这是Luther Vandross 签约后发行的第一张个人专辑，也是他歌唱生涯中最重要的一张专辑。带着黑人特有的华丽厚实的嗓音；来自下层民间的平和朴实；一拽三摇的舒缓；流畅舒展的抒情格调，Luther Vandross开始闯荡R&B歌坛，一举占据专辑排行榜2周之久；成绩虽是一般，但它给世人一个信息：一位R&B天王来了。。。

While the timeless radio ballad "Always" is the centerpiece of this album (not to mention a few of the more weepy wedding receptions out there), Atlantic Starr's 1987 effort, All in the Name of Love, does feature some solid additional work from the longstanding urban contemporary group. The uplifting "Let the Sun In" features the smooth lead vocals of David Lewis and Wayne Lewis, and percolates with lightly funky bass and inspired percussion. Meanwhile, "You Belong With Me" takes a darker lyrical turn, but is still a solid slice of sanitized, late-'80s urban radio groove. The album could have used more vocals from the talented Barbara Weathers, but it's still a well-appointed record that offers fans much more than just the Whitney-flavored single.

当山 ひとみ（とうやま ひとみ）は、日本の歌手。 別名義にPENNYがある。 沖縄県出身。

会社名など
Made By – Nippon Columbia Co., Ltd.
クレジット
Arranged By – Chikara Ueda
Directed By – Teruaki Kuroda
Drums – Harvey Mason
Electric Bass – Kazuya Sugimoto
Electric Guitar – Masahiro Ikumi, Takao Naoi, Yoshiyasu Hachiya (tracks: A3, B1.)
Electric Piano – Chikara Ueda
Engineer – Norio Okada
Flute, Alto Saxophone, Sopranino Saxophone – Toshiyuki Honda (tracks: A1, A3, B1, B4.)
Mastered By – Hiroyuki Hosaka
Percussion – Yoshinori Noumi*
Photography By – Jyoji Ide*, Tadayuki Naitoh
Sleeve – Kuniharu Muromachi
Synthesizer – Chikara Ueda
Trombone – Shigeharu Mukai (tracks: A1, A2.)
ノート
"Home Work" is dedicated to Bob James
Recorded at Sound Inn , CBS / Sony Columbia, Freedom Studio. Tokyo, Japan.
バーコードとその他の識別子
Rights Society: JASRAC

Fela Aníkúlápó Kuti also known as Abami Eda was a Nigerian multi-instrumentalist, bandleader, composer, political activist, and Pan-Africanist. He is regarded as the pioneer of Afrobeat, an African music genre that combines traditional Yoruba percussion and vocal styles with American funk and jazz.

What can one expect of an album called “Sauropoda”? Think of it as a 2am youtube find. Or that weird looking soviet prog funk LP reissue you never dared to buy. It actually sounds more like a L’Eclair show. Most of the new album comes from deep jams the band road-tested following the recording of Polymood. Some of the tracks faithfully capture the live sound of the band while the rest includes carefully crafted dance floor grooves, last minute studio fantasies and genuine late night jams. L’Eclair is about all those things. And things never sound the same twice.
Sauropoda was recorded in the mountains with the band’s live engineer Benoit “Gérard” Erard. In case anyone ever wonders about the way L’Eclair sounded in 2018, Sauropoda would be the correct answer. Proto-groove was born.
Now, where shall we head to, baba?
Record at Le Gatillon on the 15th and 16th of October 2018 by Benoit “Gérard” Erard. Mixed by Benoit “Gérard” Erard at his parents’ place in Leysin. All songs written and performed by L’Eclair.
L’Eclair is:
Sébastien Bui – International Keys
Elie Ghersinu – Dino Bass
Stefan Lilov – Broken Wah Guitar
Yavor Lilov – Kicker’s Delight/Endless Kick/Bronto Kick
Quentin Pilet – Bongos Driver
Alain Sandri – Mellow Lifestyle and Congas
DJ Laxxiste - 440 FX

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

Shalamar (/ˈʃæləmɑːr/) is a Grammy award winning American R&B and soul music vocal group active since the late 1970s and throughout the 1980s. Shalamar's classic line-up on the SOLAR label consisted of Howard Hewett, Jody Watley, and Jeffrey Daniel.

Shalamar (/ˈʃæləmɑːr/) is a Grammy award winning American R&B and soul music vocal group active since the late 1970s and throughout the 1980s. Shalamar's classic line-up on the SOLAR label consisted of Howard Hewett, Jody Watley, and Jeffrey Daniel.

24-bit remastered reissue of 1974 funk classic, that'sunavailable domestically, packaged in a digipak with original artwork, rare photos, & new sleevenotes. 2003.

UK budget price collection for the ex-drummer for Stevie Wonder's band (1965-67) & one of the finest protagonists of the groove. 14 tracks including two single versions, 'Bohannon Disco Symphony' & 'Just Doing My Thing', & 12 album tracks. Spectrum/Universal. 2004.

24-bit remastered reissue of 1978 funk classic, that's unavailable domestically, packaged in a digipak with original artwork, rare photos, & new sleevenotes. Mercury. 2003.

Credits:
Backing Vocals - Carolyn Crawford/Bass - Ted 'Sticky Fingers' Waterhouse/Engineer - Milan Bodgan/ Guitar - LeRoy Emmanuel , Rick 'Funk Box' Rouse/ Keyboards - Mose Davis , Nimrod 'The Grinder' Lumpkin/ Percussion - Lorenzo 'Mr. Rhythmn' Brown/Producer, Arranged By, Technician [Directed By], Written-by - Hamilton Bohannon
"In a relatively short period of time beginning in the mid-1970s Hamilton Bohannon, a drummer from Georgia, released an amazing amount of records. He began as the drummer for Stevie Wonder and later went on to be the bandleader and arranger for various Motown tours. Where all that talent went though I don’t know because after listening to a few of his albums you realize that almost all of his work relies on only one riff with hardly any changes. With most tracks clocking in at 5, 6, 7, 8 even 9 minutes long, that leads to some very monotonous music. Bohannon came right in the middle of this deluge so you get a lot of very long and droning songs."
(
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"Wicked uptempo funky instrumentals from the great Hamilton Bohannon! The record captures him at a perfect point -- when he was taking advantage of the changing dancefloor scene to open up his groove a bit, but before he got lost in some of the triple-time tempos that ruined later albums. Titles include "The Funky Reggae", "The Bohannon Walk", "Bohannon's Beat Part 1", and "Gentle Breeze". (This copy has a light warp but still plays fine. About an inch of the cover is stained and wavy along the opening.) "
"Dedicated to metronomic simplicity, Bohannon tends to walk the line between hypnotic and robotic: the opener "Bohannon's Beat Part I" is a great example of the former, with a simple scratch guitar line that breeds tense excitement, but "Funky Reggae," a one-chord workout with no development or discernable melody - or reggae, for that matter - ends up on the wrong side of the line. Carolyn Crawford - who had also been with Motown in the mid-60s - adds wistful vocals to the bluesy, atypically slow "Can You Feel It." Again, Side Two is ballads, and this time around they're even slower and longer ("Gentle Breeze," with the simple theme stated by sparely used strings), though "The Day To Remember," based on a blues guitar riff, does feature very tasty organ from Lampkin. Several lineup changes: Ted Waterhouse replaces Saunders, Rick Rouse joins Emmanuel on guitar, and Lorenzo Brown adds percussion. (DBW)"

团名源于主唱名字JAM，以及印第安部落名称IROQUAI所合成新字的Jamiroquai，1993年甫进入歌坛，即以充满清新跃动旋律的处女作“EMERGENCY ON PLANET EARTH”专辑，令人目瞪口呆地在进榜第一周内即登上全英榜首位置。自此之后，这支年纪轻轻却拥抱复古曲风；虽为白人，创作和唱腔却酷似黑人的乐团，就以他们不同于其它同侪团体的R&B、Funk、加ACID JAZZ曲风，叱咤欧美甚至亚洲乐坛。第二张专辑“RETURN OF THE SPACE COWBOY”更确立了他们席卷全球的巨星实力，专辑不但在英国荣获白金唱片销售纪录，在日本亦造成销售狂潮。本张Jamiroquai的最新专辑“TRAVELLING WITHOUT MOVING”仍以主唱JAM为创作及表演中枢，虽然他舞跳得不怎么样，不过从他笔下流泻出来的旋律，却让人一听就忍不住地随之手舞足蹈。由JAM自己担纲制作的这张专辑里，显现出他更锋锐的创作触角，从活泼畅快的迪斯科式歌曲「VIRTUAL INSANITY」，到动人心弦的抒情作品「SPEND A LIFETIME」，处处展现Jamiroquai成熟驾驭诱人音乐元素的超凡功力。

比起主流的「英国流行乐团」，Jamiroquai标榜的是更纯正的英国放克乐风，因此，在不愿迎合以大肆宣传为导向的英国流行音乐市场的前提下，他们的唱片销售成绩可想而知并不算是顶尖的。 Jamiroquai 成军于1992年。他们的经典专辑“When You Gonna Learn?”，当时由伦敦一家独立厂牌“Acid Jazz”发行，立刻在地下音乐界引起广大的回响。当时在酒吧撑场面的乐手，所做出的作品可说俗滥不堪，且普遍自以为是行家，其实毫无思想；Jamiroquai 的出现，改革了当时三流酒吧乐团所造成的不良风气。不仅仅是那些混酒吧的人喜欢他们，一向热爱灵魂乐、放克音乐、狄斯可舞曲以及一般识才的乐迷都一致认同Jamiroquai的音乐成就。在一场唱片公司的争夺战后，Jamiroquai 最后选择和新力音乐旗下的S2唱片签下一只由其代为发行八张专辑的合同。他们的才华、独特的乐风及群众魅力皆受到肯定，这些条件也奠定了他们歌唱事业恒久不断的基础。 主唱Jay Kay性喜高谈阔论，有时也因他直率的个性而成为争议性人物。当首张专辑 "Emergency On Planet Earth"(地球警讯）一发行，立刻引起媒体的争相报导，并于1993 年 6月荣登全英专辑榜冠军宝座，也使得Jamiroquai成为该年度英国首张专辑销售成绩最佳的团体。

在'97年红透半边天之前，Jamiroquai就已是家乡英国当地最受欢迎的乐团之一。1993年的"Emergency On Planet Earth"专辑单单在英国就卖出五十万张，更以迅雷不及掩耳之势登上全英冠军王座，其销售成绩更勇踞全年所有新进艺人首张专辑销售纪录之冠。他们的第二张专辑“Return Of The Space Cowboy”（太空牛仔回城），再次证明了其充满灵性热情的音乐早已超越语言及文化的藩蓠，在欧洲其它国家及日本也同样广受欢迎，不仅延续了首张专辑的狂热销售量，在日本及欧洲其它地区造成一片流行风潮。这张专辑在英国本土并获颁白金唱片销售成绩证明。而在Jamiroquai 发行的第三张专辑”Travelling Without Moving”（心驰神往）里，显而易见的是主唱 Jay Kay延续以往的洋溢才华，及 Jamiroquai 对其音乐完整性的坚持与从不妥协的态度，这些因素促使他们一如预期擢升为全球音乐的新势力。席卷全球的热潮自是不在话下，叫好又叫座的佳绩让Jamiroquai俨然成为新生代最酷的灵魂舞曲代言人！

Jamiroquai的音乐取自许多不同世代人们的思想、多样的生活型态及音乐偏好，这种受到多方面影响所融合而成的折衷式乐风，也成为这个团体的特色。有些对非主流音乐市场乐风改变敏感度较高的人，根本漠视当时所谓主流的音乐趋势，而独钟情于Jamiroquai 独特的唱腔。那时居排行榜十名内的单曲，例如 「Too Young To Die」、「Blow Your Mind」以及「Return Of The Space Cowboy」等等，一直到现在，人们依然爱不释手，回响热烈。Jamiroquai 也是极少数被视为现场演出质量保证的团体之一，出身于酒吧／舞厅的现场表演场合的他们，摒弃在当时那个竞争激烈的环境中常期惯用的播放录音带或是音乐录像带的草率方式，而改以现玚演出的方式来带动气氛；这是他们的中心哲学，也是他们最终的企盼－马不停蹄的全世界巡回演出也为他们募集了不少热情的歌迷。

1997年以一首在移动地板上边唱边跳的「Virtual Insanity 」一举囊括MTV音乐录像带大奖９项重要奖项提名，最后更获「年度最佳音乐录像带」最大奖项的Jamiroquai，在歌坛五年的历练后，终于在该年度获得各界的高度肯定，不但唱片销售直破七白金纪录，更在1998年象征流行乐界最高荣誉的葛莱美奖上，以英国外来乐团之姿一举拿下「最佳流行乐团」大奖。Jamiroquai 突破了种族固有制式化成见，以白人乐团的身份创作出圆熟融合 放克、Acid Jazz、灵魂、节奏蓝调….等多样原本被视做黑色艺人所擅长的各式音乐元素，而主唱及创作中枢Jay充满浓郁灵魂味道的高音唱腔，更为Jamiroquai的音乐添入迥异于其它白人同侪团体的律动线。此外，乐团自出道以来即不断强调环保观念的歌词，也证明他们是新一代中少见的良心团体。Jamiroquai对自己风格的坚持，正反映出Jay对于音乐创作理念所怀持的极高热忱，和一向的诚实态度。 Jamiroquai的音乐成绩大家有目共睹，他们成熟驾驭诱人音乐元素的超凡功力，也的确是不同凡响!