The sister of the Tubular Bells composer Mike Oldfield, Sally Oldfield had contributed to many of her brother's recordings before releasing her solo debut in 1978.
Though Sally Oldfield's second album still contains some of the prog rock elements that made her debut so memorable, it also includes its fair share of pop gems, such as the ethereal, silvery harmonies of "You Set My Gypsy Blood Free" and "The Boulevard Song," which both conjure a distinct, romantic European atmosphere. The title track, with its shimmering vibes, is pure laid-back easy listening, and the darkly mysterious "Hide and Seek" is a rare experiment in folk-disco.

One of the greatest of all Chicago bluesmen, vocalist, guitarist and harp player Bill Boy Arnold made his recording debut in 1952 and played harmonica on Bo Diddley's massive 1955 hit, "I'm A Man." A prolific songwriter, Arnold's songs have been covered by many artists including the influential English blues rock group, The Yardbirds. Arnold's career has spanned well over 50 years and he still continues to write and record new material. Presented here is Arnold's classic 1979 release, "Checkin' It Out," featuring nearly all original compositions, except for a pair of Little Walter tunes. The band is Billy Boy Arnold (vocals, harmonica); Tony S. McPhee (guitar); Wilbur Campbell (drums); Alan Fish (bass).

Goin' Home For Love is a 1979 release by Jimmy "Bo" Horne, capturing the peak energy of late-70s disco with strong influences from funk and soul. Known for his vibrant vocal delivery and dancefloor-focused productions, Horne delivers a collection of groove-heavy tracks designed for both club play and radio appeal. The album features extended arrangements, punchy rhythm sections, and rhythmic basslines typical of the Sunshine Sound label’s Miami disco aesthetic. Songs like “Spank” and “I Get Lifted” highlight his signature blend of playful lyricism and infectious grooves, while the title track adds a smoother, more melodic soul dimension to the record. The bonus remixes further emphasize the track’s enduring club legacy, reinterpreting it through extended and dub-oriented disco production styles. Overall, the album stands as a strong representation of late disco era production, combining funk-driven instrumentation with energetic vocal performance and timeless dancefloor appeal.

1st time on CD for Remastered 1979 Philips album by Swiss Prog Band and it comes packaged in a Digi-Pak with a 20-Page Booklet included!
Released on the Philips label, debut album "Calatea" had an uncanny resemblance to Yes - a delightful hybrid of jazz-fusion inspired Prog that on the one hand reminds you of bands like Druid, England, and Starcastle, while on the other, thanks to intricate flute play and lush key virtuosity, gets to share glimpses of Genesis. The use of saxophone also brought a memorable touch of originality to the music.

With this album, Oldfield began to make an attempt to break down his extended structures into a more commercially acceptable format, with the side-long title track being separated into four sections. Early versions of the album included "Sally," Oldfield's paean to his partner Sally Cooper, while later pressings include "Into Wonderland."

And How! is a 1979 disco release by Blonde On Blonde, issued on Pye Records and later reissued in 2015. The album reflects the late 1970s transition period where rock-influenced acts began integrating disco rhythms, groove-oriented basslines, and dancefloor-focused production styles. The record features reinterpretations of well-known songs, transformed through a disco-oriented lens that emphasizes steady four-on-the-floor beats, layered instrumentation, and polished studio arrangements typical of the era. Rather than focusing on original songwriting, the album builds its identity through stylistic adaptation, reshaping familiar material into club-friendly versions designed for dance audiences. The production captures the aesthetic of late 70s disco crossover projects, balancing melodic familiarity with rhythmic drive. As a result, the album stands as a snapshot of how rock and pop acts engaged with disco trends during its peak popularity, blending genre boundaries into a cohesive dance-oriented listening experience.

Thank heaven Norman Dayron had the presence of mind to capture these sides by Chicago pianist Johnny Jones when he played at the Fickle Pickle in 1963 - as little as remains on tape of his talents as a singer, we're eternally indebted to Dayron's actions. Jones's insinuating vocals and bedrock 88s are abetted by harpist Billy Boy Arnold on these performances, and that's it - he had no rhythm section to fall back on.

Richard Wahnfried is the side project of Berlin electronic pioneer Klaus Schulze. The pseudonym's etymology comes from Shulze's admiration for Richard Wagner. The name Wahnfried was previously used in a title from his "Timewind" album. The project has started in the late 70's. Musically it alternates Schulze's usual synth material in his solo works and a handful of instruments as guitar, tribal percussions, saxophone thanks to the collaboration of several famous rock musicians. Each album features guest musicians as the vocalist Arthur Brown on "Time actor" (1979), Schulze's friend and guitarist Manuel Gottsching (Ashra Tempel) on "Tonwelle" (1981). Carlos Santana's drummer Michael Schrieve also participated on several albums. The result is orientated to more mainstream genres with a constant exploration in electronic, "space" synth music.

“Live And Uncensored” is a powerful 1979 live recording by Millie Jackson, released in 1991 by Ace Records, capturing her at the peak of her stage presence and artistic boldness. This album goes far beyond a traditional live soul performance, blending music, storytelling, and unfiltered spoken-word segments that reflect Jackson’s unique ability to entertain and provoke at the same time. Throughout the set, she moves between passionate soul and funk performances and extended comedic monologues, creating a raw and highly personal concert experience. The band delivers tight, groove-driven arrangements that support her expressive vocals and dramatic delivery, while the audience interaction adds spontaneity and authenticity to the recording. The track selection includes emotionally charged ballads, reinterpretations, and humorous interludes that together form a continuous theatrical flow. “Live And Uncensored” stands as one of Millie Jackson’s most defining live documents, showcasing her fearless personality, sharp wit, and deep connection to soul and R&B performance tradition.

The 1979 debut solo album by the former member and producer of Buffalo Springfield and former member of country rock pioneers Poco. Recorded after the huge success as one half of the prolific and recently reformed Loggins & Messina.
All the talent and technique that made Buffalo Springfield, Poco and Loggins and Messina so great, shows up here in Jim's solo work. There is a brigtness and an alure to these songs. He goes from a light Latin feel to a sexy soulful sound featuring a horn section that really cooks.

Risqué is the third studio album by Chic, originally released in 1979, and widely regarded as one of the defining records of the disco era. Produced by Nile Rodgers and Bernard Edwards, the album showcases the duo’s signature blend of tight rhythmic grooves, sophisticated arrangements, and infectious basslines. The record not only dominated dancefloors at the time but also had a lasting influence on genres such as hip hop, new wave, and modern pop music. Featuring the iconic track "Good Times," which became one of the most sampled songs in music history, Risqué represents a peak moment in Chic’s creative output. The album balances upbeat disco anthems with smoother, melodic compositions, demonstrating musical versatility and strong songwriting. Its legacy remains significant, as it continues to inspire producers and artists across multiple generations.

Founded in Toronto, Canada in 1976 - Disbanded in 1989 - Reformed in 1994-1996, 2006 and again since 2011.
This trio came from Toronto around the end of the 70's but got slightly over-shadowed by the profusion of bands exploding all over the album charts, with Rush, Triumph, Saga, Max Webster etc.. It is no wonder some could not get their share of sunlight, among which Goddo, Moxy, Zon, Santers and most certainly FM. Their first LP full of a weird sort of hard rock with strange studio tampering alerted most potential fans that this was a very particular band with their lead violinist Nash The Slash playing as a mummy and Martin Deller at the drum seat as well as Cameron Hawkins on bass. Unfortunately, their crazy frontman opted for a fairly successful solo career (crazy videos on MuchMusic - the equivalent of MTV in the early 80's) and the remaining duo had to find Ben Mink as a replacement but they never managed to regain the magic of their first album…

“Midnight Magic” is a smooth and sophisticated late-70s release from The Commodores, blending soulful balladry with funk-driven grooves and subtle disco influences. As one of Motown’s most successful groups, the band demonstrates strong musical versatility throughout the album, balancing romantic slow jams with upbeat, rhythm-focused tracks. Songs like “Still” showcase their signature emotional ballad style, while “Gettin’ It” and “Midnight Magic” highlight tight funk instrumentation and polished production. “Sail On” stands out as one of the group’s most memorable crossover hits, combining country-influenced storytelling with soulful delivery. The album’s overall sound reflects the peak of the Commodores’ commercial and artistic success, featuring lush arrangements, warm vocals, and refined studio craftsmanship. Closing with “12 01 A.M. (Reprise),” the record maintains a cohesive nighttime atmosphere, reinforcing its theme of late-night reflection and romance.

“Brand Spanking New” by Eastside Connection is a vibrant showcase of late-70s soul, funk, and disco, blending smooth grooves with energetic dancefloor rhythms. The album reflects the golden era of disco while incorporating rich R&B melodies and tight funk arrangements, resulting in a well-balanced and dynamic listening experience. Tracks like “Frisco Disco” and “Foot In Action” highlight the group’s ability to craft infectious, rhythm-driven compositions, while songs such as “You're So Right For Me” and “(What A Woman Needs) Sweet, Sweet Love” emphasize soulful vocals and lush instrumentation. The production features prominent basslines, crisp percussion, and layered harmonies that define the era’s sound. With both vocal and instrumental variations included, the album offers versatility and depth. This release stands as a strong example of the transitional period where soul and funk seamlessly merged with disco influences.

Originally finding fame with The McCoys, Rick Derringer worked with both Johnny and Edgar Winter, as well as Steely Dan, before going solo in 1973 for All American Boy. Co-produced with Bill Szymczyk, who would later produce the Eagles, All American Boy features guest appearances from Joe Walsh, Suzi Quatro and Edgar Winter, and features his best known hit, 'Rock And Roll Hoochie Koo'. The album also features 'Hold', a song co-written with a then relatively unknown Patti Smith. The bonus tracks include mono single versions of 'Rock 'n' Roll Hoochie Koo' and 'Teenage Love Affair'. Produced by Rick himself, Spring Fever followed in 1975, and includes a revisit to the McCoys' 'Hang On Sloopy', as well as the Rufus Thomas classic, 'Walkin' The Dog'. The album includes guest appearances from Chick Corea on moog, New York Doll David Johansen on electric harmonica, as well as both Johnny and Edgar Winter.