Hello, the Giro is coming to an exiting finish after race leader Dumoulin showed weekness today and lost his jersey to Quintana, but he is still close second with Nibali and Pinot breathing down his neck, all within a minute with mountain top finish tomorrow and as final a 30k timetrial, all to play for....meanwhile 200 miles to the west it's the Grand Prix of Monaco will it conjure up some drama or not, will Verstappen finish ? Will Ferrari win it ?
Today's artist is a three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, his greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe". During the course of his career in the music business, he achieved 106 gold albums worldwide, 41 of which also attained platinum status. He is one of the world's best-selling artists of all time. He was at home appearing on Soul Train, guesting with a full band on The Today Show, and appearing in cartoon form in various episodes of The Simpsons. . ..... N'joy
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Born in Galveston, TX, Barry White grew up singing gospel songs with his mother and taught himself to play piano. Shortly after moving from Texas to South Central Los Angeles, White made his recording debut at the tender age of 11, playing piano on Jesse Belvin's "Goodnight My Love." He made his first record when he was 16 with a group called the Upfronts. The song was called "Little Girl" on a local L.A. label called Lummtone Records. Later he worked for various independent labels around Los Angeles, landing an A&R position with Bob Keane, the man responsible for the first pop recordings by Sam Cooke. One of his labels, Mustang, was hot at the time with a group called the Bobby Fuller Four in 1966. White was hired for 40 dollars a week to do A&R for Keane's family of labels: Del-Fi, Mustang and Bronco. During this time, White flirted with the idea of being a recording artist, making a record for Bronco called "All in the Run of a Day." But he chose to stick with his A&R duties. One of the first groups he worked with was the Versatiles who later changed their name to the 5th Dimension. White's first big hit came from an artist familiar to dancefloor denizens -- Viola Wills, whose "Lost Without the Love of My Guy" went Top 20 R&B. His salary went up to 60 dollars a week. White started working with the Bobby Fuller Four. Bob Keene and Larry Nunes -- who later became White's spiritual advisor and true friend -- wanted to cut a female act. White had heard about a singer named Felice Taylor. They had three hit records, "It May Be Winter Outside," "I'm Under the Influence of Love," and "I Feel Love Coming On." They were huge hits in England. White started making 400 dollars a week.
When Bronco went out of business, White began doing independent production. Those were some lean times for White. Veteran arranger Gene Page, who would later arrange or co-arrange White's hits, helped him out, giving him work and non-repayable loans. Then three years later, Paul Politti, who also worked at Bronco, contacted him to tell him that Larry Nunes was interested in starting a business with him. Nunes had started cutting tracks for a concept album he was working on. Meanwhile, White had started working with this girl group who hadn't done any singing professionally. They rehearsed for almost a year. White wrote "Walkin' in the Rain (With the One I Love)" with lyrics that were inspired by conversations with one of the singers, Glodean James (who would later become White's second wife). White christened the group Love Unlimited.
Larry Nunes took the record to Russ Regan, who was the head of the Uni label owned by MCA. Love Unlimited's From a Girl's Point of View became a million-seller. Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni in chaos and Love Unlimited contract-bound with the label, White decided he needed to work with another act. He wanted to work with a male artist. He made three song demos of himself singing and playing the piano. Nunes heard them and insisted that he re-record and release them as a recording artist. They argued for days about it. Then he somehow convinced White to do it. White was still hesitating up to the time the label copy was made. He was going to use the name "White Heat," but the record became the first Barry White album. That first album was 1973's I've Got So Much to Give on 20th Century Records. It included the title track and "I'm Gonna Love You Just a Little More Baby."
White got a release from Uni for Love Unlimited and they joined him over at 20th Century Records. Then he had a brainstorm for another concept album. He told Regan he wanted to do an instrumental album. Regan thought he had lost it. White wanted to call it the Love Unlimited Orchestra. The single, "Love's Theme," went to number one pop, was a million-seller, and was a smash all over the world. The song earned him a BMI award for over three million covers.
For the next five years, from 1974 to 1979, there was no stopping the Barry White Hit Train -- his own Stone Gon, Barry White Sings Love Songs for the One You Love ("It's Ecstasy When You Lay Down Next to Me," "Playing Your Game Baby"), Let the Music Play (title track, "You See the Trouble with Me"), Just Another Way to Say I Love You ("I'll Do for You Anything You Want Me To," "Love Serenade"), The Man ("Your Sweetness Is My Weakness," "Sha La La Means I Love You," "September When We Met," a splendid cover of Billy Joel's "Just the Way You Are"), and Love Unlimited's In Heat ("I Belong to You," "Move Me No Mountain," "Share a Little Love in Your Heart," and "Love's Theme," with lyrics). He also scored a soundtrack for the 20th Century Fox film The Together Brothers, enjoying a resurgence on home video.
His studio band included such luminaries as guitarists Ray Parker, Jr. (pre-Raydio, co-writer with White on "You See the Trouble With Me"), bassist Nathan East, Wah Wah Watson, David T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of the Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary Coleman, and later keyboardist Rahn Coleman. His hit streak seemed, well, unlimited. Then it all derailed. Russ Regan and another ally, Hosea Wilson, left 20th Century Records and White was left with management that he thought of in less than glowing terms.
White left after fulfilling his contract with two more album releases, Love Unlimited Orchestra's My Musical Bouquet and his own I Love to Sing the Songs I Sing. White signed a custom label deal with CBS Records. At the time it was touted as one of the biggest deals ever. He started a label called Unlimited Gold. The roster included White, Love Unlimited, the Love Unlimited Orchestra, Jack Perry, and a teenaged singer named Danny Pearson who charted with a song called "What's Your Sign Girl." He also did a duet album with Glodean James called Barry & Glodean. Aside from the gold album The Message Is Love, most of the albums weren't huge sellers. After eight Barry White albums, four Love Unlimited albums, four Love Unlimited Orchestra albums, constant touring, and dealing with the rigors of the music industry, White decided to take a break.
Then in 1992, White signed with A&M, releasing the albums The Man Is Back, The Right Night & Barry White, and Put Me in Your Mix (which contains a duet with Issac Hayes, "Dark and Lovely"). The Icon Is Love became his biggest-selling album since the '70s releases, going multi-platinum. It includes the platinum single "Practice What You Preach." The production lineup includes Gerald Levert and Tony Nicholas, his godson Chuckii Booker, Jimmy Jam and Terry Lewis, and White and his longtime friend Jack Perry. While some later efforts buried his vocals in whiz-bang electronic effects, on The Icon Is Love, White's deep steam engine baritone pipes are upfront in the mix. Staying Power followed in 1999, showcased in the best tradition of soul music where the focus is the singer and the song. The album earned White two Grammys. White's career took him from the ghetto to international success with 106 gold and 41 platinum albums, 20 gold and ten platinum singles, with worldwide sales in excess of 100 million.
White, who suffered from hypertension and chronic high blood pressure, was hospitalized for kidney failure in September of 2002. He was undergoing dialysis treatment, but the combination of illnesses proved too much and he died July 4, 2003 at a West Hollywood hospital. By the time of his death, Barry White had achieved a near-universal acclaim and popularity that few artists achieve and even fewer within their own lifetime.
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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. Compared to what White did later, I’ve Got So Much to Give does display a fair amount of extraneous frills -- this is all about sex, but there are shifting textures and moods, it’s more serious about its seduction because White’s reputation as a loverman is not secure -- which makes it a richer, more interesting record than much of his body of work, perhaps containing some dead ends, but being all the more captivating for its slight touch of messiness.
Barry White - I've Got So Much To Give (flac 233mb)
01 Standing In The Shadows Of Love 8:02
02 Bring Back My Yesterday 6:42
03 I've Found Someone 5:54
04 I've Got So Much To Give 8:14
05 I'm Gonna Love You Just A Little More Baby 7:11
Barry White - I've Got So Much To Give (ogg 90mb)
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Stone Gon' was the second release in an incredible run of sensually charged titles White produced during the first half of the '70s. His patented mix of love monologues and rich vocal dynamics would come to mark the best songs of the period, including the two chart-toppers here, "Honey Please, Can't Ya See" and "Never, Never Gonna Give Ya Up." Of course, White's inventive arrangements and crack band only add to the stock of these soulful pop excursions. And beyond the hits, tracks like "You're My Baby" and "Hard to Believe That I Found You" maintain the high standard, compliments of mesmerizing backdrops and more vocal seduction; with wine and candlelight already casting a spell, it's just a matter of time before White's supremely tranquil delivery and blissed-out wash of strings and saxophone will cause the amatory to completely lose it. Bringing things back to earth, White displays unerring sensitivity on "Girl It's True, Yes I'll Always Love You," a love song as sincere and sanctified as any he's made. Essential listening.
Barry White - Stone Gon' (flac 229mb)
01 Girl It's True, Yes I'll Always Love You 8:36
02 Honey Please, Can't Ya See 5:11
03 You're My Baby 9:08
04 Hard To Believe That I Found You 6:59
05 Never Never Gonna Give You Up 7:55
Barry White - Stone Gon' (ogg 89mb)
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The third in White's mostly stellar run of albums on the 20th Century label, Can't Get Enough finds the bedroom alchemist coming up with another solid batch of lush, proto-disco gems. White went from strength to strength during the '70s, collaborating with co-arranger Gene Page on some of the most sophisticated and seamless charts in popular music (Philly soul architects Leon Huff, Kenny Gamble, and Thom Bell also deserve recognition in this regard). And thanks to an amazing succession of hits, White not only impressed the music cognoscenti, but repeatedly scored with the radio faithful, too -- Can't Get Enough features two of his biggest chart toppers, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe." And besides the hits, it's not just all padding here: "I Can't Believe You Love Me" and "Oh Love, Well We Finally We Made It" qualify as two of White's most fetching slow burners, while "Mellow Mood (Pts. 1 & 2)" shows off his knack for layered instrumentals. Another highlight from White's prime.
Barry White - Can't Get Enough (flac 194mb)
01 Mellow Mood (Pt. I) 1:52
02 You're The First, The Last, My Everything 4:33
03 I Can't Believe You Love Me 10:17
04 Can't Get Enough Of Your Love, Babe 4:30
05 Oh Love, Well We Finally Made It 3:50
06 I Love You More Than Anything (In This World Girl) 4:59
07 Mellow Mood (Pt. II) 1:22
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With his 1973 debut, I've Got So Much Love to Give White redefined the R&B and pop with his grand arrangements and pursuit of studio excellence. The frothy "Love's Theme" from his Love Unlimited Orchestra is considered influential early disco. By the time this was released, the sound was slightly on the wane. With his demanding schedule of cranking out an album or more a year, as well as work from Love Unlimited and Love Unlimited Orchestra This effort shows the strain. The album kicks off with "Heavenly, That's What You Are To Me," and despite its great intro, it ultimately pales in comparison to earlier tracks. On "I'll Do for You Anything You Want Me To" finds White in ragged voice throughout and the onslaught on his grunts and groans didn't help him not be a parody of himself. Just Another Way to Say I Love You seems to cautiously plod along, but White had something innovative planned here. "Love Serenade" has him throwing all caution to the wind with lines like "I don't wanna feel no clothes," followed by the even better, "And take off that brassiere, my dear." As for regular ballads, "Let Me Live My Life Lovin' You Babe" clocks in at a sleep-inducing 10:29. This album closes out with "Love Serenade (Part II)," a bass heavy, libidinous instrumental. This is not a horrible effort, but he no doubt could do much better.
Barry White - Just Another Way To Say I Love You (flac 244mb)
01 Heavenly, That's What You Are To Me 4:59
02 I'll Do For You Anything You Want To Me 6:07
03 All Because Of You 6:34
04 Love Serenade 4:43
05 What Am I Gonna Do With You 3:36
06 Let Me Live My Life Lovin' You Babe 10:17
07 Love Serenade (Part II) 3:05
Barry White - Just Another Way To Say I Love You (ogg 95mb)
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Today's artist is a three-time Grammy Award–winner known for his distinctive bass-baritone voice and romantic image, his greatest success came in the 1970s as a solo singer and with The Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe". During the course of his career in the music business, he achieved 106 gold albums worldwide, 41 of which also attained platinum status. He is one of the world's best-selling artists of all time. He was at home appearing on Soul Train, guesting with a full band on The Today Show, and appearing in cartoon form in various episodes of The Simpsons. . ..... N'joy
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Born in Galveston, TX, Barry White grew up singing gospel songs with his mother and taught himself to play piano. Shortly after moving from Texas to South Central Los Angeles, White made his recording debut at the tender age of 11, playing piano on Jesse Belvin's "Goodnight My Love." He made his first record when he was 16 with a group called the Upfronts. The song was called "Little Girl" on a local L.A. label called Lummtone Records. Later he worked for various independent labels around Los Angeles, landing an A&R position with Bob Keane, the man responsible for the first pop recordings by Sam Cooke. One of his labels, Mustang, was hot at the time with a group called the Bobby Fuller Four in 1966. White was hired for 40 dollars a week to do A&R for Keane's family of labels: Del-Fi, Mustang and Bronco. During this time, White flirted with the idea of being a recording artist, making a record for Bronco called "All in the Run of a Day." But he chose to stick with his A&R duties. One of the first groups he worked with was the Versatiles who later changed their name to the 5th Dimension. White's first big hit came from an artist familiar to dancefloor denizens -- Viola Wills, whose "Lost Without the Love of My Guy" went Top 20 R&B. His salary went up to 60 dollars a week. White started working with the Bobby Fuller Four. Bob Keene and Larry Nunes -- who later became White's spiritual advisor and true friend -- wanted to cut a female act. White had heard about a singer named Felice Taylor. They had three hit records, "It May Be Winter Outside," "I'm Under the Influence of Love," and "I Feel Love Coming On." They were huge hits in England. White started making 400 dollars a week.
When Bronco went out of business, White began doing independent production. Those were some lean times for White. Veteran arranger Gene Page, who would later arrange or co-arrange White's hits, helped him out, giving him work and non-repayable loans. Then three years later, Paul Politti, who also worked at Bronco, contacted him to tell him that Larry Nunes was interested in starting a business with him. Nunes had started cutting tracks for a concept album he was working on. Meanwhile, White had started working with this girl group who hadn't done any singing professionally. They rehearsed for almost a year. White wrote "Walkin' in the Rain (With the One I Love)" with lyrics that were inspired by conversations with one of the singers, Glodean James (who would later become White's second wife). White christened the group Love Unlimited.
Larry Nunes took the record to Russ Regan, who was the head of the Uni label owned by MCA. Love Unlimited's From a Girl's Point of View became a million-seller. Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni in chaos and Love Unlimited contract-bound with the label, White decided he needed to work with another act. He wanted to work with a male artist. He made three song demos of himself singing and playing the piano. Nunes heard them and insisted that he re-record and release them as a recording artist. They argued for days about it. Then he somehow convinced White to do it. White was still hesitating up to the time the label copy was made. He was going to use the name "White Heat," but the record became the first Barry White album. That first album was 1973's I've Got So Much to Give on 20th Century Records. It included the title track and "I'm Gonna Love You Just a Little More Baby."
White got a release from Uni for Love Unlimited and they joined him over at 20th Century Records. Then he had a brainstorm for another concept album. He told Regan he wanted to do an instrumental album. Regan thought he had lost it. White wanted to call it the Love Unlimited Orchestra. The single, "Love's Theme," went to number one pop, was a million-seller, and was a smash all over the world. The song earned him a BMI award for over three million covers.
For the next five years, from 1974 to 1979, there was no stopping the Barry White Hit Train -- his own Stone Gon, Barry White Sings Love Songs for the One You Love ("It's Ecstasy When You Lay Down Next to Me," "Playing Your Game Baby"), Let the Music Play (title track, "You See the Trouble with Me"), Just Another Way to Say I Love You ("I'll Do for You Anything You Want Me To," "Love Serenade"), The Man ("Your Sweetness Is My Weakness," "Sha La La Means I Love You," "September When We Met," a splendid cover of Billy Joel's "Just the Way You Are"), and Love Unlimited's In Heat ("I Belong to You," "Move Me No Mountain," "Share a Little Love in Your Heart," and "Love's Theme," with lyrics). He also scored a soundtrack for the 20th Century Fox film The Together Brothers, enjoying a resurgence on home video.
His studio band included such luminaries as guitarists Ray Parker, Jr. (pre-Raydio, co-writer with White on "You See the Trouble With Me"), bassist Nathan East, Wah Wah Watson, David T. Walker, Dean Parks, Don Peake, bassist Wilton Felder of the Crusaders, Lee Ritenour, drummer Ed Greene, percussionist Gary Coleman, and later keyboardist Rahn Coleman. His hit streak seemed, well, unlimited. Then it all derailed. Russ Regan and another ally, Hosea Wilson, left 20th Century Records and White was left with management that he thought of in less than glowing terms.
White left after fulfilling his contract with two more album releases, Love Unlimited Orchestra's My Musical Bouquet and his own I Love to Sing the Songs I Sing. White signed a custom label deal with CBS Records. At the time it was touted as one of the biggest deals ever. He started a label called Unlimited Gold. The roster included White, Love Unlimited, the Love Unlimited Orchestra, Jack Perry, and a teenaged singer named Danny Pearson who charted with a song called "What's Your Sign Girl." He also did a duet album with Glodean James called Barry & Glodean. Aside from the gold album The Message Is Love, most of the albums weren't huge sellers. After eight Barry White albums, four Love Unlimited albums, four Love Unlimited Orchestra albums, constant touring, and dealing with the rigors of the music industry, White decided to take a break.
Then in 1992, White signed with A&M, releasing the albums The Man Is Back, The Right Night & Barry White, and Put Me in Your Mix (which contains a duet with Issac Hayes, "Dark and Lovely"). The Icon Is Love became his biggest-selling album since the '70s releases, going multi-platinum. It includes the platinum single "Practice What You Preach." The production lineup includes Gerald Levert and Tony Nicholas, his godson Chuckii Booker, Jimmy Jam and Terry Lewis, and White and his longtime friend Jack Perry. While some later efforts buried his vocals in whiz-bang electronic effects, on The Icon Is Love, White's deep steam engine baritone pipes are upfront in the mix. Staying Power followed in 1999, showcased in the best tradition of soul music where the focus is the singer and the song. The album earned White two Grammys. White's career took him from the ghetto to international success with 106 gold and 41 platinum albums, 20 gold and ten platinum singles, with worldwide sales in excess of 100 million.
White, who suffered from hypertension and chronic high blood pressure, was hospitalized for kidney failure in September of 2002. He was undergoing dialysis treatment, but the combination of illnesses proved too much and he died July 4, 2003 at a West Hollywood hospital. By the time of his death, Barry White had achieved a near-universal acclaim and popularity that few artists achieve and even fewer within their own lifetime.
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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. Compared to what White did later, I’ve Got So Much to Give does display a fair amount of extraneous frills -- this is all about sex, but there are shifting textures and moods, it’s more serious about its seduction because White’s reputation as a loverman is not secure -- which makes it a richer, more interesting record than much of his body of work, perhaps containing some dead ends, but being all the more captivating for its slight touch of messiness.
Barry White - I've Got So Much To Give (flac 233mb)
01 Standing In The Shadows Of Love 8:02
02 Bring Back My Yesterday 6:42
03 I've Found Someone 5:54
04 I've Got So Much To Give 8:14
05 I'm Gonna Love You Just A Little More Baby 7:11
Barry White - I've Got So Much To Give (ogg 90mb)
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Stone Gon' was the second release in an incredible run of sensually charged titles White produced during the first half of the '70s. His patented mix of love monologues and rich vocal dynamics would come to mark the best songs of the period, including the two chart-toppers here, "Honey Please, Can't Ya See" and "Never, Never Gonna Give Ya Up." Of course, White's inventive arrangements and crack band only add to the stock of these soulful pop excursions. And beyond the hits, tracks like "You're My Baby" and "Hard to Believe That I Found You" maintain the high standard, compliments of mesmerizing backdrops and more vocal seduction; with wine and candlelight already casting a spell, it's just a matter of time before White's supremely tranquil delivery and blissed-out wash of strings and saxophone will cause the amatory to completely lose it. Bringing things back to earth, White displays unerring sensitivity on "Girl It's True, Yes I'll Always Love You," a love song as sincere and sanctified as any he's made. Essential listening.
Barry White - Stone Gon' (flac 229mb)
01 Girl It's True, Yes I'll Always Love You 8:36
02 Honey Please, Can't Ya See 5:11
03 You're My Baby 9:08
04 Hard To Believe That I Found You 6:59
05 Never Never Gonna Give You Up 7:55
Barry White - Stone Gon' (ogg 89mb)
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The third in White's mostly stellar run of albums on the 20th Century label, Can't Get Enough finds the bedroom alchemist coming up with another solid batch of lush, proto-disco gems. White went from strength to strength during the '70s, collaborating with co-arranger Gene Page on some of the most sophisticated and seamless charts in popular music (Philly soul architects Leon Huff, Kenny Gamble, and Thom Bell also deserve recognition in this regard). And thanks to an amazing succession of hits, White not only impressed the music cognoscenti, but repeatedly scored with the radio faithful, too -- Can't Get Enough features two of his biggest chart toppers, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe." And besides the hits, it's not just all padding here: "I Can't Believe You Love Me" and "Oh Love, Well We Finally We Made It" qualify as two of White's most fetching slow burners, while "Mellow Mood (Pts. 1 & 2)" shows off his knack for layered instrumentals. Another highlight from White's prime.
Barry White - Can't Get Enough (flac 194mb)
01 Mellow Mood (Pt. I) 1:52
02 You're The First, The Last, My Everything 4:33
03 I Can't Believe You Love Me 10:17
04 Can't Get Enough Of Your Love, Babe 4:30
05 Oh Love, Well We Finally Made It 3:50
06 I Love You More Than Anything (In This World Girl) 4:59
07 Mellow Mood (Pt. II) 1:22
. (ogg mb)
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With his 1973 debut, I've Got So Much Love to Give White redefined the R&B and pop with his grand arrangements and pursuit of studio excellence. The frothy "Love's Theme" from his Love Unlimited Orchestra is considered influential early disco. By the time this was released, the sound was slightly on the wane. With his demanding schedule of cranking out an album or more a year, as well as work from Love Unlimited and Love Unlimited Orchestra This effort shows the strain. The album kicks off with "Heavenly, That's What You Are To Me," and despite its great intro, it ultimately pales in comparison to earlier tracks. On "I'll Do for You Anything You Want Me To" finds White in ragged voice throughout and the onslaught on his grunts and groans didn't help him not be a parody of himself. Just Another Way to Say I Love You seems to cautiously plod along, but White had something innovative planned here. "Love Serenade" has him throwing all caution to the wind with lines like "I don't wanna feel no clothes," followed by the even better, "And take off that brassiere, my dear." As for regular ballads, "Let Me Live My Life Lovin' You Babe" clocks in at a sleep-inducing 10:29. This album closes out with "Love Serenade (Part II)," a bass heavy, libidinous instrumental. This is not a horrible effort, but he no doubt could do much better.
Barry White - Just Another Way To Say I Love You (flac 244mb)
01 Heavenly, That's What You Are To Me 4:59
02 I'll Do For You Anything You Want To Me 6:07
03 All Because Of You 6:34
04 Love Serenade 4:43
05 What Am I Gonna Do With You 3:36
06 Let Me Live My Life Lovin' You Babe 10:17
07 Love Serenade (Part II) 3:05
Barry White - Just Another Way To Say I Love You (ogg 95mb)
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4 comments:
Fantastic selection, sir! Hoping and looking forward to the rest of the catalog in the coming days (perhaps some Love Unlimited Orchestra also?)
However, I must point out - you've got a dead blogger link instead of an actual one for the I've Got So Much To Give flac.
Known as "The Walrus of Love" to fans the world over.
Barry White - I've Got So Much To Give (flac 233mb) link brokem
The link has been restored/entered hours ago Gianni
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