is the ninth studio album by singer , released September 21, 1979 via . 's striking black and white front cover shot of an elegant and assured showing more then she ever had seemed to say it all. With release of , the award winning actress and singer was revealing an altogether more outgoing and sensual dimension of her persona.
GQ originally formed in 1968 as Sabu & The Survivors. Their biggest hit was "Disco Nights (Rock-Freak)” single from their debut album which peaked at R&B #1, Disco #3 and Pop #12. The debut album peaked at R&B #2 and Pop #13. GQ TWO was their second album and reached R&B #9 and Pop #46 shortly after it’s release in 1980. It was produced by Jimmy Simpson who also produced Candi Staton, Ashford & Simpson and Deodato.
is the debut album by American soul/disco group , released in 1979 on the Arista label. The lead single was a major crossover hit, topping the R&B chart and peaking at #12 on the pop chart. The follow-up, a respectful and faithful cover of 's 1965 classic , also made the R&B top 5 and the pop top 20. On the back of its hit singles, the album also became a big seller, peaking at #2 R&B and #13 pop.
Big Break Records are delighted to continue our series of Salsoul Records reissues with the classic Double Exposure album "Ten Percent”. Double Exposure were originally signed to Stax under the name United Image until they were introduced to Salsoul by producer Norman Harris who produced all three albums they recorded for Salsoul. Norman was part of Baker-Harris-Young Productions who worked with the likes of Whispers, The Trammps, Executive Suite and Love Committee.
Happily, it is not the responsibility of this review to address in detail the train wreck that was the 1979 film adaptation of the stage musical Hair. A complete misfire conceived by a screenwriter, Michael Weller, and a director, Czech expatriate Milos Forman, who did not seem to have the slightest familiarity with hippies, the '60s, America, or even Broadway, the movie was miscast with supposedly bankable young film stars of the day (Treat Williams, John Savage, Beverly d'Angelo), and the essentially plotless libretto of the stage version was replaced by a contrived Hollywood script in a textbook example of how not to do an adaptation. But never mind the movie itself…