Garrett Robinson

"Essar" is a 1984 album by American singer Smokey Robinson. It was produced and arranged by Robinson with Reginald "Sonny" Burke. The album was released on the Motown sub-label Tamla. The album's title is a pun on the initials of Robinson's name. The album only peaked at #141 on Billboard pop charts, and at #35 on R&B charts. "And I Don't Love You" peaked at #106 Billboard and #33 R&B charts, and "I Can't Find" at #109 Billboard and #41 R&B charts. Although the 12" B-side of "And I Don't Love You" Larry Levan's Instrumental (Dub) became a House Music classic in the late 2000s.

1984 was a truly incredible year in pop music, and we have included more than 140 tracks on the CDs of the 1984 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year. Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1984 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the past 40 years. Welcome to THE VAULT for 1984… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1984. 80 tracks across 4-CDs – NOW Yearbook – The Vault: 1984.

"From Motown With Love (2015)" is the Motown compilation by various artists. This was released by Universal Music TV Campaign Division.

NOW Music are excited to present NOW That’s What I Call 12” 70s – a CD collection of 42 12” and extended versions of some of the most defining and enduring tracks from some of the most memorable artists of the era.

Even Dame Joan Sutherland has rarely if ever made an opera recording so totally enjoyable and involving as this. With the same cast (including chorus and orchestra) as at Convent Garden, it was recorded in 1967 immediately after a series of live performances in the Royal Opera House, and both the comedy and the pathos come over with an intensity born of communication with live audiences. That impression is now the more vivid on this superb transfer, for with spoken dialogue used in this original French version of the opera the absence of background noise is a special benefit, and the production vividly captures the developments in the story.