“BCUC will come correct with their energetic, unique and magic formula; the voices of their ancestors, mixed with funk, punk-rock vibrations, hip-hop, Fela-inflections and much more in between.”

Initially created from the ranks of a group of 60s female background session singers that at one time included Dionne Warwick, her sister Dee Dee, adopted sister Judy Clay and Just One Look singer Doris Troy, The Sweet Inspirations became an official Atlantic recording artist after being the label s go-to studio backup vocal group for many of the label s primary artists including Aretha Franklin (with whom they toured in 1967 and 1968), Wilson Pickett, Solomon Burke, The Drifters and Esther Phillips among others.

Terence Trent D'Arby had a difficult 1990s, the nadir of which was probably the desperate mating call Supermodel Sandwich with Cheese from his 1995 album Vibrator. But he has started the new century with a clean slate, changing his name to Sananda Maitreya and launching his own label. The artful blend of soul, rock and funk is reassuringly familiar, though. D'Arby/ Maitreya still exercises a Prince-like control over songwriting, arrangement and production, rendering it a one-man show, but that's no bad thing with an artist of his ability. Drivin' Me Crazy packs enough lust into three funky minutes to satiate his most ardent fans (or "lightbeings", as he calls them), and the outstanding Suga Free pairs dark balladry with an operatic choir. Even the banjo-plinking O Divina comes good in the end, swelling into a Motownesque chorus. A snazzy comeback.

"You Name It" is the third album by The Dynamic Superiors released on Motown Records in 1976. The album was arranged by Arthur G. Wright, Gene Page, Dale Warren and Mel Bolton. The cover photography was by Anthony Loew. In 2012, this album was released on CD for the first time, not by Motown, by Universal Records' Soulmusic.com imprint.

James Brown may be "the hardest working man in show business," Aretha Franklin may be the Queen of Soul, but as Ultimate Hits Collection proves, the most apt nickname in all of music may belong to Ray Charles: the Genius. Forget for a moment that fitting all of Charles' hits on a mere two CDs is not remotely possible. Almost any Ray Charles greatest-hits compilation is going to be excellent, and this one is better than most, if only because it's two-discs long. Ultimate Hits Collection follows the path of Charles' work as it cruises through the genres he so richly influenced: R&B, pop, jazz, blues, and country. The standard favorites are here from Charles' repertoire, but what sets this compilation apart are the lesser-known tracks. "Mess Around" and "Hide 'Nor Hair" are certainly not as popular as "Hit the Road Jack," but they are no less enjoyable. The most welcome inclusion is Charles' version of the country classic "You Don't Know Me," which is often left off of other Charles retrospectives.

Top Of The Pops '1977 contains the definitive Artists & 70s, Pop, Rock, Disco. The Best hits from Donna Summer, Marvin Gaye, Harold Melvin & The Blue Notes, Boney M. and many more.

James Brown's two-CD 40th Anniversary Collection gathered 40 of the soul-funk giant's biggest hits, and in keeping with its title, The 50th Anniversary Collection is just that little bit bigger and better, with (could you guess?) 50 of his most famous tracks. From 1956's "Please, Please, Please" to 1988's "Static, Pts. 1 & 2," it has almost all of his biggies, though the absence of the 1986 Top Five hit "Living in America" is puzzling indeed. But that's a minor quibble given the dozens of classics onboard, which taken as a whole not only represent the best Brown compilation on the market, but also make a plain case for the singer as one of the major talents of 20th century American music. It's not wholly redundant on the off-chance that you're willing to replace 40th Anniversary Collection, mopping up a few hits of note ("Bewildered," "Bring It Up," "Let Yourself Go," "I Can't Stand Myself [When You Touch Me], Pt. 1," "It's a New Day, Pt. 1," "The Popcorn") that didn't make the cut the previous time around. If you're keeping score, it does lose a couple minor goodies from 40th Anniversary Collection ("Money Won't Change You," "King Heroin"). Also, the '70s funk years might be given too much emphasis and his R&B-soul beginnings shortchanged, though there are plenty of other reissues of his '50s/'60s material out there if you want to investigate further.

Brass Construction continued to avoid the scrap heap, turning out another better-than-expected album. There were two more good singles in "Walkin' the Line" and "We Can Work It Out," and the production, arrangements, instrumental support, and vocals were all more inspired than they had been in the past.

When "Brass Construction 5" came out in 1979, one greeted the LP with skepticism. 1977's Brass Construction III was very uneven, and 1978's disappointing, uninspired Brass Construction IV was the funk-disco outfit's weakest album ever. So people didn't have very high hopes for Brass Construction's fifth album. But Randy Muller and his associates pleasantly surprised their fans with this enjoyable LP, which finds them sounding revitalized. A definite improvement over Brass Construction IV, this 1979 release boasts some of the combo's most infectious grooves since Brass Construction II.

Ministry Of Sound's successful 'Anthems' series returns with this genre defining collection from the 1960's and 70's. CD1 is Mod featuring The Kinks, Small Faces, The Jam, Booker T, The Kingsmen, Secret Affair and more. CD2 is Ska and features Madness, The Clash, Jimmy Cliff, The Beat, Dexys Midnight Runners, Desmond Decker and more. CD3 is Northern Soul featuring Al Wilson, The Supremes, Billy Ocean, Edwin Starr, Sam & Dave, Smokey Robinson and more.

"Gap Band VI" is the eighth album (contrary to the title) by The Gap Band, released in 1984 on Total Experience Records. It was originally intended to be lead singer Charlie Wilson's first solo album, and the first Gap Band album released under Total Experience's new distribution deal with RCA Records. The album reached #1 on the Black Albums chart for 2 weeks in March 1985. In October 29, 2012 the remastered and expanded album including 5 bonus tracks was released by Big Break Records.

"Give & Take" is the fourth album from The Dynamic Superiors, and their last on Motown Records. Released in 1977, it includes covers of Martha and the Vandellas' "Nowhere to Run" and Stevie Wonder's "All In Love Is Fair". On May 14, 2012, The Dynamic Superiors' "Give & Take" album was released on CD, not by Motown, but by Universal Records' "Soulmusic Records" imprint.

"The Complete Thom Bell Sessions" brings together the complete recording session by Elton John and producer Thom Bell onto one album. Released in 1989 by MCA Records, the album is composed of the material previously released in 1979 as well as the songs that were recorded at the original session but had then gone unreleased. Two of the "new" songs were co-written by John - "Nice and Slow" was co-written with Thom Bell and longtime writing partner Bernie Taupin, and "Shine on Through" with lyricist Gary Osborne. Because the recordings were shelved at the time, the latter was re-recorded and included on John's 1978 LP, "A Single Man".

Warner Music Group - X5 Music Group Presents Summer Breeze: Smooth Hits Of The 70s album 28 original hits and the original artists genre Jazz, Pop. Includes tracks by Frankie Valli & The Four Seasons, America, Rose Royce, Harry Chapin and more.

Warner Music Group - X5 Music Group Presents Unwind with Smooth Soul album 24 original hits and the original artists genre Soul. Includes tracks by Gerald Levert, Karyn White, Grover Washington, Jr., Rose Royce and more.