A great album and the release that made Roberta Flack a major soul and R&B artist in the early '70s. She had a soft, compelling, alluring voice, and was able to convincingly switch gears and also convey anger, regret, hurt, or despair. Those who thought Flack was a one-hit wonder, or didn't think she could make the transition from doing mostly jazz to other styles, were convinced otherwise.

Une nouvelle fois, ce disque n’a qu’une vocation : surprendre vos oreilles en explorant de nouveaux territoires musicaux, en mettant en avant le métissage musical à travers les musiques électroniques, le rap, la soul, le reggae et la musique brésilienne. Une obsession multiple : la recherche de l’éclectisme, d’une haute qualité, la découverte de nouveaux talents, respirer l’air de Paris, New York, Berlin, Londres et d’ailleurs, tels sont les ré_ exes du Grand Mix de Radio Nova..

2009 UK 5-CD album set comprised of the best selling and critically acclaimed album releases 'Nuff Said', 'To Love Somebody', 'Black Gold', 'It Is Finished' and 'Nina Simone And Piano!', each album is housed in a mini LP-style card picture sleeve with the complete set presented in a card slipcase.

If Prince and Shalamar two artists who made their recording debuts in the late '70s could be relevant to the urban contemporary scene of 1983 and even cross over to pop-rock/new wave audiences, why not Chic? Nile Rodgers and Bernard Edwards hoped that Chic could, which is why 1983's Believer finds the group updating its sound with generally appealing, if uneven, results. Using a lot more keyboards and drum machines and favoring a more high-tech production style, Rogers and Edwards sound like they're trying hard to live down their reputation as a late '70s disco act. Urban contemporary considerations are strong, and some of the songs might have reached pop-rock and new wave audiences with the right promotion.

Excellent five CD set containing five original albums in mini LP sleeves (featuring original cover art) and all are housed together in one slipcase. Includes the albums Teddy Pendergrass, Life Is A Song Worth Singing, Teddy, TP and It's Time For Love.

Omas Sextet (or Omas Se*tet as shown on the cover) is the 2018 album by James 'Creole' Thomas. This was released by Inpartmaint Inc.}

Blufunk Is a Fact! might qualify as a best of genre purely because Keziah Jones is pretty much a one-person genre who demolishes any preconceptions of what kind of music he might play. Jones is originally from Nigeria, but he's a young singer/songwriter who plays guitar and there are no obvious traces of African music in the material. The lineup of guitar, bass, and drums hints at a power trio with solos, but he plays rhythm almost exclusively and the extremely tight, kinetic rhythm section makes the music sound a bit like Tower of Power without horns. But the songs are way too idiosyncratic to fit any modern R&B/funk formulas – so are song titles like "Frinigro Interstellar," "A Curious Kinda Subconscious," and "Walkin' Naked Thru' a Bluebell Field." His melodies obey their own rules, taking off from the rhythm of his spiky guitar licks like a bluesman, but it sure ain't blues.

Led by the charismatic Arthur Lee, Love was a groundbreaking American band that emerged in the 1960s to blend the spirit of psychedelia with many other divergent musical influences in a way that hadn't been done before, not least in a racial mix. Based in Los Angeles, Lee had been involved in music from an early age, playing with local bands like The LAG's and Lee's American Four, while in 1964 he also produced a single for Rosa Lee Brooks which featured Jimi Hendrix on guitar.

Dawn's third album was gifted with what is surely one of the ugliest sleeves ever concocted, unforgivable even if you accept the weak title pun (weaving and cross-stitch are scarcely interchangeable). But delve inside and Tuneweaving remains one of the group's strongest albums, long after you tire of its signature hit, "Tie a Yellow Ribbon."

The debut effort by Eric Burdon and War was an erratic effort that hinted at more potential than it actually delivered. Three of the five tunes are meandering blues-jazz-psychedelic jams, two of which, "Tobacco Road" and "Blues for Memphis Slim," chug along for nearly 15 minutes…

CD+DVD deluxe edition of the powerhouse blues duos second album of soulful covers. Featuring classics made famous by Etta James, Aretha Franklin, Tina Turner, Lucinda Williams and many more. In 2014 Hart was nominated for a Grammy Award for Seesaw and she was also nominated for a Blues Music Award in the category 'Best Contemporary Blues Female Artist'. The DVD includes 48 minutes making of footage with exclusive interviews and 3 Studio music videos.

2013 five CD box set containing a quintet of albums packaged in cardboard mini LP sleeves and housed in a slipcase. Tower of Power has remained a significant Californian funk/soul/R&B horn band since its formation in 1968. As well as performing as a band in their own right, Tower of Power have worked with an impressive selection of other acts as a horn section including major acts such Carlos Santana, The Grateful Dead and John Lee Hooker. Included in this collection is the 1973 hit 'So Very Hard to Go', from the band's most successful album to date: Tower Of Power, which reached #15 in the Billboard 200, and was later certified Gold. Included in this 5cd collection are the hit songs 'You're Still A Young Man,' on the debut album Bump City, and 'Don't Change Horses (In The Middle Of A Stream),' on the 1974 album Back To Oakland.

How Much Longer Must I Wait? Singles & Rarities 1965-1972 collects all of Lee Moses' non-album singles and B-sides, plus three never-released tracks together for the first time ever. Most of the material here pre-dates 1971's Time and Place, reflecting his initial bid for stardom via a series of now-legendary 45s recorded with Atlanta producer Johnny Brantley. As for the unreleased recordings - much like the man himself, little is known about them. What remains is an oeuvre that has become synonymous with raw and emotionally charged Southern soul. Essential listening for anyone with a heart.

Their last LP for Columbia, 1979's Back on the Streets, found Tower of Power once again a disappointment to their fans. After two albums of desultory balladeering, the band still refused to return to their blistering funk roots, choosing instead what they hoped would be a more commercially viable wade into the oceans of disco. It didn't work. With a slick production that's so predictable it's horizontally boring, Tower of Power limped into the R&B charts with the mini-hit "Rock Baby" in August. And it really doesn't get any better from there. Across a batch of mediocre and uneven disco numbers, replete with strings and "sexy" backing vocalists, the band wandered across the absolutely MOR ballad "Heaven Must Have Made You" and the "Chuck E.'s in Love"-esque "And You Know It."

Edward McGhee turned in mostly above-average performances on their first post-Lenny Williams release, but it was the beginning of the end. With funk losing its foothold among R&B audiences, they couldn't keep it together. McGhee was an energetic, exuberant vocalist who held his own on up-tempo tunes like "You Ought to Be Havin' Fun" and the title song, but lacked Williams' range or tonal quality on ballads. The group always had a weakness for ponderous message cuts, and "Can't Stand to See the Slaughter" and "While We Went to the Moon" were well-intentioned but clumsy tracks. This was almost the Tower of Power's swan song.