Stop! is the debut studio album by the English female singer-songwriter Sam Brown. It was originally released in June 1988, on the label A&M, and was distributed by Festival in Australia. Produced by Sam Brown, her brother Pete Brown, Pete Smith, Danny Schogger, and John Madden the album was recorded at the Power Plant, in London, England, with then-Pink Floyd member David Gilmour's guitar parts on "This Feeling" and "I'll Be In Love" being recorded at Greene Street Studios, in New York, United States. The track "Merry Go Round" has lyrics slightly adapted from W. H. Davies poem "Leisure".

We are always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions.

This is the debut album of The McBroom Sisters called "Black Floyd". The McBroom Sisters are Durga McBroom and Lorelei McBroom, former backing vocalists for the legendary Pink Floyd and many others. On this album they sing both lead and backing vocals on a combination of classic Pink Floyd covers and their own original songs co-written with Jon Carin, Guy Pratt, Lemmy Kilmister, Paul Litteral, Dave Kerzner and more.

Evelyn ‘Champagne’ King - The RCA Albums 1977-1985 (2020) {8CD Set, Soul Music Records SMCR -5197BX}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.67 Gb | MP3 @320 -> 114 Mb
Full Artwork @ 300 dpi (jpg) -> 30 Mb | 5% repair rar
© 2020 RCA / Soul Music Records | SMCR -5197BX
R&B / Disco / Contemporary R&B / Post-Disco

Combining her diva-level vocal power and teen-next-door effervescence, Evelyn "Champagne" King scored a trifecta with "Shame," a Top Ten hit on Billboard's club, R&B, and pop charts across 1977 and 1978. The definitive disco classic was merely the start of a long run with RCA Victor highlighted by 19 additional charting singles and a trio of Top Ten R&B LPs through 1986. Commercial R&B evolved rapidly during this period. King was in on virtually all of the developments, including but not limited to funky disco (backed by members of Instant Funk, whose underappreciated T. Life discovered and first produced her) and pop-flavored post-disco (assisted most prominently by innovators Morrie Brown, Kashif, and Paul Laurence Jones).

Following on from the previously released Volume One and Two, Marvin Gaye Volume Three: 1971-1981 is a collection of his last seven Motown studio albums on 180g vinyl in one fantastic box. Commonly referred to as the ‘Prince of Soul’, Marvin Gaye helped to shape the sound of Motown Records and was one of the greatest voices to emerge from the label.

Motown's "Prince Of Soul," Marvin Gaye, was already a hit artist for nearly a decade when, in 1971, he reached new heights with his album What's Going On. An immediate landmark recording, it was the first of Gaye's albums to break the top ten of Billboard's Top LPs, and quickly became Motown's best-selling record. To this day, What's Going On is hailed as one of the greatest albums of all time, earning the number one spot on Rolling Stone magazine's 2020 list of "The 500 Greatest Albums Of All Time."

Motown's "Prince Of Soul," Marvin Gaye, was already a hit artist for nearly a decade when, in 1971, he reached new heights with his album What's Going On. An immediate landmark recording, it was the first of Gaye's albums to break the top ten of Billboard's Top LPs, and quickly became Motown's best-selling record. To this day, What's Going On is hailed as one of the greatest albums of all time, earning the number one spot on Rolling Stone magazine's 2020 list of "The 500 Greatest Albums Of All Time."

Face Up is Lisa Stansfield's first offering for the new millennium, and on this disc she treads similar waters as on previous albums, except for a few more adventurous outings. The album's first single, "Let's Just Call It Love," incorporates the British garage 2step beats introduced to Americans and popularized earlier in 2001 by fellow Brit Craig David, and makes for an unusual but interesting leadoff single. The album's opener, "I've Got Something Better," is classic, funky Lisa Stansfield at her best, and the song gets more and more fun with each repeated listening. Other standouts include the Burt Bacharach-ish show-stopping ballad "How Could You?," the pleading "Don't Leave Now I'm in Love," and the set's most obvious hit, the breezy, disco-laced anthem "8-3-1."

Larry Blackmon and his Cameo mates ruled funk's domain for over a decade. Cameo evolved from its origins as a horn-based and dominated ensemble into a synthesizer-oriented group that still featured sturdy basslines and exuberant vocals, but was in tune with urban and black America's new sensibility. These 14 selections range from the formative cuts "Rigor Mortis," "Shake Your Pants," and "It's Over" to the definitive "Word Up," "Candy," and "Back and Forth." Blackmon's alternately sneering, defiant, and aggressive vocals were the constant from Cameo's beginnings in the 1970s to their emergence as funk's reigning champions in the 1980s.

Let's call a spade a spade. Orion is an Elvis impersonator. No more, no less. That he's a good Elvis impersonator is important, since if he wasn't, Sun probably wouldn't have tried to promote his recordings as if they were genuine Elvis material, even going to the extremes of overdubbing Orion's voices on recordings by such Sun stalwarts as Jerry Lee Lewis and Carl Perkins. This doesn't make him any better, but it sure makes him fascinating, particularly because he is gifted at mimicry and these are pretty good evocations of Elvis at his peak…

When Willie Dixon left his native Mississippi and traveled north to Chicago, he almost single-handedly dragged the blues with him into the modern era, giving the country blues a hard, new sheen with his deft songwriting, sturdy bass playing, and his considerable talents as a producer and arranger. This two-disc, 47-track set catches Dixon wearing all of his hats, with the first disc featuring him in the studio and in concert (including several live tracks with Johnny Winter) and the second spotlighting his bass playing and production work with the likes of Robert Nighthawk, Eddie Boyd, Muddy Waters, Little Walter, Lowell Fulson, Bo Diddley, Willie Mabon, and Howlin' Wolf. What emerges is a well-rounded portrait and introduction to one of the major architects of the modern blues sound.