edwin Birdsong, Roy Ayers, William Allen 4:31
A5 Come Out And Play
Drums – Dennis Davis
Guitar – Chuck Anthony
Written-By – Edwin Birdsong, Roy Ayers, William Allen 3:45
A6 Better Days
Drums – Marvin Sparks
Written-By – Roy Ayers 3:17
B1 Searching
Written-By – Roy Ayers 4:10
B2 One Sweet Love To Remember
Backing Vocals [Background] – Janice Fletcher
Drums – Dennis Davis
Guitar – Chuck Anthony
Written-By – Roy Ayers, William Allen 4:20
B3 Vibrations
Bass – Byron Miller
Drums – Ricky Lawson
Electric Piano, Strings [Ensemble] – Greg Phillinganes
Guitar – Ronald Drayton
Trumpet – Lou Soloff
Written-By – Roy Ayers 3:00
B4 Moving, Grooving
Drums [With Steve Cobb] – Marvin Sparks
Written-By – Roy Ayers 5:01
B5 Baby You Give Me A Feeling
Drums – Bernard "Pretty" Purdy
Featuring [Very Special Guest], Vocals [Lead & Background Vocals With Roy] – Edwin Birdsong
Written-By – Edwin Birdsong, Roy Ayers 3:02
Label: Polydor – PD-1-6091
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Jazz-Funk, Soul, Disco, Funk
Roy Ayers Ubiquity's Vibrations (1976) is a celebrated jazz-funk fusion album, praised for its infectious grooves, high-class production, and standout tracks like "The Memory" (featuring Edwin Birdsong) and "Searching," blending jazz with soul, R&B, and proto-disco, solidifying Ayers' status as a genre innovator, though some listeners find minor "dodgy" tracks or issues with specific reissues.
The album masterfully fuses jazz with funk, R&B, and early disco, showcasing Ayers' ability to be "everywhere at the same time" musically.
It features beloved, danceable cuts like the brassy "Searching," the sublime "The Memory," and groovy "Moovin' & Groovin'," according to Rate Your Music users, while this review, notes "Running Away" was a major hit.
Edwin Birdsong contributed significantly, co-writing tracks like "Running Away" and "Gotta Find Another," with vocalists like Dee Dee Bridgewater and Sylvia Cox adding lush layers, reports The Second Disc.
Known for its slick, high-class production, though some older pressings or specific reissues have received mixed feedback on mastering quality.
A key record in Ayers' prolific output, it helped establish him as a godfather of neo-soul and house, providing foundational samples for hip-hop.
ibrations is considered a must-have by many, capturing Ayers at a peak of his funk-jazz exploration, even if some experimental moments lean towards heavier funk/rock.
It’s lauded for its infectious, feel-good vibe and enduring appeal, with tracks remaining popular for sampling and dancing.
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.
Wall To Wall
Written-By – R. Moore-A. Winbush
5:23
A2 Just Friends
Written-By – R. Moore-A. Winbush
3:23
A3 Secret Rendezvous
Written-By – R. Moore-A. Winbush
4:10
A4 Wanna Be Close To You
Written-By – R. Moore-A. Winbush
6:02
B1 I Love You More
Written-By – R. Moore-A. Winbush
5:30
B2 Love's Alright
Written-By – R. Moore-A. Winbush
3:40
B3 Imaginary Playmates
Written-By – Winbush, Chainey, Moore
4:30
B4 Come My Way
Written-By – R. Moore-A. Winbush
4:46
Label: Capitol Records – ST-12161
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Disco, Boogie
René & Angela's Wall to Wall (1981) is hailed as a classic, showcasing a significant step up from their debut, blending soulful vocals with cutting-edge '80s electronic funk, featuring iconic tracks like "Secret Rendezvous," "Imaginary Playmates," and "I Love You More," with critics praising its lush synths, deep grooves, and timeless sound that remains fresh and dancefloor-ready decades later.
A defining early 80s R&B/Funk record, it's known for its sophisticated synth work (René Moore's signature), heavy basslines, smooth harmonies, and danceable grooves, incorporating elements of Quiet Storm and contemporary R&B.
The album leans heavily into electronic production, creating a "larger than life," sleek, and futuristic sound for its time, with some comparing its synth-bass to "Terminator club music".
Standout Tracks:- "Secret Rendezvous": A major groove-heavy classic and rare groove favorite; "Imaginary Playmates": Another beloved track, later sampled by Jay-Z; "I Love You More": Praised for its killer synth riff, a standout for many listeners; "Come My Way": A soulful gem.
The cover, shot by photographer Bobby Holland, features the duo against a blue brick wall, a styling choice some believe was a nod to Michael Jackson's Off the Wall. While some fans find the cover too "wholesome" to match the "badass monster funk" inside, it remains an iconic image of the duo's early career.
The album is considered an underappreciated masterpiece, it's celebrated by fans and "digger" culture for its musical quality, influencing later artists and remaining a staple for 80s soul enthusiasts. While some early reviews might have missed its depth, later commentary consistently calls it a fantastic, groovy, and perfectly produced classic that hasn't aged, with excellent musicianship and vocals.
In essence, Wall to Wall is a highly recommended listen for fans of classic soul, funk, and sophisticated 80s R&B, lauded for its fresh, innovative sound and enduring appeal.
Wanted - The Fame Recordings
2 You Left The Water Running
3 Take Me Just As I Am
4 I Bit Off More Than I Can Chew
5 Just Like A Woman
Written-By – Bob Dylan
6 Bye Bye Blackbird
Written-By – Mort Dixon, Ray Henderson
7 You Get A Lot To Like
8 Your Love Lifted Me
9 Oh Baby What You're Doing To Me
10 I've Gone Too Far
11 Something
Written-By – George Harrison
12 I Shall Be Released
Written-By – Bob Dylan
13 Way Over Yonder
Written-By – Carole King
14 Stuck On Her
15 Jambalaya
Written-By – Hank Williams
16 That's Alright Mama
Written-By – Arthur "Big Boy" Crudup
Label: Kent Soul – CDKEND 398
Format: CD, Compilation
Country: UK
Released: 2013
Genre: R&B Soul
Style: Southern Soul
Wanted: The Fame Recordings is a 2013 compilation released by Ace Records (under the Kent Soul label) that unearths the long-lost Muscle Shoals sessions of Southern soul vocalist James Govan.
The album is widely regarded as a definitive document of Govan’s talent, often described as "fine Southern soul from the label's greatest period".
Govan was known as "Little Otis" due to his striking vocal similarity to Otis Redding. Critics highlight his ability to wring deep emotion out of standards, much like his hero.
The recordings feature the legendary Fame Gang and high-profile session musicians including Clayton Ivey, Travis Wammack, and Duane Allman.
Most of these tracks were "left in the can" for nearly 40 years; Ace Records discovered 12 previously unreleased tracks to add to Govan's four original Fame singles.
While Govan never achieved mainstream commercial success during his time at Fame, this compilation is highly regarded by soul connoisseurs as a "classic album" that captures the peak era of the Muscle Shoals sound.
The physical CD release includes a booklet with unseen photos and liner notes by Southern soul expert Martin Goggins.
Wanting You
Written-By – E. Phillips, K. Adeyemo
4:48
A2 Do What You Wanna Do
Written-By – E. Phillips, K. Adeyemo
5:17
A3 Angel
Written-By – E. Phillips
4:33
A4 Last Night
Written-By – E. Phillips, K. Adeyemo
4:52
B1 Try Me
Written-By – E. Phillips, R. Diggs
5:17
B2 Shake It Out
Written-By – E. Phillips, G. Phillips, Gregory Phillips, K. Adeyemo, O. Phillips
5:06
B3 Break Up To Make Up
Written-By – K. Gamble, L. Creed, T. Bell
4:05
B4 Starnite Your Night
Written-By – E. Phillips, K. Adeyemo
4:58
Label: Chocolate City – CCLP 2020
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Funk, Boogie
Starpoint’s 1981 album Wanting You is a solid blend of funk and R&B, highlighting Renee Diggs' powerful, emotive vocals and the band’s tight instrumentation. Featuring upbeat tracks like "Do What You Wanna Do" and ballads like "Angel," the album showcases a refined, soulful sound that bridges 70s funk with 80s boogie.
Renee Diggs delivers standout, energetic vocals that compare favorably to artists like Melba Moore, providing both power on funk tracks and warmth on ballads.
Produced by Lionel Job, the album features a mix of "stomping" funk and "luscious" R&B, characterized by synthesizer, Mini Moog, and strong basslines.
Key Tracks: "Do What You Wanna Do": An infectious, uptempo dance track; "Angel": A "luscious and dreamy" ballad; "Try Me": A midtempo, summery, and "timeless" track; "Starnite Your Nite": A highly regarded, melodic dancer that closes the album; "Wanting You" (Title Track): A funk-driven track reminiscent of Ohio Players and Cameo.
While sometimes considered a "lightweight" act compared to some contemporaries, this album is regarded as a high-quality, danceable collection of 80s soul/funk.
Overall, Wanting You is considered a strong entry in Starpoint's catalog, demonstrating their musical competence before their mainstream crossover success in the mid-80s.
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
Watch Out
Arranged By – Dexter Wansel
Producer – Nick Martinelli
Written-By – B. Wells, N. Martinelli
3:29
A2 When You Get Right Down To It
Producer, Arranged By – Bill Neale
Written-By – B. Mann
3:52
A3 Fantasy
Arranged By – Dexter Wansel
Producer – Nick Martinelli
Written-By – B. Wells, N. Martinelli, T. Price
5:39
A4 I Hate To See You Go
Arranged By – Dexter Wansel
Producer – Nick Martinelli
Written-By – C. Biggs, D. Wansel
3:50
B1 I Love You
Producer, Arranged By – Butch Ingram
Written-By – B. Ingram
3:57
B2 What Goes Around Comes Around
Arranged By – Dexter Wansel
Producer – Nick Martinelli
Written-By – B. Wells, C. Davis, N. Martinelli, T. Price
6:19
B3 You Are My Life
Producer, Arranged By – Bill Neale
Written-By – B. Neale, D. Bernstein
4:14
B4 Falling In Love
Producer, Arranged By – Bill Neale
Written-By – B. Neale, D. Bernstein, J.B. Jefferson
3:52
Label: WMOT Records – FW 37668
Format: Vinyl, LP, Album
Country: US
Released: 1981
Genre: R&B Soul
Style: Eighties Soul, Disco, Funk
Brandi Wells' debut solo album, Watch Out (1981), is widely considered a high-water mark for the WMOT/Fantasy label and a "hidden gem" of early '80s R&B.
Reviewers describe the album as a finely crafted blend of mid-tempo funk and soul ballads. Critics highlight Wells' unique vocal style, which balances the soprano tenderness of Deniece Williams with the alto tenacity of Phyllis Hyman, achieving power without the need for dramatic belting.
Key Tracks & Highlights:-
"Watch Out": The title track and biggest hit (reaching the Top 30 R&B charts) is often compared to the groovy, synth-heavy sound of BB&Q Band's "On The Beat".
"What Goes Around Comes Around": Frequently cited as a standout, this second single features contributions from legendary producers Nick Martinelli and Dexter Wansel.
"I Hate to See You Go": A "moody swayer" that critics often prefer over the more upbeat singles for its emotional depth.
"Falling in Love": Noted for its bright, Motown-influenced production.
The album maintains high ratings among soul enthusiasts and collectors:- Discogs: Averages between 4.1 and 4.6 / 5 across various pressings. Amazon: Users have rated it as high as 4.8 / 5, often calling it a "rare find" with excellent production quality.
Watchout!
Written-By – Holland-Dozier-Holland 2:52
A2 One Way Out
Written-By – Holland-Dozier-Holland 2:33
A3 Jimmy Mack
Written-By – Holland-Dozier-Holland 2:47
A4 Let This Day Be
Written-By – Frank Wilson 2:39
A5 Keep It Up
Written-By – Wm. Robinson 3:08
A6 Happiness Is Guaranteed
Written-By – H. Lewis, I. Hunter, K. Lewis 2:18
B1 I'll Follow You
Written-By – H. Fuqua, J. Bristol 2:24
B2 No More Tearstained Make Up
Written-By – Wm. Robinson 2:23
B3 Go Ahead And Laugh
Written-By – Wm. Stevenson, I. Hunter 2:55
B4 What Am I Going To Do Without Your Love
Written-By – S. Moy, Wm. Stevenson 3:00
B5 Tell Me I'll Never Be Alone
Written-By – J. Dean, L.Ware, Wm. Weatherspoon 2:40
B6 He Doesn't Love Her Anymore
Written-By – I. Hunter 3:01
Label: Gordy – GLP 920
Format: Vinyl, LP, Album
Country: US
Released: 1966
Genre: R&B Soul
Style: Sixties Soul, Motown
Martha & The Vandellas' Watchout! (1966) is a highly-regarded Motown album, praised for its depth beyond typical singles, showcasing diverse moods with standout tracks like the anthemic "Jimmy Mack," the soulful "No More Tearstained Make Up," the funky "Happiness Is Guaranteed," and the powerful "Tell Me I'll Never Be Alone," presenting the group at their peak with solid album cuts and enduring soul, making it a classic for dedicated fans and a great listen for general Motown enthusiasts.
While containing major singles, Watchout! is celebrated as an album with "all killer no filler," featuring strong album tracks that were almost hits themselves. The album moves beyond dance tracks, exploring deeper, moodier soul with peerless interpretations by Martha Reeves, notes a reviewer.
Standout Tracks:
"Jimmy Mack": A classic hit that showcases the group's power.
"No More Tearstained Make Up": A subtle, beautiful, and favorite track written by Smokey Robinson.
"Happiness Is Guaranteed": Features a magical, funky guitar riff and became a significant single.
"Tell Me I'll Never Be Alone": Described as a perfect construction and an oft-overlooked gem.
"I'm Ready For Love": Another strong single with emotional weight.
The album embodies the best of Motown with driving rhythms, punchy backing, and heartfelt vocals.
Reviewers laud Watchout! as a stellar entry in the Motown catalog, offering a rich blend of uptempo soul and poignant ballads, solidifying Martha & The Vandellas' status as a premier girl group. It's considered a must-have for fans of classic Motown and mid-60s soul.
Water and Power
3:15
A2 Ain't No Hurt (Like The Hurt You Get)
3:30
A3 We Are Through
4:00
A4 Mr. Weatherman
4:45
B1 I Can Find A Way To Your Heart
3:10
B2 If You Don't Wan't Me
4:00
B3 Just For A Little While
4:45
B4 You're My Life
3:45
Label: Fantasy – F-9494
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
The self-titled 1975 album by Water & Power is a rare and highly regarded piece of funk and soul history, noted for its sophisticated arrangements and high-caliber musicianship.
The album features a smooth, mellow "modern soul" sound with deep roots in funk. It is often described as having "so much soul that it would be on the brink of gospel".
The record was produced by Harvey Fuqua (known for his work with New Birth and Marvin Gaye) and featured legendary bassist James Jamerson and drummer James Gadson.
It utilizes a mix of male and female lead vocals provided by Christine Adams Tripp, Rachel Sanders, and Warren Sams. Modern retrospective reviews highlight the album as an overlooked gem from the 1970s:
The tracks are held together by tight arrangements from Wade Marcus. Reviewers praise its "truthful" feel and unique take on the soulful sound of the mid-70s. Because this was the group's only release, it has become a sought-after "private pressing" style find for collectors.
The album currently holds a high average rating of approximately 4.78 / 5 among collectors on Discogs.
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 Got The Rhythm
Arranged By – Leon Huff
Written-By – L. Huff
4:55
A2 Jam, Jam, Jam (All Night Long)
Arranged By – Frank Brunson, Leon Huff
Written-By – F. Brunson, L. Huff
3:38
A3 We Got The Rhythm
Arranged By – Darnell Jordan, Frank Brunson, Leon Huff
Written-By – D. Jordan, F. Brunson
3:32
A4 Cold Blooded & Down-Right-Funky
Arranged By – Frank Brunson, Leon Huff
Written-By – F. Brunson, L. Huff
4:18
B1 Movin' In All Directions
Arranged By – Darnell Jordan, Leon Huff
Arranged By [Strings] – Dexter Wansel
Written-By – D. Jordan, D. Ford, L. Huff
6:38
B2 Opus-De-Funk
Arranged By, Synthesizer – Leon Huff
Organ – Victor Carstarphen
Saxophone – Sam Peake
Written-By – L. Huff
5:58
B3 A Mellow Mood
Arranged By – Leon Huff
Written-By – L. Huff
5:05
Label: TSOP – PZ 34124
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco, Philly
People's Choice's We Got The Rhythm (1976) is a classic Funk/Soul/Disco album from Philadelphia International Records, known for its slick production, potent grooves, and hits like "Here We Go Again," blending gritty funk with catchy pop appeal for timeless dancefloor appeal, featuring strong rhythms, keyboards, and vocals by Frankie Brunson, with tracks like "Jam Jam Jam" and "Opus De Funk" showcasing its versatility.
The album is a definitive example of mid-70s Philly Soul, Disco, and Funk. Produced by the legendary duo Kenneth Gamble and Leon Huff, the record balances a sophisticated "late 70s club" sound with sharp, live rhythms. A blend of Funk, Soul, Disco, and Philly Soul, characterized by sharp, live rhythms and polished production.
Features heavy keyboard work by group leader Frankie Brunson and emphasizes instrumental moments alongside soulful vocals. Described as "smooth as hell" with a mix of "gritty and down-to-earth" tracks and polished, mass-appeal pop-funk.
Includes the popular singles "Here We Go Again," "Jam, Jam, Jam (All Night Long)," and "Movin' in All Directions," alongside "Cold Blooded & Downright Funky" and "Opus-De-Funk". A well-produced, timeless classic that was a hit on R&B charts, offering both gritty funk and slick pop sensibilities.
In essence, We Got The Rhythm is a quintessential mid to late-70s funk-soul record, capturing the energetic spirit of Philadelphia's music scene with tracks designed to keep listeners dancing.
We Remember Otis
A1a Sweet Soul Music
Written-By – O. Redding, A. Conley
A1b Respect
Written-By – Otis Redding
A1c Satisfaction
Written-By – M. Jagger, K. Richards
A1d Shake
Written-By – Sam Cooke
A2 I Can't Turn You Loose
Written-By – Otis Redding
2:14
A3 Always In The Wrong Place At The Wrong Time
Written-By – White, Madara, Gilmore
3:40
A4 Down Home
Written-By – B. Sachs, L. Foy
1:58
A5 Don't Mess With Cupid
Written-By – Parker, Floyd, Cropper
2:03
B1 Tossin' & Turnin'
Written-By – M. Rene, R. Adamo
1:54
B2 The Memphis Sound
Written By – L. Foy
Written-By – B. Sachs
1:52
B3 (Sittin' On The) Dock Of The Bay
Written-By – O. Redding, S. Cropper
2:38
B4 Don't Be Cruel
Written-By – E. Presley, O. Blackwell
2:20
B5 It's Growing
Written-By – W. Robinson
2:30
B6 Grab This Thing
Written-By – B. Sachs, L. Foy
2:15
We Remember Otis is a 1969 soul and funk tribute album dedicated to the late Otis Redding. It features vocal performances by Jimmy Wess backed by The Upsetters, a Baltimore-based group that served as Redding’s touring road band during his concerts across the United States.
Teh album was conceived, arranged, and produced by John Madara and includes covers of Redding's major hits alongside original compositions and medleys of Southern Soul and Funk, often characterized by the "Memphis sound".
Listeners of We Remember Otis generally praise the album's authentic soul sound, particularly Jimmy Wess's vocal performance and the tight musicianship of The Upsetters.
The album holds high user ratings across different listings, ranging from 4.5 to 5 out of 5 stars based on community feedback. Buyers frequently describe the record as an "All Time Classic" for soul enthusiasts, noting that original 1969 pressings are becoming increasingly difficult to find in good condition.
Reviews highlight the album as a high-value tribute that successfully captures the "Memphis sound." The vocal work by Jimmy Wess is often singled out as "out of this world" and deeply emotive. Fans of Otis appreciate the group's ability to recreate the energy of Redding's live shows, which is expected given they were his actual road band.
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.
We’re Still Together
Written-By – Earl Randle, Richie Key
3:45
A2 I Found Peace
Written-By – Earl Randle, James Shaw
4:12
A3 It's Cold Without Your Love
Written-By – Earl Randle, Jim Dotson
3:42
A4 Baby Baby Baby
Written-By – Aretha Franklin, Carolyn Franklin
3:30
A5 I'm Gonna Stay
Written-By – Earl Randle, Willie Mitchell
3:22
B1 The Hurt Is On
Written-By – Earl Randle, James Shaw
5:13
B2 Today I Sing The Blues
Written-By – Curtis Lewis
4:48
B3 Mirror Of My Soul
Written-By – Earl Randle, Renee Kirk
4:33
B4 Sacrifice
Written-By – Melvin Carter
4:30
Label: Hi Records – HLP 6011
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Southern Soul
Released in 1979 near the end of his life, O.V. Wright’s We're Still Together is a poignant, critically acclaimed Memphis soul album produced by Willie Mitchell. Despite Wright's personal health struggles, the nine-track LP showcases his powerful, emotional vocals against a slicker production style, balancing heartache ballads with funk-driven soul.
Produced by Willie Mitchell with the Hi Rhythm Section, the album features a more contemporary late-70s sound with dense strings, yet retains a deeply emotional, church-influenced feel.
Despite battling health issues (heroin addiction), Wright delivers exceptional, raw, and moving performances that compare to his earlier, more celebrated work.
The album covers a diverse range of styles, from deep, gospel-infused ballads to danceable soul-funk. Key tracks often cited include "I Found Peace," "Baby, Baby, Baby," "The Hurt Is On," and "Mirror of My Soul".
While some critics note it may not be as cohesive as his early 70s peak, We're Still Together is considered a vital, high-quality addition to any Southern soul collection. It serves as a final, powerful testament to Wright's status as a premier soul singer before his death in 1980.
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.
Welcome To My Dream
Written-By – J. Mtume, T. Agee
4:54
A2 Did I Dream You
Written By – K. Manna, J. Mtume
4:13
A3 Love Shine
Written-By – J. Mtume
3:26
A4 Love Goes Higher
Written-By – B. Mtume, B. Bannon, J. Mtume, P. Field
4:19
A5 Welcome To My Dream (Tears Of Joy)
Arranged By – J. Mtume
Written-By – T. Agee
1:54
B1 Are You Serious
Producer, Written-By – Ed "Tree" Moore, James Batton
4:00
B2 More Than Before
Written-By – J. Mtume, K. Grady, T. Agee
4:08
B3 The Waiting's Over
Written-By – P. Field, Tawatha
4:20
B4 No More Tears
Written-By – T. Agee
5:02
Label: Epic – BFE 40355
Format: Vinyl, LP, Album
Country: US
Released: 1987
Genre: R&B Funk, Soul
Style: Eighties Soul, Funk, Synth-pop
Tawatha's Welcome to My Dream (1987) is a classic R&B/Funk album by Tawatha Agee, the powerful vocalist from Mtume, offering deep grooves, soulful ballads like "Did I Dream You?", and pulsing tracks such as "Thigh Ride," serving as a personal musical biography with strong Mtume-style production, blending smooth, sensual, and vigorous sounds perfect for 80s soul fans.
Largely produced by James Mtume, maintaining a similar vibe to Mtume's band work, it showcases Tawatha Agee's "crystal clear, sinewy, fluid" voice. Features deep grooves, pulsing rhythms, smooth textures, and emotive ballads. Includes standout songs like "Thigh Ride," "Did I Dream You?", "Love Shine," and "Are You Serious".
The album is described as a "biography" and "journey," capturing emotion and motion, with its ethereal title track setting a dream-like stage. It's considered a must-have for fans of 80s R&B and funk, offering both energetic dance tracks and heartfelt slow jams.
The album was digitally remastered and re-released in 2010 and 2017 by Funkytown Grooves, featuring bonus tracks such as the 12" version of "Are You Serious" and the "Thigh High" dub mix.
West Wing
Written-By – Horace Coleman, Thomas Anderson, Vance Wilson
3:34
A2 Have A Nice Weekend Baby
Written-By – Barry White, Tom Brocker
3:40
A3 She Loves Me (That's What The Flower Said)
Written-By – Horace Coleman, Thomas Anderson, Vance Wilson
4:05
A4 Gave Your Love, Gave All Of Your Love To Me
Written-By – Horace Coleman, Thomas Anderson, Vance Wilson
3:17
B1 We Got A Perfect Love Together
Written-By – Horace Coleman, Thomas Anderson, Vance Wilson
4:07
B2 I'm Gonna Love You Just A Little More Baby
Written-By – Barry White
4:53
B3 Look On The Brighter Side Of Love
Written-By – Elbert Denny, Thomas Anderson, Vance Wilson
3:59
B4 I Wanna Thank You, Love
Written-By – Horace Coleman, Thomas Anderson, Vance Wilson
2:40
Label: 20th Century Records – T-488
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
Released in 1975 on 20th Century Records, West Wing’s self-titled debut is an obscure soul/funk gem executive produced by the legendary "Sultan of Soul," Barry White.
The album is heavily influenced by the lush, orchestral soul sound pioneered by Barry White. It features polished arrangements with sophisticated string and horn sections, characteristic of the era's transition from traditional soul into disco-soul.
Reviewers and collectors often praise the "posh and refined" production, which mirrors the high standards of other White-associated projects like The Love Unlimited Orchestra.
The album includes a cover of White's own hit "I’m Gonna Love You Just a Little More Baby," reimagined with the band's specific vocal flair.
While it remains a "rare gem" for crate-diggers, it currently holds high user ratings on Discogs (averaging around 4.29/5), indicating strong appreciation within the soul and funk community.
What Color Is Love
Written-By – Terry Callier
8:58
A2 What Color Is Love
Written-By – Terry Callier
4:04
A3 You Goin' Miss Your Candyman
Written-By – Phyllis Braxton, Terry Callier
7:20
B1 Just As Long As We're In Love
Written-By – Larry Wade, Terry Callier
3:40
B2 Ho Tsing Mee (A Song Of The Sun)
Written-By – Terry Callier
4:20
B3 I'd Rather Be With You
Written-By – Jerry Butler, Larry Wade, Terry Callier
6:38
B4 You Don't Care
Written-By – Larry Wade, Terry Callier
5:28
Label: Cadet – CA 50019
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Jazz
Terry Callier's What Color Is Love (1973) is a universally acclaimed, genre-defying masterpiece blending soul, jazz, folk, and funk, praised for its rich, layered arrangements by Charles Stepney, Callier's passionate, philosophical vocals, and tracks like the epic "Dancing Girl" and funky "You Goin' to Miss Your Candyman," solidifying its status as a cult classic and essential album for music lovers.
The album seamlessly weaves together Chicago soul, jazz, gospel, folk, and psychedelic elements, defying easy categorization.
The arrangements, led by producer Charles Stepney, are considered sublime, sophisticated, and masterful, adding symphonic depth.
Callier's warm, mellow, yet powerful voice delivers heartfelt, philosophical lyrics about love, life, and social awareness, often blending introspection with spiritual depth.
Standout Tracks:
"Dancing Girl": An epic, majestic opening track showcasing Stepney's orchestration and Callier's soul-stirring delivery.
"You Goin' to Miss Your Candyman": Features a funky bassline and tight rhythm section, sampled by Urban Species later.
"What Color Is Love": A gentle, evocative title track that's both intimate and profound.
"Ho Tsing Mee (A Song of the Sun)": An elegant, building anti-war prayer.
"I'd Rather Be With You": A beautiful, heartfelt folk-soul ballad.
The production and artistry ensure the album sounds fresh and alive even decades later, feeling both intimate and wide in scope.
Considered a peak in Callier's career and a "perfect album" by many, it's a must-have for connoisseurs of thoughtful, ambitious Black American music that transcends dance floor trends. Remains a beloved cult classic, showcasing a unique artist who deserved more mainstream recognition.
What Is It
Written-By – Lee Lovett
7:54
A2 Get Ready
Written-By – William Robinson*
5:20
A3 Burning Spear
Written-By – Richard Evans
3:55
A4 Express Yourself
Written-By – Charles Wright
4:59
B1 Soul
Written-By – Gus Hawkins, Lee Lovett
8:55
B2 Message From A Black Man
Written-By – B. Strong*, N. Whitfield*
6:55
B3 Memphis Underground
Written-By – Herbie Mann
4:55
Label: Musicor Records – MS 3195
Format: Vinyl, LP, Album
Country: US
Released: 1971
Genre: R&B Soul
Style: Seventies Soul, Funk
The 1971 debut album What Is It by the Cleveland-based funk group S.O.U.L. (Sounds of Universal Love) is highly regarded as a classic of raw, minimalistic funk and instrumental jazz-soul.
The album's sound is often described as "minimalistic funk" that manages to feel dense and energetic, led by the heavy basslines of lead singer Lee Lovett.
A defining feature of the record is the prominent use of flute (by Gus Hawkins) and aggressive, "vicious" drumming (by Paul Stubblefield).
Key Tracks:-
"Soul" is a standout track, an 8-minute anthem famously sampled by the Jungle Brothers for their song "In Dayz 2 Come".
"Burning Spear": Frequently cited as a masterpiece of "jazzy flute groove" and psychedelic funk.
"Express Yourself": A high-energy cover of the Charles Wright classic that critics note for its "fire" and heavy groove.
"Get Ready": An instrumental "afrocized jungle jazz" reimagining of The Temptations' hit.
"Down In the Ghetto": A rendition similar to Donny Hathaway’s "The Ghetto," though some reviews note the use of "fake live audience" noises as a minor distraction.
Modern reviews generally rate the album very high (averaging 4.74/5 on collector platforms). It is considered essential listening for fans of deep funk, particularly those who enjoy the "nightclub band" aesthetic.
While some critics feel a few tracks lean too heavily on repetitive flute or faux-live atmospheres, the overall consensus is that it is a "must-have" brimming with exceptional grooves.
What Time Is It?
Written-By – The Time
7:32
A2 777-9311
Written-By – Morris Day
7:57
A3 OnedayI'mgonnabesomebody
Written-By – The Time
2:27
B1 The Walk
Backing Vocals [Additional Background] – Vanity 6
Written-By – The Time
9:30
B2 Gigolos Get Lonely Too
Written-By – Morris Day
4:40
B3 I Don't Wanna Leave You
Drums [Electronic] – Jesse Johnson
Written-By – The Time
6:30
Label: Warner Bros. Records – 1-23701
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: Soul
Style: Eighties Soul, Funk
The Time's 1982 album, What Time Is It?, is widely praised as a Minneapolis funk masterpiece, proving they were more than just Prince's protégés with standout tracks like the iconic "777-9311," the smooth "Gigolos Get Lonely Too," and the party-starting "Wild and Loose," showcasing tight musicianship, sharp humor, and infectious synth-funk that blends Prince's sound with unique flair. Reviewers highlight its strong energy, witty lyrics, and signature sound, making it a classic of the era.
A perfect example of the genre, fusing funk, soul, pop, and rock with prominent synths, driving basslines, and sharp guitar work.
Standout Tracks: "777-9311" is celebrated for its flawless groove, while "Gigolos Get Lonely Too" offers a smooth ballad, and "Wild and Loose" sets the album's energetic tone.
Features impressive musicianship from members like Jesse Johnson (guitar) and legendary producers Jimmy Jam & Terry Lewis, alongside Morris Day's charismatic vocals.
The album is packed with witty, boastful, and party-centric lyrics, defining the cool, slightly rude persona of The Time.
While clearly rooted in Prince's world, the album successfully establishes The Time's own identity, making it a strong, creative project.
Critics consider What Time Is It? a superior follow-up to their debut, a timeless funk record that holds up incredibly well and is essential listening for fans of '80s funk and the Prince-affiliated scene, solidifying their status as a premier funk band.
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 Did Our Love Go
A2 Run, Run, Run 2:15
A3 Baby Love 2:34
A4 When The Lovelight Starts Shining Through His Eyes 2:34
A5 Come See About Me 2:39
A6 Long Gone Lover
Written-By – Wm. Robinson 2:20
B1 I'm Giving You Your Freedom 2:37
B2 A Breath Taking Guy
Written-By – Wm. Robinson 2:20
B3 He Means The World To Me
Written-By – Norman Whitfield 1:52
B4 Standing At The Crossroads Of Love 2:27
B5 Your Kiss Of Fire
Written-By – Gordy, Fuqua 2:45
B6 Ask Any Girl 3:01
Written by Holland-Dozier-Holland (tracks: A1 to A5, B1, B4, B6)
Label: Motown – M 621
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Sixties Soul, Motown
Where Did Our Love Go, The Supremes' 1964 album, is celebrated as a pivotal pop/Motown release, marking their breakthrough with hits like the title track, "Baby Love," and "When the Lovelight Starts Shining Through His Eyes," showcasing Diana Ross's emerging lead vocals amidst lush, danceable, yet often heartbreak-themed H-D-H (Holland-Dozier-Holland) magic, even if it's seen more as a singles collection than a cohesive album. It's lauded for its immersive sound, cultural impact, and catchy melodies that defined girl-group pop, despite some critics finding it repetitive or a bit shallow lyrically compared to later Motown.
An essential album that captured a cultural shift, announcing The Supremes as global stars and a powerful force in pop music, comparable to The Beatles' impact.
The album explores relatable heartbreak and relationship woes ("loneliness has got the best of me") through sweet melodies, creating a compelling contrast. Features the signature Motown "sweet stomping soul" with dramatic strings, tambourines, and irresistible beats, creating a feel-good, danceable vibe.
Primarily a collection of hit singles and their B-sides, leading some to view it as a singles-driven vehicle rather than a deep album, with some filler tracks. Diana Ross's distinctive voice shines, though some critics note her prominence sometimes overshadows Mary Wilson and Florence Ballard.
Considered a "minor masterpiece" for its consistency and ability to blend pop accessibility with genuine musical artistry, setting the stage for Motown's dominance.
In essence, Where Did Our Love Go is praised as a landmark record, foundational to pop history, delivering iconic hits and an undeniable groove, even if it's a product of its time's singles-focused industry.
Where Did Our Love Go
Written-By – Donnie Elbert
A2 If I Can't Have You
Written-By – Donnie Elbert
A3 Will You Ever Be Mine
Written-By – Donnie Elbert
A4 Little Piece Of Leather
Written-By – Celestine Dallas, Donnie Elbert, James Dallas
A5 One Thousand Nine Hundred Seventy Years
Written-By – Donnie Elbert
B1 Where Did Our Love Go
Written-By – Brian Holland, Lamont Dozier, Edward Holland, Jr.
B2 What Can I Do
Written-By – Donnie Elbert
B3 Get Myself Together
Written-By – Donnie Elbert
B4 Sweet Baby
Written-By – Donnie Elbert
B5 That's If You Love Me
Written-By – Donnie Elbert
Label: All Platinum – AP-3007
Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Donnie Elbert’s 1971 album Where Did Our Love Go is widely regarded as a solid example of early 1970s soul, best known for its high-energy, falsetto-driven title track.
The album consists of ten tracks, blending original compositions with soulful covers. Critics and listeners highlight Elbert's unique delivery and powerful falsetto, which defines the record's "old school soul" feel.
The album features lush production in parts that some describe as "almost Philly" in style, despite its "down-home soul" simplicity.
While the title track—a cover of The Supremes—was a major hit, some reviewers feel the rest of the album lacks "true classic jams," characterizing the other tracks as "lowkey bangers" or "solid soul" rather than standout masterpieces.
The title single reached #15 on the U.S. pop charts and #6 on the R&B charts, while also becoming a significant #8 hit in the UK.
Overall, the album is frequently rated around 4.2 to 4.5 out of 5 by collectors on community platforms like Discogs.
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.
Where Will You Go When The Party’s Over
Written-By, Producer – J. Whitehead-G. McFadden, V. Carstarphen
4:20
A2 Where Will You Go When The Party's Over
Written-By, Producer – J. Whitehead-G. McFadden, V. Carstarphen
4:07
A3 Right Here Is Where I Want To Be
Producer – Bunny Sigler
Written-By – J. Whitehead-G. McFadden, V. Carstarphen
5:01
A4 Dancin' Man
Producer – McFadden & Whitehead, Victor Carstarphen
Written-By – V. Barrett, V. Gray
5:29
B1 Everybody Have A Good Time
Written-By, Producer – B. Sigler
6:15
B2 I Swear You're Beautiful
Written-By, Producer – B. Sigler
5:21
B3 Nothing Comes Easy
Written-By, Producer – J. Whitehead-G. McFadden, V. Carstarphen
3:09
B4 I Bet I Can Do That Dance You're Doin'
Written-By, Producer – J. Whitehead-G. McFadden, V. Carstarphen
3:17
Label: Philadelphia International Records – PZ 34323
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: R&B Soul
Style: Seventies Soul, Philly, Disco
Where Will You Go When The Party's Over by Archie Bell & The Drells is praised for its lush Philly Soul production, featuring dramatic strings, punchy horns, and soulful vocals, particularly on standouts like the emotive title track and "Don't Let Love Get You Down," showcasing the Drells' tight harmonies and a blend of sweet drama and joyous, danceable grooves, marking a strong entry on the Philadelphia International Records label.
The album leans into the rich, orchestrated sound of Philadelphia Soul, with prominent strings and powerful horn arrangements. Archie Bell delivers impassioned, emotive vocals, supported by the Drells' tight, sweeping harmonies.
Produced by the team of McFadden & Whitehead, tracks are lush and dramatic, with arrangements by Jack Faith adding depth.
Standout Tracks:-
"Where Will You Go When The Party's Over": Often called the album's masterpiece, this "anthemic" title track features a sultry saxophone intro and cascading strings.
"Don't Let Love Get You Down": A standout "thump-funkin'" track that received heavy radio play and later became a significant UK single.
"Everybody Have A Good Time": A high-energy, uplifting disco track produced by Bunny Sigler, noted for its "blazing horns" and Archie Bell’s showman-like performance.
"Right Here Is Where I Want To Be": A change of pace, this is described as a "heartfelt and impassioned" ballad that showcases the group’s soulful harmonies.
"Dancin' Man": A funkier, more aggressive track where the rhythm section and keyboards "kick loose".
While the album features hit-potential tracks and strong production, the title track itself wasn't a massive chart smash, which puzzled some reviewers.
Fans appreciate the blend of soulful emotion and dancefloor-ready funk, making it a well-regarded album in their catalog. The album is frequently sold as a remastered two-disc set alongside the group's later albums, Hard Not To Like It and Strategy.
Whirlpool
Written-By – C. Paul, E. Shelby
2:40
A2 Somethin's Wrong
Written-By – C. Paul, D. Cooper, E. Shelby
2:22
A3 Whirlpool
Written-By – C. Paul, D. Cooper, E. Shelby
2:59
A4 So Lonely
Written-By – R. Montgomery
2:35
A5 At Last (I Found A Love)
Written-By – A. Gaye, E. Stover, M. Gaye
2:37
B1 Heart Full Of Gladness
Written-By – C. Paul, D. Cooper, E. Shelby
3:05
B2 Ain't You Tryin' To Cross Over
Written-By – D. Cooper, E. Shelby
2:53
B3 If Everybody'd Help Somebody
Written-By – C. Paul, E. Shelby
2:40
B4 Stand By Your Man
Written-By – B. Sherrill, T. Wynette
2:53
B5 I Miss You Baby (How I Miss You)
Written-By – C. Paul, L. Broadnax
2:35
Label: UNI Records – 73062
Format: Vinyl, LP, Album
Country: US
Released: 1969
Genre: R&B Soul, Funk
Style: Sixties Soul, Rhythm & Blues
Whirlpool by The Mirettes is a highly-regarded 1969 soul and funk classic praised for the group's powerful vocals and solid rhythm productions. It is considered a must-have for fans of the genre, though some listeners find their earlier album In the Midnight Hour to be slightly better.
Reviewers consistently praise the album's authentic, heavy soul/funk sound, a characteristic of the group which was formed by former members of the Ikettes (Ike and Tina Turner's backing vocalists), including Robbie Montgomery and Venetta Fields.
The album is noted for the Mirettes' "amazing soul vocals" and "serious pipes," which are done great justice by the solid horn and rhythm productions. It's described as a fantastic soul/funk record.
Some fans who have both albums on vinyl recall the Whirlpool album wasn't quite as strong as In the Midnight Hour, though still a worthwhile addition to any soul collection. Many reviewers on platforms like Facebook and Amazon feel the album is an underrated gem that deserves more recognition.
Reviews of the album in CD format often note potential differences in the mastering compared to the original 1969 vinyl release on the UNI label.
Due to the original vinyl being rare and expensive, the CD reissues, often paired with their other album In the Midnight Hour, are considered a more than adequate and necessary option for fans.
Who Am I
Written-By – Charles H. Kipps, Jr. 4:01
A2 It Takes All Kinds Of People To Make A World
Written-By – Joe Cobb, Van McCoy 4:25
A3 Walk Away From Love
Written-By – Charles H. Kipps, Jr. 5:30
A4 I've Got Nothing But Time
Written-By – Van McCoy 3:23
A5 The Finger Pointers
Written-By – Joe Cobb, Van McCoy 3:27
B1 Wild Honey
Written-By – Joe Cobb, Van McCoy 4:46
B2 Heavy Love
Written-By – Joe Cobb, Van McCoy 4:51
B3 Statue Of A Fool
Written-By – David Ruffin 4:25
B4 Love Can Be Hazardous To Your Health
Written-By – Jesse Boyce 4:59
Label: Motown – M6-849S1
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul
David Ruffin's Who I Am (1975) is generally seen as a strong comeback album, showcasing his iconic raw, soulful voice, a departure from disco's gloss, with standout tracks like "The Finger Pointers," praised for its classic soul feel and emotional depth, though some critics noted repetitive 4/4 beats and bells, yet it solidified Ruffin's place as a premier 70s male soul vocalist, per Rate Your Music and Rock's Backpages.
Ruffin's passionate, anguished tenor shines, proving his strength as a solo artist beyond The Temptations, notes Rate Your Music.
It blends classic soul with emerging 70s sounds, offering a real, gritty feel against the era's slicker disco, making it a favorite for soul fans.
Produced with Van McCoy, it successfully brings Ruffin's talent to the forefront, creating a great listening experience, according to Rate Your Music and Rock's Backpages.
Standout Tracks: "The Finger Pointers," "It Takes All Kinds of People," and other soulful numbers are frequently highlighted.
Reviewers praised its authenticity and Ruffin's commanding voice, even while some found minor issues with its contemporary beat structures.
Who I Am captures David Ruffin at his soulful best, a powerful statement of his enduring talent in the mid-70s soul scene, making it a highly regarded album for fans of classic Motown and male vocalists.
Why Can’t We Live Together
A1 Why Can't We Live Together
Written-By – Timmy Thomas
4:40
A2 Rainbow Power
Written-By – Timmy Thomas
3:02
A3 Take Care Of Home
Written-By – Timmy Thomas
2:37
A4 The First Time Ever I Saw Your Face
Written-By – Ewan McColl
3:18
A5 The Coldest Days Of My Life
Written-By – Carl Davis, Eugene Record
4:07
B1 In The Beginning
Written-By – Timmy Thomas
3:03
B2 Cold Cold People
Written-By – Timmy Thomas
4:06
B3 Opportunity
Written-By – Timmy Thomas
3:11
B4 Dizzy Dizzy World
Written-By – Timmy Thomas
3:36
B5 Funky Me
Written-By – Timmy Thomas
3:02
Label: Glades – 33-6501
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1972
Genre: R&B Soul
Style: Seventies Soul
Timmy Thomas’s 1972 debut, Why Can't We Live Together, is a pioneering soul album recognized for its sparse, "soulful minimalism" and groundbreaking use of a drum machine (Maestro Rhythm Master) instead of a live drummer. Driven by Thomas's impassioned vocals and melodic organ, the album features topical,,,peace-focused lyrics, creating a unique, hypnotic sound that transcends its minimal production.
The album is defined by a stripped-down, almost mechanical sound, with Thomas playing Lowrey organ, bass pedals, and singing all parts, often accompanied only by the rhythm machine.
The album's centerpiece, "Why Can't We Live Together," was a massive hit, peaking at #3 on the Billboard Hot 100 in 1973. It is known for its anti-war, pro-unity message. The record is described as having a slightly haunting yet intimate feel, with intense, focused performances. Includes notable, soulful covers like "The First Time Ever I Saw Your Face" and The Chi-lites' "The Coldest Days Of My Life".
It is regarded as a unique, influential soul record that pioneered the use of electronic percussion in pop music. Some critics found the album’s consistent reliance on the same, repetitive rhythm machine and organ style to be monotonous or similar across tracks, potentially limiting its overall variety.
Despite being perceived by some as having a "samey" sound, the album is celebrated for its raw emotion and innovation, and is widely regarded as a unique, ahead-of-its-time masterpiece of 70s soul, driven by its stark, poignant title track and a singular artistic vision.
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.
Wild And Peaceful
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.
Will Downing
Written-By – Brian Jackson, Peter Lord Moreland, Will Downing
4:57
A2 Do You?
Written-By – A. Godwin, Brian Jackson, Will Downing
5:11
A3 Free
Written-By – Deniece Williams, Hank Redd, Nathan Watts, Susaye Greene
5:55
A4 A Love Supreme
Written-By – David Cole, John Coltrane, Will Downing
4:05
B1 Security
Written-By – Arthur Baker, Doug Wimbish, Will Downing
4:00
B2 Set Me Free
Written-By – Danny Madden, D. Rush
4:02
B3 Sending Out An S.O.S.
Written-By – Brian Jackson, Craig Derry, Danny Madden, Will Downing
4:21
B4 Dancing In The Moonlight
Written-By – Brian Jackson, Will Downing, W. Holloway
5:11
B5 Do You Remember Love?
Written-By – Peter Lord Moreland
3:59
Label: Island Records – 90873-1
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Jazz, Funk, Soul
Style: Jazz-Funk, Soul, Garage House
Will Downing’s 1988 self-titled debut album is a highly regarded urban contemporary/soul record, praised for introducing his rich baritone voice and blending jazz sensibilities with 80s funk. Featuring the standout cover of John Coltrane's "A Love Supreme," the album is often described as a sophisticated and passionate introduction that has aged well.
Reviews emphasize Downing's "superbly exotic" and "passionate" voice, which established him as a premier soul vocalist at the time.
Standout Tracks: "A Love Supreme" is universally highlighted as a highlight, alongside tracks like "In My Dreams" and "Set Me Free," which showcase a mix of funk and jazz-influenced soul.
The album is described as a "killer debut" that balances commercial 80s sound with a "classy," timeless feel. Despite being a debut, it is frequently cited as a strong, solidifying piece of work that set the stage for a long career in soul music.
The album on Discogs generally receives positive reviews for its production and vocal delivery, with some listeners noting it as a crucial, early 90s-adjacent soul record that holds up well against later releases. Reviewers note that the album has "aged extremely well" compared to other soul acts of the late '80s, largely due to its rely on real instruments and Downing’s "jazzy sensibilities".
Willie Collins – Where You Gonna Be Tonight?
Producer – Billy Nichols, Willie Collins
Written-By – Cliff Dawson, Craig Peyton, Jolyon Skinner
4:56
A2 Restless
Producer – Billy Nichols, Willie Collins
Written-By – Womack & Womack
4:42
A3 Sticky Situation
Producer – Gene McFadden, Rahni P. Harris, Jr.
Written-By – Gene McFadden, Linda Vitali, Peter Beckett
3:49
A4 Ain't No Woman
Producer – Billy Nichols, Willie Collins
Written-By – Billy Nichols
5:20
B1 Determination
Featuring [With], Producer – McFadden & Whitehead
Written-By – Linda Vitali, Gene McFadden/John Whitehead, Peter Beckett
5:42
B2 First Time Making Love
Producer – Billy Nichols, Willie Collins
Written-By – Wilbur Bascomb, Willie Collins
5:20
B3 Let's Get Started
Producer – Billy Nichols, Willie Collins
Written-By – Billy Nichols
5:09
B4 Girl In The Corner
Producer – Billy Nichols, Willie Collins
Written-By – Wilbur Bascomb
4:58
Label: Capitol Records – EST 2012
Format: Vinyl, LP, Album
Country: UK
Released: 1986
Genre: R&B Soul, Funk
Style: Eighties Soul, Boogie
Willie Collins’ 1986 album Where You Gonna Be Tonight? (Capitol) is a highly regarded, underrated modern soul/boogie gem produced with Billy Nichols. It features smooth, lush 80s R&B, highlighted by the charting ballad "Let's Get Started" and upbeat tracks like "So Hot" and "Burnin'," with critics praising the,, soulful,, heartfelt vocals.
The album blends smooth, romantic Contemporary R&B, soul ballads, and danceable boogie/funk tracks. Produced by Billy Nichols and Collins himself, the album has a polished, early-to-mid 80s feel, reminiscent of Freddie Jackson.
Highlights:-
"Let's Get Started": Widely considered the album's highlight, this easy-paced ballad became Collins' only chart entry, reaching number 43 on the Billboard R&B chart.
"Where You Gonna Be Tonight?": The title track is noted for its boogie influence but has also been criticized as being somewhat derivative of other mid-80s soul.
"Restless" & "Ain't No Woman": These are highlighted as smooth, "loping" ballads that showcase his vocal range.
The album is considered an underrated, "must-have" for modern soul fans. It is seen as a high-quality example of 1980s R&B, avoiding excessive derivative, sounds for a more emotional performance.
It is frequently described as a hidden gem of the era, offering a mix of smooth romanticism and high-energy funk. The album remains a favorite among Modern Soul collectors: Discogs: Ranges from 3.8 to 4.5 / 5 stars across various pressings. Rate Your Music: Holds a rating of 4.25 / 5.
Wilson Pickett Sings Bobby Womack
2 –Wilson Pickett I'm Sorry About That
3 –Wilson Pickett I'm In Love
4 –Wilson Pickett Nothing You Can Do
5 –Wilson Pickett I Found The One
6 –Wilson Pickett Jealous Love
7 –Wilson Pickett She's So Good To Me
8 –Wilson Pickett I'm A Midnight Mover
9 –Wilson Pickett Something Within Me
10 –Wilson Pickett It's A Groove
11 –Wilson Pickett Let's Get An Understanding
12 –Wilson Pickett People Make The World (What It Is)
13 –Wilson Pickett We've Got To Have Love
14 –Wilson Pickett Trust Me
15 –Wilson Pickett Remember, I Been Good To You
16 –Wilson Pickett Sit Down And Talk This Over
17 –Wilson Pickett I've Come A Long Way
18 –Wilson Pickett Bring It On Home To Me
19 –Bobby Womack Find Me Somebody
20 –Bobby Womack How Does It Feel
Label: Kent Soul – CDTOP 467
Format: CD, Compilation
Country: UK
Released: 2017
Genre: R&B Soul
Style: Southern Soul
Wilson Pickett Sings Bobby Womack (released by Kent Records/Ace Records) is a highly acclaimed compilation gathering 17 tracks from 1966–1968, highlighting the fruitful collaboration between the "Wicked" soul singer and songwriter/guitarist Bobby Womack. Recorded at Fame in Muscle Shoals and American in Memphis, it features gritty, energetic southern soul with Womack often playing guitar.
Critics and fans consider this a "lost album" that acts as a definitive compilation of their work, including hits and deeper cuts.
The tracks are characterized by Pickett’s raw, energetic vocal style and powerful, gospel-inflected shouting, matched with tight, horn-heavy backing from session musicians.
The CD release often includes extras like Pickett’s version of "Bring It On Home to Me" and rare B-sides, making it a comprehensive, well-annotated set.
The compilation underlines how Womack's songwriting provided the backbone for Pickett's late-60s success, showcasing a perfect match of singer and songwriter.
The album is considered essential for soul enthusiasts, capturing a peak era in Southern soul music.
Windjammer II
Written-By – Angelle Trosclair, Michael Pellera
3:32
A2 Tossing And Turning
Written-By – Carl Dennis, Chris Severin
4:06
A3 Anxiously Waiting
Written-By – Carl Dennis, Kevin Hayes (5)
4:40
A4 Am I Right
Written-By – Carl Dennis, Chris Severin, David Torkanowsky
3:55
A5 Call Me Up
Written-By – Anatole Domino, Kevin McLin
4:16
B1 You're Out The Box
Written-By – Carl Dennis, Chris Severin, David Torkanowsky
4:05
B2 Sneak Attack
Written-By – Carl Dennis, Chris Severin, David Torkanowsky
3:30
B3 Stay, Part II
Written-By – Carl Dennis, Kevin McLin
3:07
B4 I'll Always Love You
Written-By – Carl Dennis, Kevin McLin
4:08
B5 Dive Inside My Love
Written-By – Chris Severin, David Torkanowsky
3:13
Label: MCA Records – MCA-39021
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Boogie, Electro
Windjammer II (1984) by Windjammer is an acclaimed, often overlooked album in the 80s mellow groove, funk, and soul scene, known for its mature, warm sound, smooth midtempo grooves, and jazzy undertones, featuring tracks like "Tossing & Turning" and "Live Without Your Love," offering a pleasant departure from typical 80s soul with sophisticated keyboards and vocals.
Genre/Style: Mellow Groove, Funk, Soul, Electro, Boogie, with jazz influences. Vibe: Warm, breezy, smooth, and mature, with a focus on midtempo rhythms. Production: Features lush keyboards and vocals, creating a sophisticated sound. Notable Tracks: "Tossing & Turning," "Anxiously Waiting," "Live Without Your Love," "Dive Inside My Love". Legacy: Considered a standout in the 80s mellow funk genre, offering a classic, deep-groove experience.
The album provides a solid alternative to more familiar 80s soul, staying cool without being over-the-top. It captures the essence of the era's smoother sounds, reminiscent of late 70s soul but with an 80s polish. It's a treasure for fans of mellow funk and soul, with some tracks considered "sublime".
Winners
Written-By – N. Durham, W. Cunningham
7:09
A2 I Still Love You
Lead Vocals – Isabelle Coles
Written-By – W. Cunningham
4:12
A3 Your Way
Written-By – N. Durham, W. Cunningham
4:44
A4 Close To You
Written-By – R. Lee Jr.
5:24
B1 Rollin' On
Lead Guitar – Eddie Martinez
Written-By – P. Crutchfield, W. Cunningham
3:49
B2 Nothin' Said
Written-By – W. Cunningham
4:54
B3 Hunger For Your Love
Tenor Saxophone – Michael Brecker
Written-By – P. Crutchfield, R. Lee Jr.
5:34
B4 Open Your Mind
Tenor Saxophone – Michael Brecker
Written-By – N. Durham, W. Cunningham
6:44
Label: Atlantic – SD 19262
Format: Vinyl, LP, Album
Country: US
Released: 1979
Genre: R&B Soul
Style: Seventies Soul, Funk, Disco
Kleeer’s 1979 album Winners is widely regarded by critics and fans as a high-point in late-70s funk and disco, often cited as the band's most consistent and versatile work.
While their debut I Love to Dance was seen as a pure disco record, Winners is noted for its musical versatility, blending funk, soul, and jazz-funk.
Reviewers consistently praise the "lush strings," "nagging bass lines," and "wriggly guitar riffs" that define the album's sound. Unlike many disco-era albums that relied on one major hit, Winners is frequently described as a "complete set" where nearly every track is strong.
Key Tracks:-
"Winners": The title track and lead single peaked at #23 on the US R&B charts; it is praised for its "upbeat, positive" lyrics and driving dance floor energy.
"Open Your Mind": A standout jazzy, socially conscious closer that has grown into an underground classic despite minimal commercial success upon release.
"I Still Love You" & "Your Way": These tracks are noted for shifting the tempo into "quiet storm" and mid-tempo soul territories.
"Hunger For Your Love": A romantic ballad highlighted by a prominent saxophone solo.
Critics often compare the album's polished production and melodic funk to the works of Chic, Change, and Heatwave. While it lacked a massive crossover pop hit like "Keep Your Body Workin'," it is frequently rated higher (averaging 4.2 to 4.5 stars on platforms like Discogs) for its depth and musicianship.
Winter In America
Written-By – Scott-Heron/B. Jackson
5:30
A2 Rivers Of My Fathers
Written-By – Scott-Heron/B. Jackson
8:29
A3 A Very Precious Time
Written-By – Scott-Heron/B. Jackson
5:13
A4 Back Home
Written-By – Scott-Heron/B. Jackson
2:50
B1 The Bottle
Written-By – Scott-Heron
5:14
B2 Song For Bobby Smith
Written-By – Scott-Heron
4:42
B3 Your Daddy Loves You
Written-By – Scott-Heron
2:57
B4 H2Ogate Blues
Written-By – Scott-Heron
8:23
B5 Peace Go With You Brother (Wa-Alaikum-Salaam)
Written-By – Scott-Heron/B. Jackson
1:11
Label: Strata-East – SES-19742
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Jazz, Funk, Soul
Style: Soul-Jazz, Jazz-Funk
Gil Scott-Heron and Brian Jackson's "Winter in America" (1974) is a seminal, soulful album praised for its poetic depth, blending jazz, soul, and spoken word to tackle social commentary (Watergate, alcoholism) with personal reflections, establishing Scott-Heron as a pioneer of hip-hop's lyrical style while showcasing Brian Jackson's essential flute and keyboards in a musically sparse yet rich soundscape. The album remains remarkably relevant, offering timeless observations on life, love, and political disillusionment, making it a foundational masterpiece of conscious music.}
The album masterfully combines Scott-Heron's powerful, sometimes raw, poetry with Jackson's wistful, jazz-infused instrumentation (flute, electric piano).
Tracks like the iconic "The Bottle" address ghetto alcoholism, while "H2Ogate Blues" critiques the Nixon administration, though its relevance extends beyond its historical moment.
Alongside political critiques, the album offers tender moments in "Your Daddy Loves You" and "A Very Precious Time," exploring relationships and hope.
It features a more atmospheric, stripped-down sound than some of his earlier work, allowing Scott-Heron's voice and Jackson's keyboards/flute to shine, creating a "floating ambience".
Though perhaps overlooked at release, it's now considered a masterpiece, a cornerstone of his work with Jackson. Its spoken-word delivery and lyrical complexity make it a direct influence on hip-hop and neo-soul artists.
Past reviewers have consistently noted how the album's themes of societal struggle, hypocrisy, and hope still resonate powerfully today, making it feel both like a historical document and a current statement.
Reviewers in 2025 and 2026 continue to find its themes of disillusionment, systemic neglect, and personal struggle deeply relevant to current socio-political climates. Critics praise the balance between Scott-Heron's "rough and bluesy" baritone and Jackson's "lush, yearning" jazz arrangements on the Fender Rhodes and flute.
Gil Scott Heron
Wish It Would Rain
Written-By – B. Strong, N. Whitfield, R. Penzabene 3:15
A2 Cindy
Written-By – Wm. Robinson 3:06
A3 I Wish It Would Rain
Written-By – B. Strong, N. Whitfield, R. Penzabene 2:48
A4 Please Return Your Love To Me
Written-By – B. Neely, B. Strong, N. Whitfield 2:21
A5 Fan The Flame
Written-By – A. Cleveland, Wm. Robinson, T. Johnson 2:40
A6 He Who Picks A Rose
Written-By – E. Smiley, E. Holland, N. Whitfield 2:31
B1 Why Did You Leave Me Darling
Written-By – D. Dean, D. Richards 2:11
B2 I Truly, Truly Believe
Written-By – A. Story, H. Gordy, M. Johnson 2:40
B3 This Is My Beloved
Written-By – N. Ashford, V. Simpson 2:12
B4 Gonna Give Her All The Love I've Got
Written-By – B. Strong, N. Whitfield 2:44
B5 I've Passed This Way Before
Written-By – J. Dean, Wm. Weatherspoon 2:40
B6 No Man Can Love Her Like I Do
Written-By – E. Kendricks, E. Holland, N. Whitfield 2:14
Label: Gordy – GS 927
Format: Vinyl, LP, Album
Country: US
Released: 1968
Genre: R&B Soul
Style: Soul, Motown
The Temptations' "Wish It Would Rain" album review is a highly regarded, emotionally intense final album for the "Classic Five" lineup, featuring David Ruffin's anguished leads on hits like the title track and "I Could Never Love Another," alongside great moments for Eddie Kendricks, Melvin Franklin, and Paul Williams, showcasing rich Motown production, but sometimes overshadowed by later psychedelic work despite its classic soul status.
Considered a powerful farewell from the iconic "Classic Five" lineup (Ruffin, Kendricks, Williams, Otis Williams, Franklin), marking the last album with David Ruffin before his departure.
David Ruffin dominates with raw, heartbroken lead vocals on major hits like the eponymous "I Wish It Would Rain" (a #1 R&B hit) and "I Could Never Love Another," capturing intense soul. Other members shine, including Eddie Kendricks' falsetto on "This Is My Beloved" and Melvin Franklin's rare lead on "I Truly, Truly Believe".
The album carries a somber, heartfelt tone, particularly linked to lyricist Roger Penzabene's tragic suicide, making the pain in the songs feel authentic. Norman Whitfield's production provides a grand, string-laden backdrop for the vocals, typical of Motown's golden age.
Often overlooked for the psychedelic soul albums that followed, Wish It Would Rain is praised as a magnificent, emotionally potent collection essential for any R&B fan, despite some weaker album tracks.
Wish It Would Rain is seen as a classic, deeply emotional soul album, defined by David Ruffin's iconic vocals, showcasing the immense talent of the Classic Five at a pivotal moment, and remains a highly recommended listen.
Wish Someone Would Care
Written-By – Irma Thomas
2:20
A2 I Need Your Love So Bad
Written-By – H. Dunham
3:10
A3 Without Love (There Is Nothing)
Written-By – D. Small
2:57
A4 Please Send Me Someone To Love
Written-By – P. Mayfield
2:28
A5 Another Woman's Man
Written-By – H.B. Barnum, J. Norman
3:03
A6 Sufferin' With The Blues
Written-By – Pemberton
2:18
B1 Time Is On My Side
Written-By – J. Norman, N. Meade
2:53
B2 While The City Sleeps
Written-By – Randy Newman
2:25
B3 Straight From The Heart
Written-By – Irma Thomas
2:26
B4 I've Been There
Written-By – G. Usher, W. Martindale
2:39
B5 I Need You So
Written-By – I.J. Hunter
2:21
B6 Break-A-Way
Written-By – J. DeShannon, S. Sheeley
2:30
Label: Imperial – LP-9266
Format: Vinyl, LP, Album
Country: US
Released: 1964
Genre: R&B Soul
Style: Southern Soul
Irma Thomas’ 1964 debut album, Wish Someone Would Care, is a cornerstone of Southern soul, highlighting her powerful yet vulnerable vocals, featuring the hit title track and "Break-A-Way". Produced in Los Angeles by Eddie Ray, this collection combines piano-heavy blues and soulful pop, showcasing her ability to deliver deep, emotional performances.
The album is noted for its polished yet poignant production, featuring prominent piano and organ rather than heavy brass, which brings a gentle, almost pop-influenced feel to the soul ballads.
Key Tracks:-
"Wish Someone Would Care": The self-penned title track is an intensely personal ballad written during her second divorce. Critics call it a "devastating" mission statement for the album.
"Time Is on My Side": Notable as the original version of the song later made famous by The Rolling Stones.
"Break-A-Way": A high-energy R&B track originally by Jackie DeShannon that showcases her versatility.
"Please Send Me Someone to Love": A gospel-infused cover of the Percy Mayfield classic.
Reviewers often highlight the contrast in Thomas’ voice, which balances immense strength with a sense of loneliness and emotional fatigue, likely influenced by her personal experiences at the time.
While some critics note the album's flow suffers from the era's tendency to bundle singles with filler, it is nonetheless considered an essential collection.
The album established Thomas as a major soul artist and is a must-listen for fans of 1960s R&B. Many consider it one of the ten best New Orleans albums ever made. It served as the primary vehicle that introduced Thomas’s regional success to a global audience.
With All My Love
Arranged By – Jay Chattaway
Written-By – M. Segal, M. Ames 5:26
A2 Hawkeye
Arranged By [Horns] – Jay Chattaway
Written-By – B. James, B. Williams, G. King, J. Chattaway, S. Khan, W. Longmire 7:33
A3 Crystal Clear
Arranged By – Jay Chattaway
Written-By – J. Chattaway 5:20
B1 Music Speaks Louder Than Words
Arranged By – Jay Chattaway
Written-By – E. Pease III, H. Payne, M. Scarpiello 4:06
B2 Take Your Time (From "Taxi")
Arranged By – Bob James
Percussion – Gilmore Digap
Written-By – B. James 6:32
B3 Just As Long As We Have Love
Arranged By – Bob James
Written-By – B. Hawes, V. Barrett 4:00
B4 Strawberry Sunset
Arranged By – Jay Chattaway
Electric Piano [Fender Rhodes] – Barry Miles
Written-By – W. Longmire 4:58
Label: Tappan Zee Records – JC 36342
Format: Vinyl, LP, Album
Country: US
Released: 1980
Genre: R&B Jazz, Soul, Funk
Style: Fusion, Jazz-Funk, Soul
Wilbert Longmire's 1980 album With All My Love is highly regarded by fans of jazz-funk and smooth jazz for its warm sound, excellent musicianship, and groovy tracks, although some critics found it leaned towards a "slick smooth-jazz formula". It was Longmire's final album, produced with significant influence from Bob James on his Tappan Zee label.
The album is considered a quintessential jazz-funk/fusion album of its era, with fans recommending it to any enthusiast of the genre.
Reviewers praise the high level of musicianship throughout the album, highlighting contributions from a first-tier fusion rhythm section including Bob James, Eric Gale, Harvey Mason, and Richard Tee.
Longmire's guitar playing and occasional vocals draw frequent comparisons to George Benson, with a similar smooth, passion-filled sound.
Many listeners find the album's sound to be warm and timeless, still enjoying it years after its initial release.
Track Highlights:
"Take Your Time": This track was notably used on the television series "Taxi", for which Bob James did the music. It is described as having a down-home and relaxed groove.
"Music Speaks Louder Than Words": A favorite for many, this track is noted for its gospel soul feel and warm vocals.
"Hawkeye": Described as a stomping jazz funk track with wah-wah powered bass, it is considered one of the stronger, more energetic instrumental pieces.
"Love's Holiday": A cover of the Earth, Wind & Fire song, the album's arrangement is appreciated for offering a different, enjoyable take on the original.
Recorded in New York City at SoundMixers and Mediasound, the production features polished arrangements by Bob James and Jay Chattaway.
Longmire is backed by a cast of premier studio musicians, including: Bob James: Keyboards (Fender Rhodes, Oberheim synthesizer); Steve Khan: Acoustic and electric guitars; Gary King: Bass; Buddy Williams & Harvey Mason: Drums.
One professional critique from All About Jazz noted that while the album features a high level of musicianship, it occasionally "slip[s] into clockwork anonymity" and develops a "slick smooth-jazz formula". One user reviewer of the combined Champagne/With All My Love CD release was disappointed that the "Funshine" track was a shorter, edited version compared to the original vinyl release.
User reviews of Wilbert Longmire's 1980 album With All My Love are generally very positive, with many listeners considering it a quintessential jazz-funk/fusion album of its era. It holds an average user rating of approximately 4.13 out of 5 stars on platforms like Discogs.
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.
Bobby Womack
Woman Across The River
Written-By – A. Jones, Jr., B. Krutcher
2:46
A2 Hootchie Cootchie Man
Written By – C. Long
4:48
A3 Danger Zone
Written-By – Percy Mayfield
4:32
A4 Boogie Man
Written-By – C. Blackwell, L. Russell
3:45
A5 Leave My Woman Alone
Written-By – Ray Charles
3:33
B1 Just A Little Bit
Written-By – Washington, Thurston, Brown, Bass
2:27
B2 Yonder Wall
Written-By – Elmore James
2:25
B3 Help Me Through The Day
Written-By – Leon Russell
4:27
B4 I'm Ready
Written-By – Willie Dixon
3:45
B5 Trouble In Mind
Written-By – Richard Jones
3:41
B6 You Don't Have To Go
Written-By – Matcher James Reed
2:55
Label: Shelter Records – SW-8919
Format: Vinyl, LP, Album, Stereo
Country: US
Released: 1973
Genre: R&B Blues
Style: Modern Electric Blues, Rock
Woman Across The River, Released in 1973, was the final studio album Freddie King recorded for Shelter Records. It is widely considered his most elaborately produced work, featuring string arrangements and female backing vocals that lean into a polished, contemporary rock-influenced sound.
Opinions on the album's production style vary among major critics:
AllMusic notes the "heavier rock elements" and high production value compared to his earlier, rawer recordings.
Texas Monthly described it as "more than competent" but critiqued it for making too many "concessions to the rock sound".
The Gazette gave a harsher review, calling the effort "painfully mechanical" with a perceived lack of personal involvement.
The Penguin Guide to Blues Recordings suggests it reflects an "awkward phase" for blues music in the early 1970s as it transitioned toward mainstream rock.
The album features several standout performances that remain favorites among fans:
"Help Me Through the Day": A Leon Russell-penned ballad praised for its "exquisite" delivery.
"Woman Across The River": Described as a blues lament with "powerful yet fragile" vocals and emotive guitar work that "sounds like a sigh".
Blues Classics: The album includes King's takes on standards like "I'm Your Hoochie Coochie Man," "I'm Ready," and "Look On Yonder Wall".
As of 2026, collectors highly recommend specific versions for the best audio experience:
Best Digital Version: The 1993 reissue mastered by Steve Hoffman (DCC) is frequently cited as the superior digital version, offering better definition and dynamics than later budget remasters.
Streaming Quality: Modern digital versions (such as those on Spotify) often use the 1996 "Right Stuff" remaster, which some audiophiles find "flat" compared to original vinyl or Hoffman's master.
Woman In Flames
Written-By – M. Day, R. Jones, R. Maffit
4:09
A2 This Time
Written-By – D. Walden, M. Day, P. Carman, R. Maffit
4:12
A3 Prisoner
Written-By – D. Walden, M. Day, R. Maffit
4:20
A4 Intimate Strangers
Written-By – D. Walden, M. Day, R. Maffit
5:05
B1 Woman In Flames
Written-By – D. Walden, L. Reeder, M. Day, R. Maffit
4:34
B2 Mardi Gras
Written-By – D. Walden, M. Day, R. Maffit
4:21
B3 Be Mine Tonight
Written-By – M. Day, R. Jones
4:10
B4 Capture The Moon
Written-By – D. Walden, M. Day
4:28
Label: Columbia – FC 39365
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul, Funk
Style: Eighties Soul, Funk, Disco
Champaign's 1984 album Woman in Flames is generally seen as a solid but inconsistent entry in their discography, featuring the hit "Off and On Love" and other decent tracks but suffering from uneven quality, sounding dated to some listeners, and leading to the group's initial split from Columbia Records despite strong vocals and production.
While it includes solid R&B/Quiet Storm sounds and highlights like "Be Mine Tonight," critics suggest many songs felt like retreads of the era, making it best for completists rather than a must-have for casual fans, though its CD reissue is praised for good audio.
The album's major success was the bouncy "Off and On Love," their third R&B Top 10 hit. Falls into Quiet Storm and Adult Contemporary, with early 80s SOLAR-style R&B influences, but some tracks leaned into tired mid-80s production.
While "Off and On Love" and a few other songs ("This Time," "Be Mine Tonight") were strong, the rest was considered weaker, contributing to its commercial underperformance and the band's subsequent breakup with Columbia Records.
The 2-on-1 reissue with Modern Heart is praised for good audio quality and restoring tracks like "Try Again," making it a worthwhile purchase for dedicated fans.
Considered a cautiously fecommended album for completists who enjoy the era's R&B sound, but not essential beyond its well-known hits.
Woman Of The World
Written-By – Mark Creamer
3:50
A2 Did I Give Up Too Much Too Soon
Backing Vocals – Al Cleveland
Written-By – Cloteal Cleveland
3:10
A3 Don't Mistreat My Babies
Written-By – Jimmy Lewis
2:51
A4 Shape Your Arms Like A Cradle
Written-By – Cloteal Cleveland, Larry Maxwell, Tanga Smith
4:26
A5 Breakin' Up A Happy Home
Written-By – Dennis Lambert / Brian Potter
3:36
B1 Stop! I Don't Need No Sympathy
Written-By – C. Davis, S. Sanders
2:58
B2 Superbad
Written-By – Daniel Walsh, Michael Price
2:57
B3 I Don't Need No Man
Written-By – Jimmy Lewis
2:54
B4 Is This The Way Love's Supoosed To Be (A Good Feelin' For You And A Hurt For Me)
Written-By – Cloteal Cleveland, Tanga Smith
4:13
B5 Woman Of The World
Written-By – Jerry Fuller
2:51
Label: ABC Records – ABCD-876
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul
Style: Seventies Soul, Funk
Released in 1975 on ABC Records, Woman of the World is the debut solo album by American soul singer Sylvia Smith. Highly regarded by collectors of 70s soul and funk, the album is noted for its high-quality production and Smith's powerful vocal performance.
Reviewers describe the album as an "unforgettable soul album" featuring amazing vocals and "solid soul-funk shouters". Smith’s style has been compared to artists like Candi Staton and Millie Jackson. The album maintains high scores on music community sites, typically averaging around 4.2 out of 5 stars based on user ratings.
The album was produced by Steve Barri and Michael Omartian, who later became legendary for his work with Whitney Houston and Steely Dan. It features a lineup of elite session musicians, including David Hungate and Wilton Felder on bass, and Ed Greene on drums.
The album was primarily available on vinyl LP and 8-track tape for decades. While fans have called for a CD reissue, digital versions began appearing on streaming services in 2024–2025, which listeners have praised for their improved clarity compared to older physical copies.
For many years, the album was considered a "forgotten soul gem" and a sought-after collector's item on vinyl. While rare, it has been noted for its high-quality vocal performances and its contribution to the 1970s funk-soul landscape. Following this release, Smith moved into production and released several dance singles on Quincy Jones' Qwest label in the late 1980s.
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 Can Get It If You Really Want
A2 I Believe
A3 Perseverance
A4 Get Up Little Suzie
A5 Peace On The Land
A6 Cindy
B1 Pickney Gal
B2 You Got Soul
B3 Coomyah
B4 That's The Way Life Goes
B5 Peace Of Mind
B6 Polka Dot
Label: Trojan Records – TBL 146
Format: Vinyl, LP, Album
Country: UK
Released: 1970
Genre: Reggae, Rocksteady
Style: Reggae, Ska
Desmond Dekker’s 1970 album, You Can Get It If You Really Want (Trojan), is a seminal reggae/rocksteady release featuring his UK Top 10 title track cover of Jimmy Cliff's song. It highlights his signature melodic, feel-good style with hits like "Pickney Gal," offering a, for the most part, consistent, uplifting, and crucial collection for fans of early Jamaican popular music.
The album is a prime example of late 60s/early 70s rocksteady transitioning into reggae, featuring catchy tunes, upbeat rhythms, and Dekker’s sweet, characteristic vocals.
Alongside the top-selling title track, the album features "Pickney Gal" and other notable, often self-composed, songs. The 2018 expanded CD reissue by Doctor Bird (Cherry Red) is highly regarded for adding 11 bonus tracks, including "Sing A Little Song" and his early 70s Creole Records output, making it a comprehensive, essential purchase.
While sometimes criticized for having a similar mood across tracks, it is widely considered an essential, feel-good album, often praised for its historical significance and joyful, sunny, "summer" sound.
The 1970 LP solidified Dekker as a premier artist in the genre, following the massive success of "Israelites". It is frequently recommended as a, "for the most part," enjoyable, high-quality, and essential addition for collectors of early Jamaican, "or," ska and reggae music.
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 Got Me Running
A2 Hard Times 4:11
A3 Keep On Dancing 3:28
A4 Step On Out 4:40
A5 Mr. Music Man 4:17
B1 Something Special To Me 5:08
B2 Galveston Bay 4:03
B3 Could It Be Love 5:19
B4 My Sweet Love 3:59
B5 Close To You 3:40
B6 Cold Winter In The Ghetto 3:37
Label: Urban Sound – US-777
Format: Vinyl, LP, Album
Country: US
Released: 1984
Genre: R&B Soul
Style: Eighties Soul, Funk
You Got Me Running is the 1984 debut solo album by American singer Lonnie Hill, recorded after he transitioned from gospel and group projects to secular R&B. The album features Philip Bailey (of Earth, Wind & Fire) on backing vocals.
The album was first released in the United States in 1984 on the Urban Sound label. It later gained wider international recognition when it was released in the United Kingdom in 1986 by Virgin / 10 Records.
It is characterized as a blend of Soul, Funk, and Soft Rock. The most acclaimed song on the album is "Galveston Bay," which became a UK Top 75 hit. Other notable tracks include the title song, "You Got Me Running," and "Cold Winter In The Ghetto."
The album was recorded at Colorado Sound Recording Studios in Denver, Colorado, produced by Dik Darnell and co-produced by Larry Thompson. Horn arrangements were handled by Dik Darnell, Jerome Gilmer, and Lonnie Hill.
It is frequently cited as a standout example of 1980s independent soul, blending smooth R&B with subtle funk elements. "Galveston Bay" is widely considered the album's masterpiece, often described by listeners as a "perfect" track that appears once in a decade.
Contemporary reviews from the mid-80s noted that while it might not have had mass chart appeal at the time, its specialized material resonated deeply with urban soul fans. On community platforms like Discogs, the album consistently averages between 3.6 and 4.0 out of 5 stars across various pressings.
The album has seen several reissues over the years due to its rarity and high demand, including UK pressings on the Ten label. You can find various versions of the record on marketplaces such as Discogs or MusicStack by clicking the images below. Note: "Cold Winter In The Ghetto" is a bonus track not on the original album.
You Want It, You Got It
Written-By – A. Tilmon
2:56
A2 There's A Love For Me Somewhere
Written-By – A. Tilmon
2:23
A3 I'll Never Sail The Sea Again
Written-By – A. Tilmon
3:34
A4 Take My Love
Written-By – A. Tilmon
3:37
B1 Feel The Need In Me
Written-By – A. Tilmon
3:37
B2 I've Got To Move
Written-By – A. Tilmon
3:01
B3 Baby Let Me Take You (In My Arms)
Written-By – A. Tilmon
3:46
B4 I Bet You Get The One You Love
Written-By – A. Tilmon, J. Mitchell
2:09
B5 Till You Decide To Come Home
Written-By – A. Tilmon
2:43
Label: Janus Records – 6310 207
Format: Vinyl, LP, Album
Country: UK
Released: 1972
Genre: R&B Soul
Style: Seventies Soul, Disco
Detroit Emeralds' You Want It, You Got It (1972) is a well-regarded soul-funk album, praised for its smooth grooves and standout tracks like "Baby Let Me Take You (In My Arms)" and "Feel the Need in Me," earning high marks from critics like AllMusic (5/5) and Robert Christgau (B+), showcasing a polished sound with enduring funk appeal, despite moderate chart performance compared to singles.
The album was recorded in Memphis at Willie Mitchell's studio, featuring Al Green’s rhythm section. This influence is evident in its seamless, soulful dance music and sophisticated horn and string arrangements.
It delivers a classic, polished soul-funk sound, often compared to Curtis Mayfield, moving beyond raw Detroit grit. It's anchored by major hits, particularly the iconic "Baby Let Me Take You (In My Arms)" and the funky "Feel the Need in Me," making it a must-own for fans of the era.
The album is anchored by several major singles that performed well on both R&B and Pop charts:
"You Want It, You Got It": The title track reached #5 on the US R&B charts and #12 in the UK.
"Baby Let Me Take You (In My Arms)": Often cited as the album's highlight, this track hit #4 on the R&B chart and #24 on the Billboard Hot 100.
"Feel the Need in Me": A classic soul-funk groover that reached #22 on the R&B charts and #4 in the UK.
Reviewers describe it as a very pleasant, often mellow, yet groovy listen, with memorable melodies and strong singalong potential.
While the album itself charted well (Top 40 R&B, Top 100 Pop), its hit singles cemented its place in soul-funk history, making it a beloved record for its enduring quality and iconic tracks.
You’re All I Need
Vocals [Duet With] – Patti LaBelle
Written-By – Nick Ashford/Valerie Simpson 6:12
A2 Feel Good
Written-By – Darryl S. Duncan 6:07
A3 Don't Make Me Wait
Vocals [Duet With] – Ray, Goodman & Brown
Written-By – William Rhinehart 4:51
A4 I Believed You
Written-By – William Rhinehart 4:53
B1 Mystery
Written-By – William Rhinehart 4:56
B2 It's Over
Written-By – William Rhinehart 6:51
B3 To Tell You The Truth
Written-By – Nick Moroch, Vaneese Thomas 4:26
B4 After Love
Written-By – Bruce Fisher, Randy Kline 4:35
Label: EMI-Manhattan Records – E1-90036
Format: Vinyl, LP, Album
Country: US
Released: 1988
Genre: R&B Soul, Funk
Style: Eighties Soul, Electronic
Sarah Dash's You're All I Need (1988) is a solid R&B/Urban album, her comeback after leaving LaBelle, noted for its soulful duets with Patti LaBelle ("You're All I Need") and Ray, Goodman & Brown ("Don't Make Me Wait"), showcasing Dash's strong vocals but met with only moderate chart success despite critical appreciation for her talent, especially on disco-infused tracks like "Sinner Man" from her earlier work, with fans loving her soulful delivery and the album's overall smooth feel.
It features notable duets, most famously with her former group member Patti LaBelle on the title track, and with Ray, Goodman & Brown, and is a smooth blend of R&B and Urban styles, with strong vocal performances highlighting Dash's powerful voice.
While not a massive commercial smash like her work with LaBelle, it was well-received by fans and critics who appreciated her continued soulful vocal talent, even if it didn't garner huge backing.
Standout Tracks: The duets, particularly with Patti LaBelle, were highlights, but earlier singles like "Sinner Man" (from her debut solo work) remained popular disco-era hits.
In essence, it was a well-crafted return that solidified Sarah Dash's status as a powerful solo artist, even if it didn't reach stratospheric heights without LaBelle's full force behind it, with fans cherishing her vocal prowess on tracks like "You're All I Need".
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.
You’re The One For Me
Engineer – J. Potoker
Mixed By – Francois Kevorkian, Hubert Eaves III
Percussion – Hubert Eaves III, Hubert Eaves Jr, IV
Written-By – H. Eaves III, J. Williams 4:57
A2 Walk On By
Engineer – J. Potoker
Mixed By – Francois Kevorkian, Hubert Eaves III
Written-By – B. Bacharach, H. David 5:28
A3 Tryin' To Get Over
Backing Vocals [Additional], Arranged By [Background Arrangement] – Neil Trotman
Bass [Fills] – Kevin Eaves
Mixed By – Ben Wisch, Hubert Eaves III
Written-By – H. Eaves III, J. Williams 5:26
A4 Lucky Day
Bass – Basil Ferrington
Mixed By – Ben Wisch, Hubert Eaves III
Written-By – H. Eaves III 4:58
B1 "D" Train (Theme)
Backing Vocals [Additional] – Lisa Fisher
Drums – Hubert Eaves Jr, IV
Guitar – Billy "Spaceman" Paterson
Written-By – H. Eaves III, J. Williams 5:17
B2 Keep On
Guitar – Butch Campbell
Written-By – H. Eaves III, J. Williams 6:45
B3 Love Vibrations
Written-By – H. Eaves III, J. Williams 5:19
B4 You're The One For Me (Reprise)
Engineer – J. Potoker
Mixed By – Francois Kevorkian, Hubert Eaves III
Written-By – H. Heaves III, J. Williams 3:45
Label: Prelude Records – PRL 14105
Format: Vinyl, LP, Album
Country: US
Released: 1982
Genre: R&B Soul
Style: Soul, Boogie, Disco, Funk
D-Train's debut album, You're the One for Me (1982), is a landmark post-disco, funk, and urban soul record known for its sophisticated blend of synth-funk, soulful vocals, and dancefloor energy, launching the duo (James "D-Train" Williams & Hubert Eaves III) to fame with its iconic title track and other hits like "Keep On". It's celebrated for bridging disco's end with early 80s R&B, featuring infectious grooves, powerful falsetto, and gospel influences that made it foundational for the boogie and house scenes.
A signature mix of smooth funk, soulful vocals, and electronic production, moving beyond pure disco into boogie and urban contemporary.
The album spawned massive dance hits, including the #1 "You're the One for Me" and "Keep On," solidifying D-Train's status. James "D-Train" Williams' deep, gospel-tinged vocals are a standout feature, providing soulful hooks.
Hubert Eaves III's production created lush soundscapes with prominent synth basslines and electronic textures.
It's considered a classic of early 80s dance music, influencing later house and electronic genres.
The album remains beloved for its irresistible grooves, making it a staple in funk and soul circles.
In essence, You're the One for Me captures a vibrant moment in music history, delivering sophisticated, soulful dance tracks that are both critically acclaimed and eternally popular.
You’re The Song I’ve Always Wanted To Sing
Written-By – S. McKenney, T. Thomas
3:37
A2 I've Got To See You Tonight
Written-By – Willy Hale
3:16
A3 Sweet Brown Sugar
Written-By – Betty Wright
3:11
A4 Deep In You
Written-By – Timmy Thomas
3:41
A5 Spread Us Around
Written-By – Alaimo, T. Thomas
2:58
B1 One Brief Moment
Written-By – Timmy Thomas
3:48
B2 What Can I Tell Her
Written-By – Shapiro, Reid, Clarke
5:45
B3 Ebony Affair
Written-By – Timmy Thomas
3:51
B4 Let Me Be Your Eyes
Written-By – H.W. Casey, T. Thomas
3:49
Label: Glades – 6504
Format: Vinyl, LP, Album
Country: US
Released: 1974
Genre: R&B Soul
Style: Seventies Soul
Timmy Thomas's You're The Song I've Always Wanted To Sing (1974) is praised as a soulful, rich Miami soul masterpiece, building on his famous drum machine style with fuller arrangements, featuring Willie "Little Beaver" Hale's guitar and Thomas's deep vocals, offering a consistent listen with highlights like the title track, "Rainbow People," and proto-funk instrumental "Funky Me," making it an underrated gem with warm, pioneering soul/funk sounds.
A warm, fuller sound than his debut, blending pioneering early drum machine grooves with soulful organ, tasteful guitar work (from Little Beaver), and Thomas's heartfelt vocals.
Early Miami soul, cosmic soul, with hints of funk, disco-funk, and Stevie Wonder-esque flair, noted for its primitive yet effective solo-organ soul.
Highlights:- Title Track: A standout with its emotive core; "Rainbow People" & "Take Care Of Home": Examples of uptempo soulful tracks; "Funky Me": An instrumental praised as almost proto-industrial funk.
Considered an "unsung classic" and a "killer album," with reviewers noting its consistent quality and deep soulfulness, making it a must-listen for fans of early '70s soul.
In essence, it's a highly regarded, soul album that showcases Thomas's evolving sound and remains a favorite for its genuine warmth and innovation.
You re The Song I ve Always Wanted To Sing
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.
Yum Yum
Arranged By – J. King
Written-By – J. King
4:04
A2 Trompin'
Arranged By – G. Thomas
Written-By – B. Curtis, G. Thomas
3:55
A3 Let The Drums Speak
Arranged By – B. Curtis
Written-By – Curtis, Williams, Thomas, Flippin, King, Cornwell
3:57
A4 Put The Funk On You
Arranged By – B. Curtis
Written-By – B. Curtis
3:09
A5 Feed Me Your Love
Arranged By – J. Flippin
Written-By – J. Flippin
3:48
B1 Boogie With Fatback
Arranged By – G. Thomas
Written-By – Curtis, Gibson, Thomas
4:45
B2 Gotta Learn How To Dance
Arranged By – R. Cornwell
Written-By – B. Curtis, R. Cornwell
3:45
B3 If You Could Turn Into Me
Arranged By – G. Thomas
Written-By – Chisholm, Curtis, Gibson, Thomas
4:11
B4 (Hey) I Feel Real Good
Arranged By – G. Thomas
Written-By – D. Gibson, G. Thomas
6:03
Label: Event Records Inc. – EV 6904
Format: Vinyl, LP, Album
Country: US
Released: 1975
Genre: R&B Soul, Funk
Style: Seventies Soul, Disco, Funk
The Fatback Band's 1975 album Yum Yum is a cult classic funk/early disco record praised for its infectious grooves, heavy bass, tight drumming, and party atmosphere, bridging classic funk with emerging disco sounds, featuring standout tracks like the title track "Yum Yum (Gimme Some)," "Let the Drums Speak," and "Put the Funk on You". Critics highlight its blend of raw funk energy with polished production, making it essential for funk fans and a key stepping stone into disco for the prolific band.
It marks Fatback's smooth transition from pure funk to disco, incorporating four-on-the-floor beats without losing its funk core, and features signature booming bass, sharp horns, killer drum breaks (especially on "Let the Drums Speak"), and prominent clavinet.
Standout Tracks:
"Yum Yum (Gimme Some)": A heavy funk workout and moderate hit, known for its catchy bass and brass.
"Let the Drums Speak": A proto-disco track with a memorable melodic motif, building from hard funk to dance floor filler.
"Put the Funk on You": Praised for thick bass, loping drums, wah-wah guitars, and a raw street feel.
"Boogie With Fatback": A smooth, polished dancefloor groove.
A highly sought-after "rare groove" album, celebrated for its timeless, funky sound that remains fresh. It delivers a strong "party vibe" and "celebration" with raw, energetic arrangements typical of their earlier work.
Fans and critics call it a "FAT BLACK FUNK CLASSIC" and a "timeless classic Funk BANGER". It's considered a must-have for soul and funk enthusiasts.
While some tracks lean into disco's polish, the album's funky heart, led by drummer Bill Curtis, shines through.
Zagora
8:11
A2 Slow Down
5:02
A3 I Can't Wait (Another Minute)
4:53
A4 Sweetest Pain
5:43
B1 Ooh, You Make Me Feel
4:44
B2 Who Are You?
4:00
B3 You Can't Stop The Rain
4:20
B4 Be Thankful (Mama's Song)
5:15
B5 Nights Of Pleasure
4:26
B6 Let's Get Back To Love
3:55
Written-By – McIntosh (tracks: A1 to A3, B1 to B6), C. Thompson (tracks: A3), Biggs (tracks: A4), Wansel (tracks: A4), Eugene (tracks: A1 to A3, B1 to B6), S. Bergliter (tracks: A3), Nichol (tracks: A1, A2, B1 to B6)
Label: MCA Records – MCA-5745
Format: Vinyl, LP, Album
Country: US
Released: 1986
Genre: R&B Funk, Soul
Style: Eighties Soul, Disco
Released in 1986, Loose Ends' Zagora is a critically acclaimed British synth-funk and R&B album, often considered a masterpiece of 80s sophisticated soul. Led by Jane Eugene’s vocals, it features hits like "Slow Down," "Stay a Little While, Child," and "Nights of Pleasure," blending polished, dance-oriented rhythms with lush, emotive production that improved upon their previous work.
The album showcases a mix of edgy, club-oriented R&B and chic, languid soul, with some tracks incorporating sub-Saharan and Spanish folk influences.
Key Tracks:-
"Slow Down": A number-one U.S. R&B hit and a standout, polished 80s funk track.
"Stay a Little While, Child": Often highlighted for its infectious groove and vocal performance.
"You Can't Stop the Rain": Praised for its intimate, heartfelt duet style.
"Nights of Pleasure": Frequently cited as a highlight.
Zagora is regarded as a defining album of late 80s British soul, often preferred by fans for being a more consistent, "killer" album than its predecessors. It is noted for its high-quality production, blending synthetic elements with genuine soul.
The album saw the band honing a tighter, more modern sound compared to their earlier, more organic soul, with some critics viewing it as a "concept-like" journey through relationships.
The album solidified Loose Ends' reputation as a premier UK soul group and remains highly regarded for its timeless, sophisticated R&B sound.
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.