Chilly was a German Euro disco/rock band at the end of the 1970s and the beginning of the 1980s. Their most famous songs include hits like 'Friday On My Mind', 'Johnny Loves Jenny', 'Come to L.A.', 'Simply a Love Song', 'For Your Love' and 'Get Up And Move'. The Song "For Your Love" was originally written by Graham Gouldman (later of 10cc fame) and performed by the Yardbirds in 1965. Chilly's version was produced by the composer and author Bernt Moehrle, who created with this song a new standard in Disco music in the late 70s and early 80s. It remained on the Billboard dance club songs charts for 7 weeks peaking at number 38 in April 1979.

Bass great Marcus Miller brings the influence of modern urban music to his trademark sound on his highly-anticipated, genre-defying new album Laid Black, which will be released June 1 on Blue Note Records. It’s been three years since Miller’s last album, Afrodeezia, which The New York Times called “vibrant and expressive… music that frames his playing beautifully.” Miller says: “Afrodeezia was like a musical voyage through my history. I followed the journey of my ancestors by collaborating with musicians along the African Slave route – musicians from West Africa, North Africa, South America and the Caribbean. With Laid Black, I decided to bring the music right up to the present - using elements from what’s happening in urban music today. So you’ll hear hip-hop, trap, soul, funk, R&B and jazz on this album.

Multi-talented Marcus Miller's debut Suddenly was issued in the spring of 1983 on Patrick Rains' PRA Records label through Warner Bros. Miller shared production chores with Ray Bardani and Michael Colina, whom he'd worked with before on sides for David Sanborn. It's a tasty showcase for the bassist/songwriter/vocalist/producer who went from New York session stardom to mega-stardom with his frequent collaborator Luther Vandross. Vandross does vocals on "Lovin' You," "Just for You," and the squishy "Be My Love."

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.

During times of extreme political and social change, Stevie Wonder's voice and songwriting served as cultural and spiritual guideposts to many a listener, often lending insight and a barometer with which to measure the ways of the world. But that was largely during the golden phase of his career, generally regarded as being the late '60s through 1980's Hotter Than July. His work in the mid-'80s through the '90s was marginal in comparison, only hinting at glimpses of former brilliance, sugar-coated by over-polished production and radio-friendly content. So with a decade passing since his last full-length, 1995's Conversation Piece, people waited with bated breath for a sign of his return…and wondered which Wonder would show up: would it be the socially conscious genius who wrote anthems for a generation, or the R&B crooner who dominated quiet storm radio? Thankfully, it's a blend of both.

Stevie Wonder is a much-beloved American icon and an indisputable genius not only of R&B but popular music in general. Blind virtually since birth, Wonder's heightened awareness of sound helped him create vibrant, colorful music teeming with life and ambition. Nearly everything he recorded bore the stamp of his sunny, joyous positivity; even when he addressed serious racial, social, and spiritual issues (which he did quite often in his prime), or sang about heartbreak and romantic uncertainty, an underlying sense of optimism and hope always seemed to emerge. Much like his inspiration, Ray Charles, Wonder had a voracious appetite for many different kinds of music, and refused to confine himself to any one sound or style.

Digitally remastered edition of this second album from the Soul/Funk act. 1981 would see the release of Delegation II, which created such hits as the single 'I Wantcha Back', a low tempo, funky bass line driven Disco single. ' In The Night' stepped up the heat, again driven by the incredible talents of Jon Plotel on bass and the Lynton Naiff arranged string section. 'Singing' losed out the single releases, a big production number with some great performances by Jon Plotel, Lynton Naiff, Robert J. Ahwai on guitar and Kofi Aivor on percussion and of course the incredible horn section that feature throughout the album.

Delegation was a British soul musical group with a lengthy career, and an amount of international success. They are generally viewed in the U.S. as a one-hit wonder, based on the crossover hit, "Oh Honey" (1978). Their biggest UK success came in 1977, with the Top 30 hit single, "Where Is The Love (We Used to Know)" This 12-track album featured the soul classics "You've Been Doing Me Wrong" and "Oh Honey" and the disco tunes "Back Door Love", "Soul Trippin'", "The Promise of Love", and "Where is the Love We Used to Know".