In 1998, it would have been a cheap joke to say that Mariah Carey had no other kind of hits than ballads, but in the ensuing decade she steadily remade herself into an R&B diva, obscuring if not quite erasing the well-mannered adult contemporary singer of the '90s. The 2009 compilation The Ballads – released just before Valentines Day 2009 – attempts to turn back the clock by focusing just on those AC tunes – 18 of them, in fact, including such mammoth hits as "Hero," "One Sweet Day," "Vision of Love," "I'll Be There," "I Still Believe," "Dreamlover," and "Always Be My Baby."

The best Summer anthology from a dance perspective. This gives the full view of Summer's best tunes the way they were played in the clubs; all the added loops, orchestrations, and extra production, plus her voice mixed to its fullest and even boosted. It covers 73 minutes, which is more than anyone except the disco junkies would ever need, and even has an extra cut on the cassette, rather than on the CD.

Like the artist himself, the music on this brilliant album defies all categories, embracing Terry Callier's wide range of influences and experiences. Callier's musical kaleidoscope is filled with funk, rock, folk, jazz, and even classical influences. "Dancing Girl" opens the album with Charles Stepney's majestic orchestration. This opus is the album's pinnacle, moving with soft intensity toward soul-stirring crescendos. Songs like "What Color Is Love" and "Ho Tsing Mee (A Song of the Sun)," an elegant antiwar prayer of confusion, somehow avoid clichés or take them to another level. "You Goin' to Miss Your Candyman" was made popular by Urban Species when they sampled it on "Listen" in the early '90s, and not surprisingly, it sounds better in its original form. No matter where you turn, Callier's passionate voice captures the sweeping drama of the human condition. A lost romantic amid "concrete front yards," this album is a must-have for any music connoisseur.

Occasional Rain, originally released in 1972, is the first of three albums, Chicago singer/songwriter Terry Callier cut for Cadet in the 1970s with producer Charles Stepney. Eight years earlier Callier, then a soulful blues and folk singer, cut an album of covers (as was par for the course in 1964 at the end of the folk revival, Bob Dylan was just getting his momentum) for Prestige, but it was shelved until 1968 and went nowhere. Callier spent the intervening time touring coffeehouses and small clubs around the country until he signed with Cadet. While the voice is most certainly the same, the nearly alchemical transformation of his sound via his own songwriting - and the way those songs were treated by Stepney - is still mind-boggling…

Under the leadership of vocalist Mick Hucknall – the only member to play in all the many incarnations of the band – Simply Red turned from New Wave soul upstarts into British pop institutions, specializing in immaculately tailored, impeccably polished adult contemporary pop with a soulful accent. While Simply Red were hardly unknown entities in the United States – they reached the top of the Billboard charts twice in the '80s, once with the slow-burning original "Holding Back the Years" and again with a cover of Harold Melvin & the Blue Notes' "If You Don't Know My by Now" – the group dominated adult-oriented music in Britain and Europe from the late '80s into the early 2000s, racking up such blockbuster albums as 1991's Stars, 1995's Life, and 1998's Blue.

Johnnie Taylor set the tone for his recording career at Stax with Wanted: One Soul Singer, a consistently gritty collection of blues and raw, hard-hitting Memphis soul. In addition to his appealing medium-sized hits "Just the One I've Been Lookin' For" and "I Had a Dream," Wanted boasts pleasant surprises ranging from the addictive "Toe-Hold" to gutsy versions of Merle Travis' "Sixteen Tons" and the standard "Blues in the Night." Adding lyrics to Herbie Hancock's "Watermelon Man," Taylor removes the song's jazz elements and turns it into pure Southern R&B. When Wanted was released, Taylor (who has occasionally been confused with bluesman Little Johnny Taylor) had yet to become the soul-radio fixture that "Who's Making Love" would make him, but these solid performances show that he was definitely on the right track.