Boss Soul: The Genius of Barry White (1998)
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Verenigde Staten
R&B
Label: Del-Fi
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Barry White - I Don't Need It (2:26)
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Barry White - A Man Ain't Nothin' (3:27)
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Viola Wills - I Got Love (2:41)
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Viola Wills - Lost Without the Love of My Guy (3:03)
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Johnny Waytt - This Thing Called Love (2:15)
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Johnny Waytt - To Whom It May Concern (2:49)
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Viola Wills - Together Forever (2:48)
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Viola Wills - Don't Kiss Me Hello (2:40)
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Felice Taylor - It May Be Winter Outside (But in My Heart It's Spring) (2:49)
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Johnny Waytt - Everybody's Going Mod (2:34)
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Felice Taylor - I Feel Love Coming On (3:10)
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Viola Wills - You're Out of My Mind (2:29)
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Felice Taylor - Under the Influence of Love (2:36)
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Barry White - Don't Take Your Love from Me (2:39)
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Barry White - All in the Run of a Day (2:36)
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Barry White - Love Theme [Instrumental] (2:35)
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geplaatst: 2 mei 2010, 19:33 uur
Mooie 'verzamelaar' van nummers waar Barry producer, schrijver of medemuzikant van was. Inderdaad: het is dus niet een compleet Barry White album. Het wordt duidelijk in onderstaande recensie en natuurlijk bij het beluisteren van dit album. Niettemin is dit een erg leuk overzicht uit eind jaren 60. Daarna was Barry's muziek niet meer weg te denken...
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. Her only slightly less Supremish "Under the Influence of Love," though unreleased in the U.S., was a #11 hit in the U.K. in 1967; an instrumental version (credited to White) is also on the CD.
As for White's own performances, it's a shock to hear that familiar hoarse voice applied to much lighter, poppier songs than we're accustomed to hearing from the singer, and though they're okay efforts, it's easy to see why they may not have been considered commercial properties in the '60s. An interesting document of White's little-heard formative years, and a decent pickup for aficionados of little-heard '60s soul in general.
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. Her only slightly less Supremish "Under the Influence of Love," though unreleased in the U.S., was a #11 hit in the U.K. in 1967; an instrumental version (credited to White) is also on the CD.
As for White's own performances, it's a shock to hear that familiar hoarse voice applied to much lighter, poppier songs than we're accustomed to hearing from the singer, and though they're okay efforts, it's easy to see why they may not have been considered commercial properties in the '60s. An interesting document of White's little-heard formative years, and a decent pickup for aficionados of little-heard '60s soul in general.
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