The Best of the Love Unlimited Orchestra collects 15 tracks by Barry White's groundbreaking instrumental support outfit. Their sound as assembled by White – thick layers of sweet strings, pulsing beats, chunky wah-wah guitars, plus tinkling piano and gently swelling horns – played a huge role in creating the blueprint for disco, not to mention countless porn soundtracks. In addition to backing White and his female protégées Love Unlimited, the Love Unlimited Orchestra also made their own recordings, naturally with White at the helm. Although they recorded up to 1983, their commercial heyday lasted from 1974-1977, when they charted regularly on the pop, R&B, and disco/club listings. They even scored a number one pop hit right out of the box with 1974's "Love's Theme," a watershed record in the history of disco. That's here, of course, plus the Orchestra's other chart hits: "Satin Soul," "Rhapsody in White," "Forever in Love," "My Sweet Summer Suite," "Bring It on Up," and their theme from the 1977 remake of King Kong.
Barry White turned into such iconic figure that it’s odd to hear his beginnings on his 1973 debut I’ve Got So Much to Give. In a sense, his sound is fully formed – there’s no mistaking his velvet baritone or his lush, string-draped surrounding, particularly on the album’s closing “I’m Gonna Love You Just a Little More, Baby,” a song so seductive it set the pace for the rest of his career. Still, behind that creamy drapery it’s possible to hear a strong debt to Isaac Hayes throughout I’ve Got So Much to Give, particularly when the whole affair opens a slow, steady, eight-minute crawl through “Standing in the Shadows of Love” that strips all the bounciness out of the Supremes original, just like how all of Hayes reworkings of ‘60s pop hits turned the hit versions inside out on Hot Buttered Soul. Barry may be following in Isaac’s footsteps, but he winds up on his own path, one that isn’t quite as ambitious, one that is fairly hellbent on romance to the exclusion of everything else.
It took quite a while for a definitive Barry White compilation to hit the market, but All-Time Greatest Hits – part of Mercury's Funk Essentials series – finally filled the bill in 1995. Boasting a full 20 tracks from White's heyday of 1973-1978, more than half of which made the R&B Top Ten, All-Time Greatest Hits is easily the most generous single-disc White collection on the market. It includes the edited single versions, not the full-length album tracks, which actually makes for a more digestible introduction to White's achievements. Like his forebear Isaac Hayes, White was not just a deep-voiced crooner, but a talented producer and arranger who'd spent years honing his craft behind the scenes in the industry. And like Hayes, White spent a great deal of time setting up moods on his albums, using lush, sweeping orchestrations to build very gradually to climaxes. (Actually, that probably explains a good deal of his effectiveness.) But White was not simply a Hayes disciple; his swirling productions were less complex than Hayes', but more in tune with the emerging disco sound, which certainly boosted his popularity.
The press may have dubbed Barry White "the walrus of love," but he was certainly the guru of something for many star crossed lovers across his Love Unlimited Orchestra output. While White rocketed up the charts with his solo "I'm Gonna Love You Just a Little Bit More" in 1973, it was that same year's smash single "Love's Theme" that shot Love Unlimited Orchestra right up alongside him. Mostly instrumental, all orchestral, and packed with "that" tchka tchka guitar and full-fledged disco sound well before the genre reached maturity, Rhapsody in White set the stage and showcased the sounds that would shortly inspire a generation of producers, arrangers, and performers to start a million mirror balls spinning the world over. This album, in all its admitted smarminess, is a triumph.
Say the name Barry White and you'd be hard pressed to follow it with the name of any other recording artist with such a huge, cross-sectional following. He was at home appearing on Soul Train, guesting with a full band on The Today Show, and appearing in cartoon form in various episodes of The Simpsons. During the '70s, Dinah Shore devoted a full hour of her daily syndicated Dinah! show to White. While there was a period where Barry White wasn't releasing records or making the pop charts, he did stay active touring and appearing on other artists' records including Quincy Jones' "The Secret Garden (The Seduction Suite)," Regina Belle, and rap star Big Daddy Kane's "All of Me." It's surprising to find out that such an illustrious career almost didn't happen because White wasn't interested in being a recording artist.
For those of you that remember the music and song-craft of Barry White, you remember a performer that could touch the heart of an emotion, and make it stand out with a unique, often breathy, bass vocal. In the ’70s, almost everything Barry White released became an instant hit. In fact, there’s a collection of singles that achieved gold and platinum status. Of course, his albums did quite well. But most of us remember him primarily by his string of radio hits that still resonate because his voice and delivery was never replicated.
Barry White has been to the top of the charts an admirable number of times, but only one of his hits was a ballad (a studio effort for the Quincy Jones album Back on the Block that included El DeBarge, James Ingram and Al B. Sure!). However, as a solo artist, White has never had a ballad usurp the number one spot on the Billboard charts. The Icon Is Love's featured release fills that void. "Practice What You Preach," which unites the maestro with producers Gerald LeVert and Edwin Nicholas, has a simmering arrangement, evocative lyric, and White's brawn delivery. The catchy melody and sensuous female backing vocals enhance this already stellar single. It stayed on the Billboard R&B charts for 30 weeks and had a consecutive three-week run at number one.
2010 collection of iconic recordings from one of music's most memorable and successful acts. From hit singles to fan favorites and album tracks, this compilation of great tunes tells a more fulfilling story than any written biography ever could. One listen and you'll understand why this release is part of the Icon series! A three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, White's greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe"…
"Just Another Way To Say I Love You" is the self-produced fourth album by American R&B singer Barry White, released in 1975 on the 20th Century label. The album topped the R&B albums chart, White's fourth in a row to do so, and peaked at #17 on the Billboard 200. It also reached #12 on the UK Albums Chart. The album was a success, yielding two Billboard R&B Top Ten singles, "What Am I Gonna Do with You", which peaked at #1, and "I'll Do for You Anything You Want Me To". Both were also successful on the Billboard Hot 100, peaking at #8 and #40 respectively. Both singles were also hits on the UK Singles Chart, peaking at #5 and #20 respectively. The album was digitally remastered and reissued on CD on May 3, 1996.
"Can't Get Enough" is the third studio album by American R&B/disco singer Barry White, released on August 6, 1974 by the 20th Century label. In 2003, the album was ranked #281 on Rolling Stone Magazine's list of the 500 greatest albums of all time. The album topped the R&B albums chart, his third album to do so. It also topped the Billboard 200 and peaked at #4 on the UK Albums Chart. The album included two Billboard R&B number-one singles, "Can't Get Enough of Your Love, Babe" and "You're the First, the Last, My Everything". Both were also successful on the Billboard Hot 100, peaking at #1 and #2 respectively. Both singles were also hits on the UK Singles Chart, peaking at #8 and #1 respectively. The album was digitally remastered and reissued on CD on March 19, 1996 by Island/Mercury Records.