Grace Jones - Fame 1978

Released on June 7, 1978, Fame was the second studio album by Grace Jones and the final chapter in the disco-oriented trilogy she recorded with legendary producer Tom Moulton before reinventing herself as one of the most innovative artists of the 1980s. Recorded at the famous Sigma Sound Studios in Philadelphia, the album continued the formula established on Portfolio, combining sophisticated disco arrangements with Grace Jones' unmistakable vocal style and commanding presence.

Produced by Tom Moulton, often referred to as the father of the disco remix, Fame features lush orchestrations, seamless medleys and the unmistakable sound of Philadelphia's finest session musicians. Like its predecessor, the first side of the original LP was presented as one continuous dance suite, moving effortlessly through Do Or Die, Pride and the title track Fame. Side two showcased Jones' remarkable versatility, opening with a dramatic interpretation of the classic Autumn Leaves, before returning to the dance floor with All On A Summer's Night, Am I Ever Gonna Fall In Love In New York City and Below The Belt. Although the singles enjoyed considerable success in clubs, the album itself has since become appreciated as one of the finest examples of late-1970s orchestral disco.

One of the album's greatest strengths is its musicianship. Recorded at Sigma Sound Studios, Fame features members of the celebrated Philadelphia studio scene, including Jimmy Williams on bass, Larry Washington on percussion, keyboard arranger John Davis, the renowned Sweethearts Of Sigma on backing vocals and orchestral arrangements featuring the legendary Don Renaldo Strings & Horns. Their contribution gave the album a rich, elegant sound that perfectly complemented Grace Jones' cool, sophisticated delivery.

Looking back today, Fame represents far more than another disco album. It captures Grace Jones at the moment she was transforming from successful fashion model into an international recording artist. While her later Compass Point recordings would redefine her image and influence generations of musicians, Fame remains an essential part of that journey, preserving the glamour, sophistication and dancefloor energy of the late disco era. Nearly five decades later, it continues to stand as one of the finest productions of Tom Moulton's remarkable career and an indispensable album for lovers of classic disco.

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01 Do Or Die

02 Pride

03 Fame

04 Autumn Leaves

05 All On A Summer's Night

06 Am I Ever Gonna Fall In Love In New York City

07 Below The Belt (La Vieille Fille)

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MUSICIANS

Grace Jones – lead vocals

John Davis – keyboards, arrangements

Jimmy Williams – bass

Keith Benson – drums

Larry Washington – congas & percussion

Moto – tambourine

Piggy Pigerino – violin

Sweethearts Of Sigma – background vocals (Barbara Ingram, Carla Benson & Evette Benton)

Don Renaldo Strings & Horns

Produced by Tom Moulton

Recorded at Sigma Sound Studios, Philadelphia, Pennsylvania

Released: June 7, 1978

Label: Island Records

℗ 1978 Island Records lp #ILPS 9525

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Grace Jones – Muse 1979

Released on September 4, 1979, Muse marked the final chapter in Grace Jones' remarkable disco trilogy produced by the legendary Tom Moulton. Following Portfolio (1977) and Fame (1978), the album once again brought Jones to the world-famous Sigma Sound Studios in Philadelphia, where some of the greatest soul and disco recordings of the decade had been created. It would also be the last time Jones embraced the luxurious orchestral disco sound before completely reinventing herself with the groundbreaking Warm Leatherette the following year.

By 1979, Grace Jones had become much more than an international fashion model experimenting with music. Under Tom Moulton's guidance she had developed into a unique recording artist whose commanding voice and theatrical style perfectly matched the sophisticated productions coming out of Sigma Sound. Rather than following the increasingly commercial disco trend, Muse remained firmly rooted in the elegant Philadelphia Sound, combining sweeping orchestral arrangements, rich vocal harmonies and irresistible dance grooves with Jones' unmistakable cool delivery.

Like its predecessors, the first side of the original LP was conceived as one continuous musical suite. Beginning with Sinning, flowing into Suffer, Repentance (Forgive Me) and concluding with the epic Saved, the four songs tell a loose story of temptation, guilt and redemption while maintaining an uninterrupted dancefloor momentum. Side two offers a collection of individual disco performances, highlighted by Atlantic City Gambler, Don't Mess With The Messer and the infectious club favourite On Your Knees. Although none of the singles became major chart hits, the album has steadily gained recognition among collectors as one of the finest examples of late-1970s orchestral disco.

One of Muse's greatest strengths lies in its extraordinary musicianship. Once again, Tom Moulton surrounded Grace Jones with many of the musicians who helped define the Philadelphia Sound. Bassist Jimmy Williams, percussionists Larry Washington and James Walker, guitarist Craig Snyder, arranger Thor Baldursson, the legendary Sweethearts Of Sigma and the unmistakable Don Renaldo Strings & Horns all contributed to the album's lush sonic landscape. Every note reflects the craftsmanship that made Sigma Sound Studios one of the most influential recording facilities in popular music during the 1970s.

Looking back today, Muse stands as the elegant conclusion to Grace Jones' disco years. Within twelve months she would enter Compass Point Studios in the Bahamas and completely reinvent her musical identity with the reggae, new wave and electro influences that made her an icon of the 1980s. Because of that dramatic transformation, Muse is sometimes overlooked. Yet for lovers of the Philadelphia Sound it remains an essential recording—capturing the final flowering of Tom Moulton's orchestral disco productions and preserving one of the last great albums to emerge from the golden era of Sigma Sound Studios.

Funkerman's Note

*Muse* is often overshadowed by the groundbreaking *Warm Leatherette*, yet it remains one of the finest examples of late Philadelphia disco. For collectors of the Sigma Sound era, it represents the final collaboration between Grace Jones and producer Tom Moulton before she reinvented herself for the 1980s.

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01 Sinning

02 Suffer

03 Repentance (Forgive Me)

04 Saved

05 Atlantic City Gambler

06 I'll Find My Way To You 

07 Don't Mess With The Messer

08 On Your Knees

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MUSICIANS

Grace Jones – Lead Vocals

Jimmy Williams – Bass Guitar

Keith Benson – Drums

Craig Snyder – Guitar

Thor Baldursson – Keyboards, Arrangements, Guest Vocals

Larry Washington – Percussion

James Walker – Percussion

Sweethearts Of Sigma - Barbara Ingram, Carla Benson & Evette Benton

Additional Backing Vocals - Carl Helm, Phil Hurtt, Ron Tyson

Don Renaldo Strings & Horns

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Produced by: Tom Moulton

Recorded at: Sigma Sound Studios, Philadelphia, Pennsylvania

Mixed by: Arthur Stoppe

Mastered by: José Rodriguez

Cover Artwork: Richard Bernstein

Photography: Eve Boman

℗ 1979 Island Records lp #ILPS 9538

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Black Girl OST 1972

Black Girl (Original Sound Track Recording by Edgar Noel Bogas)

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Black Girl **

B.J.'s Step

Get Me To The Bridge

Mother's Day Song I *

Power

Mother's Day Song II

Black Girl Cue I

No World For Dreamers ***

I Am Your Mailman *

What It Is

Earl (Still A Pearl)

Chock-Lite Puddin'

Black Girl Cue II

Chock-Lite Puddin' Cue

Sister ****

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Produced By:

Ed Bogas, Jesse Osborne and Ray Shanklin

Vocals:

Betty Everett **

Rodger Collins *

JJ Malone ***

Walter Hawkins ****

Recorded at:

Recorded at Fantasy Studios, Berkeley, California

℗ 1973 Fantasy Records, Inc. lp 9420

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The Whispers - One For The Money 1976

Released in August 1976, One For The Money marked The Whispers' debut album under the Soul Train Records label, which was established by Don Cornelius and Dick Griffey. This album was a significant milestone in the band's journey, helping them reach a broader audience. The title track, "One For The Money," soared to become a Top 10 hit on the R&B charts and is now recognized as one of their most iconic early songs. The album captures the essence of mid-seventies Philadelphia Soul, featuring lush string arrangements, a tight rhythm section, and harmonious multi-part vocals. Producer Norman Harris collaborated with some of the best session musicians from Philadelphia to create a stylish blend of soul and disco. With standout tracks like "One For The Money," "Living Together (In Sin)," and "Sounds Like A Love Song," this album is now considered one of The Whispers' finest Philly Soul releases, acting as a bridge between their initial work with Janus Records and their later achievements on SOLAR Records.

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One For The Money

Living Together (In Sin)

Put Me In The News

You're Only As Good As You Think You Are

Sounds Like A Love Song

I've Got A Feeling

In My Heart

One For The Money (Radio Version)

You're Only As Good As You Think You Are (Radio Version)

Sounds Like A Love Song (Radio Version)

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The Whispers are:

Walter Scott

Wallace Scott

Nicholas Caldwell

Marcus Hutson

Leaveil Degree

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Produced by: 

Norman Harris (The Harris Machine)

RHYTHM SECTION:

Norman Harris – Guitar

T.J. Tindell – Guitar

Bobby Eli – Guitar

Ronnie Baker – Bass Guitar

Michael Foreman – Bass Guitar

Earl Young – Drums

Ron Kersey – Keyboards

Bruce Gray – Fender Rhodes Piano

Larry Washington – Congas

Brian Evans – Acoustic Guitar

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Recorded at: Sigma Sound Studios, Philadelphia

1976 Soul Train Records BVL1-1500

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The Stylistics - Let's put it all together 1974

Released in May 1974, Let's Put It All Together marked an important new chapter in the career of The Stylistics. Following the departure of legendary producer Thom Bell, the group teamed up with producers Hugo Peretti and Luigi Creatore (Hugo & Luigi) and arranger Van McCoy, creating a smoother, more contemporary sound while retaining the trademark elegance that had made them one of the premier soul groups of the 1970s. The album was recorded at Mediasound Studios in New York City, making it the first Stylistics album recorded entirely outside their hometown of Philadelphia.

The result was one of the group's most successful and beloved albums. Powered by Russell Thompkins Jr.'s unmistakable falsetto and Van McCoy's lush orchestral arrangements, the album reached No. 14 on the Billboard 200 and No. 4 on the R&B Albums chart, becoming the highest-charting album of the group's career in the United States. Among its highlights are the timeless classics "You Make Me Feel Brand New", "Let's Put It All Together", and "Love Is The Answer." The edited single version of You Make Me Feel Brand New became one of the group's signature recordings, reaching No. 2 on both the U.S. and U.K. singles charts, while the title track added another major international hit to the group's impressive catalogue. Van McCoy's sophisticated arrangements and conducting brought a fresh dimension to the Stylistics' sound, perfectly complementing the group's rich harmonies and romantic ballads.

Nearly fifty years after its release, Let's Put It All Together remains one of the finest albums in The Stylistics' catalogue. Combining the group's unmistakable vocal harmonies with Van McCoy's elegant orchestral soul arrangements, the album stands as a perfect bridge between the classic Philadelphia Soul era and the smoother, more polished sound that would define mid-1970s soul music. Its timeless songs continue to make it an essential recording for collectors and lovers of classic soul.

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The Stylistics Are:

Russell Thompkins Jr. – lead vocals

Airrion Love – backing vocals, co-lead vocals

Herb Murrell – backing vocals

James Dunn – backing vocals

James Smith – backing vocals

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Let's Put It All Together

I Got A Letter

We Can Make It Happen Again

Keeping My Fingers Crossed

You Make Me Feel Brand New

I Got Time On My Hands

Doin' The Streets

I Take It Out On You

Love Is The Answer

Love Is The Answer (Instrumental)

Bonus Track

Love Is The Answer Remix

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PHILADELPHIA RHYTHM SECTION:

Normen Harris (Guitar) Ronnie Baker (Bass) Earl Young (Drums)

Ron Kersy (Keys & RMI, Clavenett) Lenny Pakula (Keys & B3 Organ) Bobby Eli (Guitar) Cotton Kent (Keys & Fender Rhodes)

T.J. Tindall (Guitar) Roland Chambers (Guitar)

Vincent Montana Jr (Vibraharp, Tympani, Bells, Chimes & Percussion)

Background Vocals by The Sweethearts: Carla Benson, Evette Benton, Barbara Ingram

VIOLINS: Don Renaldo, Christine Reeves. Rudolph Malizia, Charles Apollonia. Americus Mungiole, Lance Elbeck, Gov Hutchinson, Bridget Pumpolis Mitten. Leonore Walaniuk, Helen Kwalwasser,Vito J.Casiello, Joseph Bonaccorse, Florence Schwartz, Bertran Greenspan, Charles Parker, Diane Barnett, Patricia Gott, Emily E Nicholl, Barbara Sonies. igor Szwec, Anthony Posk

VIOLAS: Victoria Arm Matosich, Anthony Sinagoga, Peter Nocella. Davis Barnett

CELLI: Anthonv Pirollo. Richard Amerosso, Larry Gold, Romeo DiStefano,

ALT  SAX: John Bonnie (All Solos)

TENOR SAX SOLOS: Buddy Savitt

FLUTE & PICOLO: Kimberly Reighley, Jack Faith,

FRENCH HORN: Joseph De Angelis

TRUMPETS: Evan Solot, Jack Wilson, Rocco Bene, George Rabbai, Louis Opalesky, Dennis Wasko, Michael A. Natale

TROMBONES: Roger DelLillo, Robert Moore, Edward Cascarella, Fred C.Linge. Richard Genovese

BARETONE SAX: William Zaccagni

CONGAS, TIMBALES, BONGOES & LATIN PERCUSSION:

Larry Washington (Congas) Ray Armando, Peache Greg Jarman (Congas) Peter Quintero, Manny Oquendo, Jerry Gonzalle, Carlos Martin, James Walker

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Produced by: Hugo & Luigi

Produced by: Thom Bell ("You Make Me Feel Brand New")

Arranged and Conducted by: Van McCoy

Recorded at: Mediasound Recording Studios, New York City

℗ 1974 Avco Records Catalogue Number AV-69001-698

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John Davis And The Monster Orchestra - Ain't That Enough For You '78

Released in 1978 on Sam Records, Ain't That Enough For You was the third album by John Davis And The Monster Orchestra and is widely regarded as one of the finest examples of late-1970s orchestral disco. Building on the Philadelphia sound that had defined the group's earlier releases, the album seamlessly blends driving dance rhythms, soulful vocals, lush string arrangements, and powerful horn sections into a sophisticated disco masterpiece. The title track, Ain't That Enough For You, became the group's signature recording and remains a favorite among disco fans and DJs worldwide.

Although the original album credits do not specify the exact recording location, the album was created within the vibrant Philadelphia music scene that produced many of the era's greatest disco records. John Davis worked closely with musicians and arrangers associated with the legendary Sigma Sound Studios, and the album bears all the hallmarks of the classic Philadelphia sound: rich orchestrations, tight rhythm sections, and impeccable musicianship. At the heart of the project was John Davis, who not only produced the album but also handled the arrangements and conducted the sessions. In addition, Davis contributed vocals, saxophone, flute, and keyboards, showcasing the musical versatility that helped establish him as one of disco's most respected producers and bandleaders.

The core band featured guitarist Craig Snyder, bassist Vince Fay, and percussionists Larry "B" Washington and Jimmy Walker, whose rhythmic foundation drove the album's infectious grooves. The celebrated Don Renaldo Strings & Horns provided the lush orchestral arrangements that became a defining characteristic of the Monster Orchestra sound. Vocal support came from Billy Harner, Carolyn Mitchell, and Vaneese Thomas, whose performances added depth and soul to the recordings. While many Philadelphia disco recordings featured large ensembles of session musicians, individual members of the string and horn sections were not credited on the original album sleeve. As a result, the complete list of performers remains unknown, although it is likely that several prominent Philadelphia studio musicians participated in the sessions. Nearly five decades after its release, Ain't That Enough For You remains a standout album of the disco era, celebrated for its sophisticated production, outstanding musicianship, and timeless dancefloor appeal. It stands as one of John Davis' finest achievements and a classic example of Philadelphia-inspired orchestral disco at its peak.

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Ain't That Enough For You

Disco Fever

I'll Be The Music

I've Got The Hots For You

A Bite Of The Apple

Stay With Me

Kojak Theme

Whatever Happened To Me And You

Ain't That Enough For You (12" Version)

Ain't That Enough For You (7" Version)

Disco Fever (7" Edit)

A Bite Of The Apple (12" Version)

Kojak Theme (12" Version

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John Davis – vocals, saxophone, flute, keyboards, producer, arranger, conductor

Craig Snyder – guitar

Vince Fay – bass

Larry "B" Washington – percussion

Jimmy Walker – percussion

Don Renaldo Strings & Horns – strings and horn section

Billy Harner – vocals

Carolyn Mitchell – vocals

Vaneese Thomas – vocals

Production Credits

Produced, Arranged and Conducted by John Davis

Executive Producer: Sam Weiss

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The Chi-Lites - (For God's Sake) Give more power to the people 1971

Released in 1971, (For God's Sake) Give More Power to the People stands as one of the finest achievements of the golden age of soul music. Led by the exceptional songwriting and production talents of Eugene Record, The Chi-Lites crafted an album that seamlessly blends heartfelt romance with powerful social commentary, showcasing the group at the peak of their creative powers.The album's title track remains one of the most compelling protest songs of its era, delivering a message of empowerment and social justice through an infectious groove and unforgettable harmonies. Yet the record is equally celebrated for its emotional depth. The timeless hit "Have You Seen Her" is a masterclass in soul balladry, combining poignant lyrics with one of the most moving vocal performances of the decade.

Throughout the album, The Chi-Lites demonstrate their remarkable versatility. Songs such as "We Are Neighbors," "Love Uprising," and "I Want To Pay You Back (For Loving Me)" highlight the group's ability to move effortlessly between socially conscious themes and deeply personal expressions of love. Rich orchestration, lush strings, warm horn arrangements, and the group's signature harmonies create a sound that is both sophisticated and instantly recognizable. More than fifty years after its release, (For God's Sake) Give More Power to the People remains a timeless soul masterpiece. It captures the spirit of its era while retaining a universal appeal that continues to resonate with listeners today. For fans of classic soul, this album is not merely recommended it is essential listening. A landmark soul album that perfectly balances social awareness, romance, and musical excellence, securing its place among the greatest releases of the 1970s.

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01 Yes I'm Ready (If I Don't Get To Go) 4:14

02 We Are Neighbors 3:41

03 I Want To Pay You Back (For Loving Me) 4:41

04 Have You Seen Her 5:08

05 (For God's Sake) Give More Power To The People 2:58

06 Love Uprising 2:32

07 Troubles A' Comin' 3:15

08 You Got Me Walkin 2:40

09 What Do I Wish For 2:48

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Arranged en Produced by:

Eugene Record

℗ 1971 Brunswick Records  #BRLS 3011

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The Chi-Lites - A Letter To Myself 1973

With A Letter To Myself, The Chi-Lites delivered one of the most sophisticated and heartfelt soul albums of the early 1970s. Guided by the songwriting and production talents of Eugene Record, the group seamlessly blends lush orchestration, smooth harmonies, and deeply emotional storytelling into a collection that remains as compelling today as it was upon its release. The album's title track, A Letter To Myself, stands as one of the group's finest recordings an introspective and reflective piece that showcases Record's remarkable ability to combine personal lyrics with memorable melodies. Elsewhere, songs such as We Need Order reveal the group's social consciousness, addressing the challenges of the era while maintaining the warmth and accessibility that defined their sound. Musically, A Letter To Myself is a masterclass in Chicago soul. Rich string arrangements, tasteful horn sections, and impeccable vocal performances create a sophisticated backdrop for both romantic ballads and upbeat grooves. Tracks like Someone Else's Arms and You Smiled The Same Old Way highlight the group's signature blend of tenderness and soulfulness, while Love Comes In All Sizes demonstrates their ability to craft infectious melodies without sacrificing depth.

What makes this album particularly special is its balance between commercial appeal and artistic maturity. The Chi-Lites never lose sight of the emotional core of their music, allowing every song to resonate with sincerity and elegance. Eugene Record's songwriting shines throughout, confirming his place among the great soul composers of his generation. A Letter To Myself remains an essential entry in The Chi-Lites' catalog and a shining example of classic 1970s soul music. A timeless soul gem filled with rich harmonies, heartfelt performances, and some of the finest songwriting of The Chi-Lites' remarkable career.

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A Letter To Myself 5:30

Too Late To Turn Back Now 4:25

Just Two Teenage Kids (Still In Love) 5:56

Sally 3:36

Someone Else's Arms 4:11

We Need Order 5:20

Love Comes In All Sizes 5:58

My Heart Just Keeps On Breakin' 4:05

You Smiled The Same Old Way 6:40

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Produced by:

Eugene Record

℗ 1973 Brunswick Record Corporation lp BL-754188

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Three Degrees - Toast of Love (Japanese) 1976

Released exclusively for the Japanese market in 1976, A Toast Of Love stands as one of the most fascinating and collectible albums in The Three Degrees catalog. Recorded during a transitional period in the group's career, the album captures the elegance, sophistication, and vocal excellence that made them one of the premier female soul groups of the 1970s. Musically, A Toast Of Love blends lush Philadelphia soul, smooth pop melodies, romantic ballads, and hints of the disco sound that would soon dominate the charts. Throughout the album, the voices of Sheila Ferguson, Valerie Holiday, and Fayette Pinkney shine with remarkable warmth and precision, delivering performances that are both polished and deeply emotional.

The title track, "A Toast Of Love," perfectly showcases the group's trademark harmonies, while tracks such as "Do It (Use Your Mind)" and "Sunrise" add an infectious energy and melodic charm. The inclusion of songs recorded specifically for Japanese audiences gives the album a unique international flavor and sets it apart from the group's better-known releases. What makes this album particularly rewarding is its consistency. Rather than relying on a handful of standout singles, A Toast Of Love unfolds as a complete listening experience, filled with elegant arrangements, rich instrumentation, and timeless melodies. The production is smooth and sophisticated, allowing the group's impeccable vocal chemistry to remain at the forefront. Today, the original Japanese pressing is highly sought after by collectors, but beyond its rarity lies an album that deserves recognition on musical merit alone. A Toast Of Love may not be the most famous Three Degrees release, yet it remains one of their most charming, refined, and underrated recordings. A hidden gem of 1970s soul graceful, romantic, and a testament to The Three Degrees at the height of their vocal powers.

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01 Sunrise / A Toast Of Love

02 Japanese Cycle 1999

03 I Wanna Say ''LA''

04 From Souvenirs To Souvenirs

05 The Promise

06 Do It (Use Your Mind)

07 Ipi-N-Tombia

08 Gee Baby (I'm Sorry)

09 Stop In Nevada

10 Truth

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Produced and Arranged by:

Richard Barret and Jun Fukamachi

Recorded with Japanese musicians

℗&© 1976 CBS, Inc. # 25AP2A

Manufactured by CBS/Sony Inc. Tokyo,Japan

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Rick James - The Best Of

The best of Rick James

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01 Super Freak

02 You Turn Me On

03 You And I

04 Mary Jane

05 Ebony Eyes Feat. Smokey Robinson

06 Give It To Me Baby

07 Dance Wit' Me

08 Cold Blooded

09 17

10 Big Time

11 Fire And Desire  Feat. Teena Marie

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Soul City Orchestra - Best of Mail Ticket '77

The best tracks from the album in this file. Soul City Orchestra's Meal Ticket features titanic funk, mellow groove, and symphonic disco-soul with strings.

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Short Change

Wheeling And Dealing

Rockarama

The Jam

Soul City Drive

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