Barry White has been to the top of the charts an admirable number of times, but only one of his hits was a ballad (a studio effort for the Quincy Jones album Back on the Block that included El DeBarge, James Ingram and Al B. Sure!). However, as a solo artist, White has never had a ballad usurp the number one spot on the Billboard charts. The Icon Is Love's featured release fills that void. "Practice What You Preach," which unites the maestro with producers Gerald LeVert and Edwin Nicholas, has a simmering arrangement, evocative lyric, and White's brawn delivery. The catchy melody and sensuous female backing vocals enhance this already stellar single.

Here is the triple Best Of from the 100% love soul heavyweight! You will find in this compilation the 40 hits of this extraordinary author and composer; eleven albums, one hundred million records sold worldwide! If James Brown is the undisputed king of soul funk, Barry White is definitely the emperor of unstoppable and indispensable lascivious melodies. An “almost French” artist??? NO ! But still, the “Ultimate Collection” compilation has just passed the million mark in our territory!

Barry White turned into such iconic figure that it’s odd to hear his beginnings on his 1973 debut I’ve Got So Much to Give. In a sense, his sound is fully formed – there’s no mistaking his velvet baritone or his lush, string-draped surrounding, particularly on the album’s closing “I’m Gonna Love You Just a Little More, Baby,” a song so seductive it set the pace for the rest of his career. Still, behind that creamy drapery it’s possible to hear a strong debt to Isaac Hayes throughout I’ve Got So Much to Give, particularly when the whole affair opens a slow, steady, eight-minute crawl through “Standing in the Shadows of Love” that strips all the bounciness out of the Supremes original, just like how all of Hayes reworkings of ‘60s pop hits turned the hit versions inside out on Hot Buttered Soul. Barry may be following in Isaac’s footsteps, but he winds up on his own path, one that isn’t quite as ambitious, one that is fairly hellbent on romance to the exclusion of everything else.

2009 three CD collection. How do you like your Funk, y'all? Streetwise, southern fried or paaarty? You'll find them all here as this collection of original rare grooves brings you Curtis Mayfield, The Meters, Funkadelic, Bobby Womack, Mavis Staples and many other true funky legends. Sure to satisfy, this is funky perfection on plastic! Includes informative notes on all songs featured. 60 tracks.

It took quite a while for a definitive Barry White compilation to hit the market, but All-Time Greatest Hits – part of Mercury's Funk Essentials series – finally filled the bill in 1995. Boasting a full 20 tracks from White's heyday of 1973-1978, more than half of which made the R&B Top Ten, All-Time Greatest Hits is easily the most generous single-disc White collection on the market. It includes the edited single versions, not the full-length album tracks, which actually makes for a more digestible introduction to White's achievements.

Universal Music Distribution's Icon series dealt with Barry White's extensive back catalog in two forms. This one, a single-disc compilation (the other was a two-disc set), stays true to the Icon series format with 12 tracks and minimal packaging. It’s a decent sampler, but it’s nowhere near definitive and it doesn’t distill White’s work to its essence (an impossible task when limited to one disc). Several of the man’s most popular singles are here, including “Can’t Get Enough of Your Love, Babe,” “It’s Ecstasy When You Lay Down Next to Me,” “I’m Gonna Love You Just a Little More, Baby,” and “You’re the First, the Last, My Everything.” This merely scratches the surface.

Boss Soul: The Genius of Barry White Review by Richie Unterberger
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.

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.

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.

"Barry White Sings For Someone You Love" is the self-produced 7th album by soul singer Barry White, released in 1977 on the 20th Century label. The album topped the R&B albums chart, White's first to do so since 1975. It also reached #8 on the Billboard 200, his second to reach the Top 10. The album was a success, yielding two Billboard R&B Top Ten singles, "It's Ecstasy When You Lay Down Next To Me", which peaked at #1, and "Playing Your Game, Baby". "It's Ecstasy When You Lay Down Next to Me" was also a hit on the Billboard Hot 100, reaching #4. A third single, "Oh, What a Night for Dancing", reached #13 on the R&B chart and #24 on the pop chart. The album was digitally remastered and reissued on CD on September 24, 1996, by Mercury Records. The original vinyl album was released with three different covers. In addition to the beige fur with black letters cover shown above, the LP was also issued with dark brown fur and grey fur. Each of these covers had White's name and the album's title in white letters, and are harder to find than the more common light brown fur with black letters cover.

"Let The Music Play" is the self-produced 5th album by American R&B singer Barry White, recorded in 1975 and released in January 1976 on the 20th Century label. The album reached #8 on the R&B albums chart and peaked at #42 on the Billboard 200. It also reached #22 on the UK Albums Chart. The album yielded the Billboard R&B Top Ten single, "Let The Music Play", which was actually an outtake from his previous album "Just Another Way To Say I Love You" and peaked at #4. It also reached #32 on the Billboard Hot 100 and #9 on the UK Singles Chart. Another single, "You See the Trouble with Me", reached #14 on the R&B chart and #2 on the UK Singles Chart. A third single, "Baby, We Better Try to Get It Together", reached #29 on the R&B Chart, #92 on the Billboard Hot 100, and #15 on the UK Singles Chart. The album was digitally remastered and reissued on CD with bonus tracks on February 14, 2012 by Hip-O Select.

Space Jam is a captivating, engaging, and expressive work inspired from the making of the motion picture of the same name, featuring basketball icon Michael Jordan and a cast of charming Looney Tunes personalities. It is a collection of enthusiasm and charm, bold in expression and passionate in both it's lyrical quality and amazing variety of artists, bringing forth a broad landscape of musical style and form.

The soundtrack to the Hughes Brothers' tribute to early-'70s blaxploitation gets the sound of the era right, featuring hits by the O'Jays, the Spinners, Isaac Hayes, Al Green, and Harold Melvin & the Blue Notes, among others. The inclusion of Danny Elfman's instrumental theme interrupts the flow of the album, but for the most part, Dead Presidents is a first-rate collection of prime soul.

Various Artists compliaction featurning artists culled from the Universal / Hip-O group of labels. Features Marvin Gaye, Rick James, Barry White, Chakka Khan & others.

Number One Party Compilation: 70's 80's is a 2CD compilation featuring fantastic dance music from the 1970's and 1980's. It consists of what is called a bonus disc consisting of a "Disco 80 Megamix". This was released by Italian label Atlantis.