"Family Reunion" is a 1975 album by American R&B group The O'Jays. The album was released in late 1975 on the Philadelphia International Records label. Recorded at Sigma Sound Studios in Philadelphia, and produced by Kenny Gamble and Leon Huff, Family Reunion includes the enduring classic "I Love Music" and "Livin' for the Weekend", both of which topped the R&B singles chart, and placed at #5 and #20 respectively on the pop chart. The ballad "Stairway to Heaven", originally issued as the B-side to "Livin' for the Weekend" and unrelated to the Led Zeppelin song of the same name, has also gone on to become a staple of quiet storm radio programming. While the title track did not chart, it still garnered airplay, as the lyrics (as well as the album artwork) focused on the importance of the family structure especially at gatherings. "Family Reunion" became the group's 3rd consecutive R&B chart-topping album, and its #7 peak on the pop chart was their highest placing on this chart at the time (1978's So Full of Love would peak one place higher). "Family Reunion" was awarded a Platinum Album for RIAA Certification of over one million copies sold.

Frederick Knight (born August 15, 1944, Birmingham, Alabama) is an American R&B singer, songwriter and record producer. Knight recorded with Mercury and Capitol in New York before signing with Stax Records in 1972. He had his only UK hit single, "I've Been Lonely For So Long," in 1972. The song was on the chart for 10 weeks and reached #22. Lack of further chart activity leaves him labelled as a one-hit wonder. However, Knight did appear in the documentary film, Wattstax, which was released in 1973.

Contrary to what its title suggests, The O'Jays in Philadelphia isn't a live album. Rather, the title of this studio date refers to the beginning of their association with Philly's R&B scene and producers/songwriters Kenny Gamble & Leon Huff. What they didn't know in 1969 was just how long and fruitful that association would end up being. This album wasn't the major hit that Back Stabbers would be, but not for lack of strong material. From "One Night Affair" to "Let Me in Your World," this superb album is quintessential Philly soul. While Eddie Levert's gospel-influenced belting is as gritty as anything that came from Stax Records, the production is as notably sleek. A few years later, Gamble & Huff would produce a longer, heavily syncopated version of "Affair" for Jerry Butler that some soul historians exalt as the first disco single.

Digitally remastered reissue combines two domestically out-of-print albums together on one CD, 'Make It Happen' (1967) & 'Special Occasion' (1968). Packaged in a full color outer slipcase with original sleeve artwork.

What one feels about this 27-song CD will depend entirely upon one's tolerance for soft rock and bubblegum pop. Pickettywitch were huge in England for about two years, and remain one of the more fondly remembered pop/rock groups of their period, mostly by virtue of singer Polly Browne, who has maintained a fandom for 30 years. The sound is soft rock in a modified group context, similar to the kind of music generated by the Partridge Family, the Cowsills, and, on a two-dimensional level, the Archies in America, slick and smooth, catchy and unthreatening; their version of Paul Simon's "Sound of Silence" is something akin to what the New Seekers' rendition might've been like, while "Days I Remember," which came close to charting in America, is akin to the Carpenters trying their hand at blue-eyed soul. It's all rather pretty, for all of its relative wimpiness, and difficult to dislike on that basis – "Solomon Grundy," the B-side that launched their public success, is one of those tunes that was meant for radio airplay two or three times daily, and the title track, a top-five U.K. hit, is a breezy piece of romantic soft rock.

The Definitive Collection does an effective job of chronicling the majority of Martha & the Vandellas biggest hits from their first chart entry "Come and Get These Memories" in 1963 to their final one, "Honey Chile," in 1967. All of the familiar radio tracks such as "Heatwave," "Dancing in the Street," "Nowhere to Run," and "Jimmy Mack" are featured alongside several singles of equal quality that didn't get as much radio play upon initial release. While there are other, more exhaustive compilations, such as the double-disc set Live Wire! The Singles 1962-1972, this is the best concise overview of Martha & the Vandellas' career, containing the most hits on a single disc.

"Diana Ross & The Supremes Sing and Perform "Funny Girl"" is the 13th studio album released by Diana Ross & the Supremes on the Motown label, released in 1968. Berry Gordy had Diana Ross & the Supremes cover the songs from Barbra Streisand's Broadway musical Funny Girl original cast LP to tie-in with the September release of the feature-film version of the musical, also starring Streisand. The LP was not a success, and, with a Billboard 200 peak of 150, ranks as the lowest-charting of the Diana Ross-led Supremes albums. It was, however, praised by the composer, Jules Styne as one of the finest renditions of his score after the Broadway cast and movie soundtrack albums. Despite the commercial failure, fans celebrated the release, and the group performed a medley on the Ed Sullivan Show . Diana continued to perform "Don't Rain on My Parade" and "My Man" (equally associated with Fanny Brice), at her solo concerts throughout the 1970s.

There isn't much of a crucial difference between this and the previous Smokey Robinson & the Miracles collection entitled Anthology, originally issued in 1973 and then on CD with minor variations in 1995. More to the point, perhaps, about 85 percent of the songs on the two-CD set Ooo Baby Baby: The Anthology were also on the more plainly titled Anthology, so the differences are kind of cosmetic. Ooo Baby Baby: The Anthology has all 28 of their Top 40 hits, so someone looking for the essentials, garnished by a good amount of other material that isn't as familiar, will undoubtedly be satisfied. Ooo Baby Baby: The Anthology does have a small but significant edge in the inclusion of the exquisite mid-'60s mid-tempo ballad "Would I Love You," a great 1964 B-side that somehow escaped inclusion on the CD iteration of Anthology.

Berry Gordy hated these two-fers: too much for too little money; but he doesn't own the masters anymore and Universal International has revitalized the concept via digitally remastered CDs. This combo features Time Out, which spawned the hits "Doggone Right," "Baby, Baby Don't Cry," "Abraham, Martin & John," the popular B-side "Here I Go Again," an uptempo take of "My Girl," and two fine Smokey Robinson songs: "Once I Got to Know You (Couldn't Help But Love You)" and "I'll Take You Anyway That You Come." Four in Blue, aka the Miracles' forgotten album, has some good moments that few know about because none of its tracks emerged as single; not even a B-side. "You Send Me (With Your Good Loving)" sounds like a hit; "When Nobody Cares," a cry for racial tolerance; "Don't Say You Love Me," a great Richard Morris production; and Holland, Dozier, Holland's "My World Is Empty." Not as arresting as Time Out, but solid.

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing – he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals. The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff.

"Diana!" is the first solo television special of American singer Diana Ross and aired on ABC on April 18, 1971. The special was choreographed by David Winters of West Side Story fame, who at that time choreographed all of Ross' stage and television shows. The special featured performances by The Jackson 5, and also included Jackson 5 lead singer Michael Jackson's solo debut. Michael Jackson performed Frank Sinatra's "It Was a Very Good Year", which drew laughter as its adult-themed lyrics were changed to fit his age. Other guests included Danny Thomas and Bill Cosby, who would be featured on a similar television special by the Jackson 5 (Goin' Back to Indiana) a few months later.

It is an undeniable fact that the history of Motown Records was developed by "men" such as The Temptations, Four Tops, Smokey Robinson and Marvin Gaye. However, if you explore the flow of history a little deeper, you can actually confirm the existence of "women" there. According to the popular phrase “a woman in the shadow of history,” the history of this model record is no exception. On the surface, it is known that the female “stars” such as Diana Ross and The Supremes, The Marvelettes, and Mary Wells, who conquered the world, form an important part of history. Actually, there were more "women" playing an active part under the surface. The history of Motown Records may actually have been supported by them.

As the title implies, Individually & Collectively (1972) contains both ensemble as well as solo efforts from the 5th Dimension's Lamonte McLemore, Ron Townson, Billy Davis, Jr., Marilyn McCoo, and Florence LaRue. However, this was certainly not the first time that the combo had ventured away from lush five-part harmonies in favor of spotlighting the members' specific talents.

"Diana Ross" (later reissued rarely as "Ain't No Mountain High Enough") was the debut solo album for Diana Ross. It reached #19 in the USA (#1 R&B) and sold over 500,000 copies. The album was the ultimate test to see if the former Supremes frontwoman could make it as a solo act. With the help of the songwriting-producing team of Nickolas Ashford & Valerie Simpson, Ross turned out a successful album. Ross did extensive work with other producers before settling with Ashford & Simpson, including Johnny Bristol, producer of her final single with The Supremes, "Someday We'll Be Together". Bristol here produces "These Things Will Keep Me Loving You" (which was a UK hit when originally recorded by The Velvelettes); the rest of the LP is fully written and produced by Ashford & Simpson.

"We Remember Sam Cooke" is the 5th studio album recorded by The Supremes, issued by Motown in April 12, 1965. The album is a tribute album dedicated to soul musician Sam Cooke, who had died the previous December. Notable selections on the album, consisting entirely of Cooke covers, included covers of "A Change Is Gonna Come", "You Send Me" and "(Ain't That) Good News" (led by Florence Ballard). It was the second most successful in a series of themed albums enjoying a #5 peak on the Billboard R&B chart. It showcased the versatility of the group with a Brit-pop album under their belt, as well as, a country and western-themed album. According to Motown data, this album managed to sell over 325,000 copies.