After the anti-disco reaction at the end of the 1970s, the band struggled to obtain both airplay and sales, and during the early 1980s they disbanded. Rodgers and Edwards produced records for a variety of artists together and separately. The Chic rhythm section of Rodgers, Edwards, and Thompson provided instrumental back-up for the successful album Diana for Diana Ross that ended up selling over ten million albums internationally, with Rodgers and Edwards producing. It yielded the four weeks at number-one single "Upside Down" and the top ten song "I'm Coming Out".

Motown Gospel In Loving Memory (Expanded Edition) contains the definitive Artists & Soul. The Best hits from Marvin Gaye, Diana Ross & The Supremes and many more.

"The Girl Can't Help It" is rightly considered to be the finest rock and roll movie made in the 1950s. It was the only rock and roll movie made in colour and released in wide screen. Most of the other equally famous rock and roll movies were low-budget affairs of B movie status. "The Girl Can't Help It" featuring several major stars including Tom Ewell, Edmund O'Brien and of course, Jayne Mansfield.

Time Waits for No One is the seventh album by American soul singer Mavis Staples. The album was her first on Prince's Paisley Park Records label and was released on May 24, 1989.[1] The album includes six Prince-penned songs and two songs written by Homer Banks and Lester Snell. Shortly after this album, she continued her collaboration with Prince. In September 1989, she recorded the song "Melody Cool" which would appear in the 1990 movie Graffiti Bridge, as well as on its soundtrack, and on her 1993 follow-up album The Voice.

The once-dominant disco group Change enjoyed its final hit with this 1985 album. The lineup had changed radically from the days when Luther Vandross or James Robinson were providing exciting, soulful leads. The leads throughout this session, even on the lone successful single, "Let's Go Together," were more efficient than distinctive. The group's founder, Jacques Fred Petrus, returned to the production helm and recycled the arrangements that once made the group a major act.

Between 1988 and 2000, the shadowy crew behind the Strip label put out six volumes of "Las Vegas Grind", a compilation series celebrating sleazy - and usually undeniably obscure - rhythm and blues, rock and roll and novelty lounge records from the 1950s and '60s. Here the series returns thanks to Jazzman, who somehow managed to to track down the digger responsible - and his eccentric record collection. From skewed surf-rock and low-slung rhythm and blues to comedy big band swing, rousing proto-funk and "Rocky Horror Picture Show" style madcap stompers, the album offers a whirlwind romp through some seriously good - and not to mention especially silly - gems rescued from dollar bins, dumpsters and yard sales the World over. Do yourself a favour and check it out.

The Spinners were the greatest soul group of the early '70s, creating a body of work that defined the lush, seductive sound of Philly soul. Ironically, the band's roots lay in Detroit, where they formed as a doo wop group during the late '50s. Collection includes: 'Pick Of The Litter' (1975); Dancin' And Lovin' (1979); 2LP-in-1CD 'From Here To Eternally' (1979)+ 'Love Trippin' (1980); 2LP-in-1CD 'Yesterday, Today & Tomorrow' (1977) + 'Labor Of Love' (1981).

An odd album, one of two the duo did in 1971. This one yielded no hits, but included an interesting version of "Baby (What You Want Me To Do)" and a remake of "Tell The Truth," from their first album. It was otherwise prototype Ike and Tina, but Tina didn't sound so enthused and Ike wasn't generating much magic behind her.

Nice pressings of '60s and '70s material, including an interesting recut of the Spector-produced Classic. As usual, Tina's vocal is intense, impassioned, and "real". Very interesting liner notes provided (inner page) on who is really singing on I Think It's Gonna Work Out Fine".

On Who I Am (1975) former Temptations' vocalist David Ruffin joins forces with the multi-talented Van McCoy. McCoy who produced and arranged the album was a hot commodity thanks to his disco hit "The Hustle." Although Motown had relocated to Los Angeles, Ruffin and McCoy brought the project to New York City and availed themselves of the finest studio musicians that the Big Apple had to offer: Richard Tee (keyboards), Eric Gale (guitar), Hugh McCracken (guitar), and Steve Gadd (drums), just to mention a few. The opening midtempo title composition sets the pace and establishes the prevalent dance-centric nature.

An interesting, although quite erratic, album from their wealth of late-'60s releases. The Revue was featured in various concert performances ranging from inspired to ragged and loose. Tina Turner was at her rampaging, husky best, and at times Ike Turner had the band whipped to a frenzy behind her. At other times they sounded completely unrehearsed and awkward, while Tina just kept plowing on ahead, undeterred by the chaos behind her.

Released just a few years after the epochal Phil Spector-produced River Deep Mountain High and close to six years before their breakup, Ike and Tina Turner's Hunter often gets lost in the duo's long and stormy existence. And while the album certainly is not on the same plane as the Spector album or later work like Workin' Together, Hunter still boasts several fine blues workouts in the inimitably electrifying Ike and Tina mode. The Stax sound figures prominently here, with producer Bob Krasnow (Captain Beefheart) keeping things nice and uncluttered to better frame Tina's intense vocal workouts. Maybe not the best first-disc choice, but still a worthwhile title for Ike and Tina fans.

This is by far one of the best Prince compilations out there. It has unreleased songs, extended and different versions of released songs, and both funk and slow songs…

Billy Preston’s debut album for Apple Records was his vocal album debut too. Before this Billy was renowned merely as a wizard instrumentalist. Here, his impassioned vocals help create one of the best soul records of the 1960s. Produced by George Harrison, That’s The Way… expands Billy’s palette of gospel and R&B to embrace rock elements brought in by A-list players Keith Richards, Ginger Baker and Eric Clapton.

showup-records is a sublabel of popup-records and deals with dramatic, funkified rare-groove gems.