Doc Powell

's 1983 albums, both released while the singer was with , are combined on this reissue from 's label. , a number six hit produced with , is one of her best albums. It contains two of her bigger hits: the upbeat pop-funk title track and the quiet storm favorite 's once again prominent on , which wasn't nearly as major. Although it reached number 20 on the chart, the material let her down. The most notable number is the ballad

This Real Gone Music reissue in association with SoulMusic Records marks the worldwide CD debut for both albums, featuring liner notes by noted American journalist Rashod Ollison.

Started his career in Poland and Scandinavia in the 1960's and formed the Michał Urbaniak Group in Poland in 1969. Emigrated to the USA in 1973, and formed Fusion in 1974. Has worked as a session musician with many jazz greats such as Herbie Hancock, Weather Report and Miles Davis.

Albums came less frequently from Stanley Clarke in the 1990s as film scores took up more and more of his time. Not only that, the ideas and functions of film music play a large role in East River Drive, where selections come as often as not in the form of cue-like vamps, as well as two actual themes from Clarke's scores for the films Poetic Justice and Boyz N the Hood. Oddly enough, Clarke's music benefits from his film immersion, for his compositional ideas are sharper and more sophisticated here, and he applies them to a range of electric music idioms.

Toshiki Kadomatsu (角松敏生 Kadomatsu Toshiki) (born 12 August 1960) is a Japanese rock/R&B singer-songwriter, musician, and producer. He has released many studio albums, as well as several instrumental and live albums. He studied Philosophy at Nihon University. He has been active since at least 1981 and is still active, having released his most recent album in March 2012. In 1987 he released the hit instrumental album "SEA IS A LADY" which charted at #4.

Teddy Pendergrass finally made it back to the top in 1988, when the title track from this album spent two weeks at the head of the R&B list. The song even got mild pop attention, and the album was the first since his accident to really reflect the new Pendergrass sound. He sang in a slower, somber, yet appealing way quite different from the swaggering, openly sexual/macho posturing of the late '70s and early '80s. This was a weary but not beaten Pendergrass, whose manner and delivery underscored the resilient theme in Joy's lyrics.

The man who wrote the book on R&B/fusion returns with yet another set of what he does best. Washington's sax shares time with vocal tracks featuring the likes of Nancy Wilson, Lalah Hathaway, and the Four Tops. A solid, if predictible outing.