Barry Eugene White was an American R&B, soul and disco singer, songwriter, actor, and record producer. A two-time Grammy Award winner known for his bass voice and romantic image, his greatest success came in the 1970s as a solo singer and with the Love Unlimited Orchestra, who made the #1 hit "Love's Theme" written by White. White's music contains elements of multiple different genres such as R&B, soul, and disco, this is shown as such on his two biggest hits: "Can't Get Enough of Your Love, Babe" and "You're the First, the Last, My Everything".

Let 'Em Dance! is a wonderfully vibrant and groove-heavy instrumental studio album by the iconic Love Unlimited Orchestra, masterminded and executive produced by the legendary maestro of love, Barry White. Released in 1981 on White's own Unlimited Gold imprint, the record beautifully captures the stylistic transition period where late-era disco elegance seamlessly fused with early '80s contemporary funk and smooth urban soul. Driven by the orchestra's signature lush string arrangements, tight horn sections, and deep, undulating basslines, the album provides a masterclass in sophisticated dance music. From the tropical, percussion-heavy rhythms of Jamaican Girl and Bayou to the infectious, driving club energy of I Wanna Boogie And Woogie With You and the sleek cruise of Freeway Flyer, the arrangement highlights White's unparalleled production genius. Impeccably engineered and packed with cinematic soul dynamics, this pristine high-fidelity archive stands as a stellar, must-have treasure for dedicated crate-diggers and global aficionados of classic funk, disco orchestration, and soul history.

The popularity of dance music and of clubbing in the 1980s exploded. With its roots in 60s R&B and 70s soul and disco, the new grooves were an eclectic mix of styles: house, jazz-funk, pop, hi-NRG, electro and rare soul classics being re-discovered for the 80s clubber, all of which are represented here. Includes legendary acts continuing to find dance floor success - Diana Ross, Donna Summer, Earth Wind & Fire, Marvin Gaye, Barry White and Aretha Franklin who all enjoyed huge hits in the 80s.

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.

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". During the course of his career in the music business, White achieved 106 gold albums worldwide, 41 of which also attained platinum status. White had 20 gold and 10 platinum singles, with worldwide record sales in excess of 100 million, White is one of the world's best-selling artists of all time. His influences included the Rev. James Cleveland, Ray Charles, Aretha Franklin, and Elvis Presley plus Motown artists The Supremes, the Four Tops, and Marvin Gaye.

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’s first song, “I’m Gonna Love You Just A Little More, Baby” opened the door to his fame. It seemed effortless for his talent to move forward with songs like “Never, Never Gonna Give Ya Up”, “Can’t Get Enough Of Your Love, Babe”, “You’re The First, The Last, My Everything”, and the beautiful “Love’s Theme” instrumental hit. Those are but a few of his classic hits.

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.

This midline-priced compilation attempts to survey Barry White's recording career from 1973-1999, giving equal weight to different periods of that time as if they were equally successful. That's what can happen when the artist is involved in the selection of a compilation; White is credited as compilation producer along with Universal's Harry Weinger in what may be his final contemporary album credit (he died while the disc was in production).

2009 three CD collection. How do you like your Funk, y'all? Streetwise, southern fried or paaarty? You'll find them all here as this collection of original rare grooves brings you Curtis Mayfield, The Meters, Funkadelic, Bobby Womack, Mavis Staples and many other true funky legends. Sure to satisfy, this is funky perfection on plastic! Includes informative notes on all songs featured. 60 tracks.

Here is the triple Best Of from the 100% love soul heavyweight! You will find in this compilation the 40 hits of this extraordinary author and composer; eleven albums, one hundred million records sold worldwide! If James Brown is the undisputed king of soul funk, Barry White is definitely the emperor of unstoppable and indispensable lascivious melodies. An “almost French” artist??? NO ! But still, the “Ultimate Collection” compilation has just passed the million mark in our territory!

Japanese reissue, part of Universal's 'Disco Fever' 2018 campaign for the Japanese market.

Greek-only commercial release

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.

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.

Boss Soul: The Genius of Barry White Review by Richie Unterberger
In 1966-67, long before he attained seventies superstardom as a growling bedroom funkster, Barry White gained valuable experience as an A&R man for the Del-Fi label in Los Angeles. This compilation has 16 tracks that he was involved with as producer, engineer, songwriter, and/or session musician, the results appearing on Del-Fi's Bronco and Mustang subsidiaries; note, however, that only five of the cuts are by White himself (including one instrumental and a pre-Del Fi 1965 single released under the pseudonym of Lee Barry). At this time, White was very much under the spell of Motown both as producer and songwriter (he wrote or co-wrote all but two of these tunes). The material, whether by White or other Mustang/Bronco artists Felice Taylor, Viola Wills, and Johnny Wyatt, consists for the most part of very derivative, but nonetheless enjoyable and professional, Motown variations. Felice Taylor's "It May Be Winter Outside," a #42 pop hit in 1966, is the most accurate mid-'60s Supremes imitation bar none, both for Taylor's uncanny Diana Ross-like vocals and the dead-on Motownesque arrangement.