The Love Unlimited Orchestra

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.

The Best of the Love Unlimited Orchestra collects 15 tracks by Barry White's groundbreaking instrumental support outfit. Their sound as assembled by White – thick layers of sweet strings, pulsing beats, chunky wah-wah guitars, plus tinkling piano and gently swelling horns – played a huge role in creating the blueprint for disco, not to mention countless porn soundtracks. In addition to backing White and his female protégées Love Unlimited, the Love Unlimited Orchestra also made their own recordings, naturally with White at the helm. Although they recorded up to 1983, their commercial heyday lasted from 1974-1977, when they charted regularly on the pop, R&B, and disco/club listings. They even scored a number one pop hit right out of the box with 1974's "Love's Theme," a watershed record in the history of disco. That's here, of course, plus the Orchestra's other chart hits: "Satin Soul," "Rhapsody in White," "Forever in Love," "My Sweet Summer Suite," "Bring It on Up," and their theme from the 1977 remake of King Kong.

Featuring all 14 of Love Unlimited Orchestra’s US 7” singles released between 1973-1979, as well as the 12” Single Disco versions of a further 7 tracks, this set is the first compilation to pull together all the group’s A- and B-sides. Perfectly positioned for all Barry White collectors and soul / R&B aficionados, it includes the hits: Love’s Theme, Rhapsody In White, Satin Soul, My Suite Summer Suite, and Theme From “Shaft”.

Featuring all 10 of Love Unlimited’s US 7” singles released between 1972-1975, this set is the first compilation to pull together all the group’s A- and B-sides that appeared on Uni, MCA, and 20th Century Records. Perfectly positioned for all Barry White collectors and soul / R&B aficionados, it includes the hits: Walkin’ In The Rain With The One I Love, Is It Really True Boy – Is It Really Me, It May Be Winter Outside (But In My Heart It’s Spring), Under The Influence Of Love, and People Of Tomorrow Are The Children Of Today.

This vocal quartet originally started life as an extension of jazz band the Hi-Lo’s. From that prominent '50s band came Don Shelton, who decided to form Singers Unlimited after the Hi-Lo’s broke up in 1964. After retreating to Chicago, Illinois, where he worked on a series of television commercials, he enlisted fellow Hi-Lo’s veteran Gene Puerling of Milwaukee, Wisconsin, to join him in the city in 1967. The group was formed along with Len Dresslar and Bonnie Herman, with the express intention of recording commercials in the doo wop/vocal group idiom. Shelton’s connections in the industry ensured the group was able to exploit the market successfully, and lucrative work rolled in. However, the 30-second snatches of songs hardly satisfied their artistic ambitions, and when they found themselves with studio time left over after one session, they recorded a take on the Beatles' "The Fool on the Hill." Through visiting jazz pianist Oscar Peterson, the demo of the a cappella recording was passed to MPS Records in Germany.

A compilation board released as part of the "Disco Fever" campaign jointly held by record companies in commemoration of the 40th anniversary of the movie "Saturday Night Fever" in Japan. It is good to dance and fever but I also want to reconfirm the height of the musicality where the melody, the beat and the chorus come together to create the groove.