The Delfonics were one of the first groups to sing in the sleek, soulful style that became popularized (thanks to producer Thom Bell) as the "Philadelphia sound." A vocal trio made up of brothers William and Wilbert Hart and high school friend Randy Cain, the Delfonics roots go back to doo wop singing at school dances in the early '60s. They... [+] Read More

The Delfonics were one of the first groups to sing in the sleek, soulful style that became popularized (thanks to producer Thom Bell) as the "Philadelphia sound." A vocal trio made up of brothers William and Wilbert Hart and high school friend Randy Cain, the Delfonics roots go back to doo wop singing at school dances in the early '60s. They were well-known in the Philly area for their supple, airtight harmonies talent that brought them to the attention of record producers, eventually landing them a contract with Cameo-Parkway. While their early records brought them little if any notice, it did bring them to the attention of producer/arranger Thom Bell who signed the band to his soon-to-be influential soul label Philly Groove. Right from the start this was a perfect match as the band released the classic "La La Means I Love You" in 1968, a song that began a string of hits lasting into the mid-'70s.

The sound that Bell created for the Delfonics was the antithesis of the soul sound that came from Stax in Memphis and Muscle Shoals in Alabama. He sandpapered away the grit, lightened up on the backbeat, brought in string sections, and created a smooth, airy sound. Critics enamored of the soul singing of Wilson Pickett and Otis Redding accused Bell and his groups of creating aural wallpaper, but the reality was that Bell and the Delfonics were setting the stage for a different kind of groove where subtlety and nuance reigned.

The hits slowed for the Delfonics in the mid-'70s, and in 1971 Randy Cain quit the band and was replaced by Major Harris. A few more minor hits followed but Harris left the band for a solo career in 1975, effectively finishing the Delfonics. In the late '90s, the group played a significant musical role in Quentin Tarantino's film Jackie Brown. Tarantino, a borderline obsessive fan of '70s pop culture, used "La La Means I Love You," and their best single, "Didn't I (Blow Your Mind This Time)," as a way of underscoring the relationship between actors Pam Grier and Robert Forster. In the film, Forster's character is so struck by the music (and Grier), he goes out and buys the Delfonics Greatest Hits cassette the following day. Something I'd recommend you do too. ~ John Dougan, All Music Guide [-] Hide

Before assuming the name the Dramatics, the vocal sextet comprised of Rob Davis, Ron Banks, Larry Reed, Robert Ellington, Larry "Squirrel" Demps, and Elbert Wilkens initially released two singles as the Dynamics on the Wingate imprint that saw no chart action. The group became a quintet upon Ellington's exit, and also changed their name to the... [+] Read More

Before assuming the name the Dramatics, the vocal sextet comprised of Rob Davis, Ron Banks, Larry Reed, Robert Ellington, Larry "Squirrel" Demps, and Elbert Wilkens initially released two singles as the Dynamics on the Wingate imprint that saw no chart action. The group became a quintet upon Ellington's exit, and also changed their name to the Dramatics. They migrated to the Sport label and in 1967 released their first single to hit the charts, "All Because of You," which peaked at number 42 on the R&B charts. However, in spite of the exposure and limited record sales, some groupmembers became discouraged, which facilitated a major personnel change. William "Wee Gee" Howard replaced lead singer Reed, and Willie Ford of the Capitols replaced bass Rob Davis. Also during this time, the Dramatics had signed with producer Don Davis' production company.

Even though the group managed to stay together, the ensuing years were unproductive for chart action and sales. Between 1967 and 1971, the Dramatics made very little noise on the national scene. By the end of 1971, Davis summoned the group to the studio to record producer/songwriter Tony Hester's "Watcha See Is Watcha Get." The single was the Dramatics' first major national hit, peaking at number three on the R&B charts, and sustaining chart action for 15 weeks. That single was followed by the R&B Top Ten single "Get Up and Get Down."

The following year the Dramatics released "In the Rain," which was also penned by Hester. The single torpedoed its way to the number one spot on the R&B charts, maintaining that position for four consecutive weeks; the single also peaked at number five on the pop charts. Ironically, in spite of the national attention the group was receiving, another personnel shuffle was simmering.

Larry "L.J." Reynolds, who had been a member of Chocolate Syrup and was pursuing a solo career during this time, met Dramatics member Banks at the Apollo following a performance by the group. It just so happened that Howard was absent that night. Reynolds auditioned for Banks backstage; it was not too long afterwards that Reynolds, who was also signed to Don Davis' production company, began to occasionally sit in with the Dramatics during Howard's absences.

In 1973, Howard's decision to leave the group opened the door for Reynolds' entrance; Reynolds' vocal presence and permanent entry into the group was manifested with the release of the R&B Top Ten single "Hey You! Get Off My Mountain." And while Reynolds was replacing Howard, Lenny Mayes was replacing Wilkens, which spelled out identity problems for the remainder of the group. Wilkens formed his own version of the Dramatics and began touring. During this time and pending legal procedures, the name of the group was changed to Ron Banks & the Dramatics.

The Dramatics' success continued with mainly R&B Top 20 hits during the heyday of disco, cracking the R&B Top Ten just once more with "Welcome Back Home" in 1980. In 1981, Reynolds went solo; the group disband after Banks went solo in 1983. The group managed to stay active, reuniting to record new material every three or four years since the early '80s. They occasionally reunite for concert events. ~ Craig Lytle, All Music Guide [-] Hide

The Dells are one of the finest and longest-lived R&B vocal groups in history, and what's most amazing is that they've done it with nearly all the same members -- they haven't changed personnel since 1960. They were one of the very few doo wop outfits to successfully update their sound, finding their strongest commercial niche in the late '60s... [+] Read More

The Dells are one of the finest and longest-lived R&B vocal groups in history, and what's most amazing is that they've done it with nearly all the same members -- they haven't changed personnel since 1960. They were one of the very few doo wop outfits to successfully update their sound, finding their strongest commercial niche in the late '60s and '70s as a polished smooth soul harmony group. While their chart fortunes have certainly fluctuated over the years, they remained a viable act right up into the '90s, by which time they had long since achieved legendary status in the R&B community.

The Dells were formed in 1953 in southern suburbs of Chicago, specifically the town of Harvey, IL, where all the members attended high school together. The original lineup featured lead baritone Marvin Junior, lead tenor Johnny Funches, tenors Verne Allison and Lucius McGill, second baritone Mickey McGill, and bass Chuck Barksdale. Initially called the El-Rays, the group recorded their first single, "Darling I Know," for Chess Records subsidiary Checker that year; it flopped. Lucius McGill departed not long after, and wasn't replaced, cutting the group down to a quintet. Newly christened the Dells, they got another shot in 1955 when they signed to Vee Jay. They had a minor R&B hit with the ballad "Dreams of Contentment" that year, but really scored big in 1956 with the doo wop classic "Oh What a Nite," which featured Funches singing lead and went Top Five on the R&B charts. Thus established, the Dells hit the road, although they found it difficult to duplicate their chart success. Tragedy nearly struck in 1958; on their way to a gig in Philadelphia, the body of the group's station wagon failed, resulting in a serious accident which lacerated Junior's larynx (slightly altering his voice thereafter) and nearly cost McGill the use of his leg. The Dells went on hiatus to recover; in the meantime, Barksdale became a temporary member of the Moonglows, where he sang alongside Marvin Gaye.

The Dells reconvened in 1960 and successfully auditioned to tour with Dinah Washington, as both her opening act and backup group. Funches, however, was tired of touring and decided to stay home with his family, which would be the last time any member left the group. He was replaced by lead/falsetto tenor Johnny Carter, a former member of the Flamingoes. Working with vocal coach Kirk Stewart, the Dells perfected the more challenging art of jazz harmony singing. They toured with Washington for two years, subsequently signing with the Chess subsidiary Argo and releasing four jazz-flavored singles, all of which tanked. They returned to Vee Jay in 1964 and began recording R&B again, though their local nightclub act centered more around jazz; 1965 brought them a Top 30 R&B hit with "Stay in My Corner," their biggest success since "Oh What a Nite." However, Vee Jay went bankrupt in 1966, and the Dells returned to Chess for a third time, this time the Cadet subsidiary; their first two singles, "Thinking About You" and "Run for Cover," became local hits. Also in 1966, the Dells became Ray Charles' touring vocal backup, giving them an opportunity to sing in some of their biggest concert venues yet.

Cadet was where the Dells' career really started to take off. In 1967, the label assigned producer Bobby Miller and arranger Charles Stepney to handle the group, and they began to exploit the striking contrast between Junior's earthy baritone and Carter's luminous falsetto, adding lush orchestrations and plenty of horn charts. The Dells' first album under the Miller-Stepney aegis, There Is, was a smashing success, spawning no less than four hit singles including an expanded remake of "Stay in My Corner" that topped the R&B charts and went Top Ten pop. Suddenly the group was bigger than they'd ever been; their follow-up album, 1968's Always Together, spun off another four singles. 1969's Love Is Blue gave them another R&B number one and pop Top Ten with a remake of their '50s classic "Oh What a Nite." Miller moved on to other projects in early 1970, and Stepney became the Dells' producer on the following year's Freedom Means, which featured the hit ballad "The Love We Had (Stays On My Mind)." After a Dionne Warwick repertory album in 1972, Cadet hired Don Davis as the group's new producer, which paid immediate dividends in the form of the Dells' first certified million-selling single, 1973's "Give Your Baby a Standing Ovation." After a few more hits with Davis, the Dells left Cadet in favor of Mercury in 1975.

Although the group's production kept pace with the times, incorporating nods to disco, their Mercury stint wasn't as successful, and they switched labels again in 1978, jumping to ABC for a couple of albums. It seemed their career momentum had stalled, at least until 1980's I Touched a Dream LP, recorded for 20th Century. Produced by the Chi-Lites' Eugene Record, I Touched a Dream recaptured the Dells' old magic, and was greeted with enthusiastic reviews. The follow-up, Whatever Turns You On, wasn't quite as successful, though, and the Dells wound up spending a number of years off record, returning with a little-noticed old-style soul album in 1988's The Second Time. It looked as though they might be consigned to the oldies circuit until filmmaker Robert Townsend approached them to serve as consultants on his movie about a fictional vocal group, The Five Heartbeats. The Dells recorded a song called "The Heart Is a House for Love" for the soundtrack, which became a left-field R&B chart hit when it was released as a single in 1991. That led to a new album for Zoo in 1992, I Salute You, which attempted to mate the Dells' sound with urban contemporary and new jack swing production; however, it wasn't a hit, and the group returned to touring. Former lead singer Johnny Funches passed away in 1998, and Verne Allison underwent a successful triple bypass in 2000, the same year the Dells released Reminiscing on the revived Volt label; it was their first album of new material in eight years. ~ Steve Huey, All Music Guide [-] Hide

The king of romantic Chicago soul, Tyrone Davis' warm, aching vulnerability and stylish class made him especially popular with female soul fans during a lengthy hitmaking run that lasted throughout the '70s. Best known for the classics "Can I Change My Mind" and "Turn Back the Hands of Time," Davis was a versatile baritone singer who could... [+] Read More

The king of romantic Chicago soul, Tyrone Davis' warm, aching vulnerability and stylish class made him especially popular with female soul fans during a lengthy hitmaking run that lasted throughout the '70s. Best known for the classics "Can I Change My Mind" and "Turn Back the Hands of Time," Davis was a versatile baritone singer who could handle everything from pop-soul to funk to bluesy chitlin-circuit R&B, but smooth soul was his true bread and butter. Once Davis broke through in the late '60s, he never really stopped recording; although the R&B chart hits dried up by the early '80s, he was still going strong into the new millennium, decades after his first single was released.

Tyrone Davis was born May 4, 1938, in Greenville, MS; he spent most of his formative years in Saginaw, MI, and moved to Chicago in 1959, where he eventually found a job as a valet and chauffeur for bluesman Freddie King. He befriended the likes of Bobby "Blue" Bland, Little Milton, and Otis Clay, among others, and began to pursue his own singing career in the clubs on the city's West and South Sides. Singer/pianist Harold Burrage took Davis under his wing and helped him refine his craft, and the budding blues shouter got his first shot in 1965 on the Four Brothers label. His first single, "Suffer," was recorded under the name Tyrone the Wonder Boy and written and produced by Burrage, as was the follow-up "Good Company." Unfortunately, Burrage passed away in late 1966, and after one more single Davis moved on to cut one-offs for Sack and ABC. He found a home at Carl Davis' new label Dakar in 1968, when a Texas DJ flipped his first release over and started playing the B-side, "Can I Change My Mind." Showcasing Davis' lovelorn pleading to best effect, the song went all the way to number one on the R&B charts, and reached the pop Top Five as well.

Teamed with producer/arranger Willie Henderson, who'd masterminded "Can I Change My Mind," Davis capitalized on his breakthrough with a string of orchestrated hits that emphasized his new, smoother style, and helped point the way for Chicago soul into a new decade. "Is It Something You've Got" reached the R&B Top Five in 1969, and it was followed in 1970 by the sublime "Turn Back the Hands of Time." It was his second R&B number one, and also his biggest hit on the pop charts with a peak at number three; plus, the accompanying album of the same name ranks among the best soul LPs of its time, producing two more hits in the R&B Top Ten "I'll Be Right Here" and "Let Me Back In." Davis hit the R&B Top 40 with steady regularity over the next few years, including the Top Tens "Could I Forget You," "I Had It All the Time," "Without You in My Life," and "There It Is." In 1975, he scored his third number one R&B hit with "Turning Point," but left Dakar for Columbia the following year.

Davis' ballad mastery was a main selling point for Columbia, which made his backing orchestrations even lusher than before, but he also made the occasional concession to contemporary dance trends, which informed his debut Columbia hit "Give It Up (Turn It Loose)," a number two R&B single from 1976. Further successes followed in "This I Swear" (1977), "Get On Up (Disco)" (1978), and the slinky ballad "In the Mood" (1979). Davis recorded his final album for Columbia in 1981, then switched to Highrise, where he promptly landed a Top Five R&B hit -- his last, as it turned out -- with "Are You Serious" in 1982. Short stints with Ocean-Front and Prelude followed before Davis settled in with Future for the latter half of the '80s. He spent the first half of the '90s on retro-soul label Ichiban, recording several albums, and then moved to Southern soul imprint Malaco in 1996 for an equally productive stay that lasted into the new millennium. Davis continued to release new albums every year or two, and toured the soul/blues circuit as restlessly as ever. Tyrone Davis suffered a stroke in October of 2004 and remained hospitalized until his death in February of 2005. ~ Steve Huey, All Music Guide [-] Hide

One of the most popular smooth soul groups of the early '70s didn't hail from Philadelphia or Memphis, the two cities known for sweet, string-laden soul. Instead, the Chi-Lites were from Chicago, a town better known for its gritty urban blues and driving R&B. Led by vocalist Eugene Record, the Chi-Lites had a lush, creamy sound distinguished by... [+] Read More

One of the most popular smooth soul groups of the early '70s didn't hail from Philadelphia or Memphis, the two cities known for sweet, string-laden soul. Instead, the Chi-Lites were from Chicago, a town better known for its gritty urban blues and driving R&B. Led by vocalist Eugene Record, the Chi-Lites had a lush, creamy sound distinguished by their four-part harmonies and layered productions. During the early '70s, they racked up 11 Top Ten R&B singles, ranging from the romantic ballads "Have You Seen Her" and "Oh Girl" to protest songs like "(For God's Sake) Give More Power to the People" and "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)." All the songs featured Record's warm, pleading tenor and falsetto, and the majority of the group's hits were written by Record, often in collaboration with other songwriters like Barbara Acklin.

The Chi-Lites had been around for nearly a decade before they finally had a hit in the late '60s. Eugene Record, Robert Lester, and Clarence Johnson formed the doo wop group the Chanteurs in the late '50s, and they released one single on Renee Records in 1959. Shortly afterward, Creadel "Red" Jones and Marshall Thompson, who had sung with the Desideros, teamed with the trio to form the Hi-Lites. Over the next four years, the Hi-Lites released a number of singles on local labels. In 1964, they changed their name to Marshall & the Chi-Lites, adding the "C" as tribute to their hometown Chicago. By the end of the year, Johnson left the group and the remaining quartet truncated their name to the Chi-Lites. Over the next four years, the group continued to perform and release independent singles, with Record slowly emerging as the group's lead singer, songwriter, and producer.

In 1968, the Chi-Lites signed with the large Chicago indie label Brunswick Records, and early the following year "Give It Away" became their first national hit single, reaching number ten on the R&B charts. Despite the moderate success of "Let Me Be the Man My Daddy Was," the group wasn't able to deliver another big hit until "Are You My Woman? (Tell Me So)" climbed into the R&B Top Ten in early 1971, beginning a string of ten Top Ten hits that ran intermittently over the next four years. The follow-up to "Are You My Woman?," "(For God's Sake) Give More Power to the People," was their first pop hit, setting the stage for a pair of slow, soulful ballads, "Have You Seen Her" and "Oh Girl," which both reached number one on the R&B charts; the latter was a number-one pop hit, as well. in the spring of 1972.

Shortly after the release of the hit "Stoned Out of My Mind," the Chi-Lites began to splinter in 1973, when Jones left the group and was replaced by Stanley Anderson, who was quickly replaced by Willie Kensey. The revamped lineup had three Top Ten R&B hits -- "Homely Girl," "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)," and "Toby" -- before they replaced Kensey with Doc Roberson. Shortly afterward, Brunswick became involved in serious financial problems, which prevented the label from promoting the group's record. Frustrated, Record left the band to become a solo recording artist for Warner Bros. The remaining trio, augmented by David Scott and Danny Johnson (who was replaced by Vandy Hampton in 1977), signed with Mercury, but none of their singles were hits.

The original lineup of the Chi-Lites re-formed in 1980, and the group began recording for Eugene Record's label, Chi-Sound. Although their first singles were more successful than their Mercury Records, they didn't have a genuine hit until 1982, when "Hot on a Thing (Called Love)" reached number 15. The following year, they moved to Larc Records, where they had their final Top Ten hit with "Bottoms Up." Late that year, Creadel Jones retired and the group continued to tour as a trio throughout the remainder of the decade. Record left the group in 1990 to record as a solo artist. He was replaced by Anthony Watson. By the early '90s, Jones had re-joined the group, and this version of the Chi-Lites became a regular on the oldies and soul circuit during the '90s. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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... [+] Read More

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. Like his forebear Isaac Hayes, White was not just a deep-voiced crooner, but a talented producer and arranger who'd spent years honing his craft behind the scenes in the industry. And like Hayes, White spent a great deal of time setting up moods on his albums, using lush, sweeping orchestrations to build very gradually to climaxes. (Actually, that probably explains a good deal of his effectiveness.) But White was not simply a Hayes disciple; his swirling productions were less complex than Hayes', but more in tune with the emerging disco sound, which certainly boosted his popularity. Plus, he took full advantage of R&B's new lyrical permissiveness in the wake of Marvin Gaye's Let's Get It On. If his voice was limited, it was also a tremendous asset for the kind of music he recorded -- deep, resonant, caressing, but always suggestively masculine. The total package made White an R&B love-man icon not just for the disco era, but all time. For all but the most dedicated fans, All-Time Greatest Hits is one-stop shopping. ~ Steve Huey, All Music Guide [-] Hide

A great anthology of Tyrone Davis' hits on the Dakar Label, covering a period from 1968 to 1976. People mistakenly labeled Davis a blues singer; he's not. Tyrone is urban R&B seasoned with southern soul. All the tunes that put him over the top are here: the shuffling, bluesy "Can I Change My Mind," the questioning, horn accented "Is It Something... [+] Read More

A great anthology of Tyrone Davis' hits on the Dakar Label, covering a period from 1968 to 1976. People mistakenly labeled Davis a blues singer; he's not. Tyrone is urban R&B seasoned with southern soul. All the tunes that put him over the top are here: the shuffling, bluesy "Can I Change My Mind," the questioning, horn accented "Is It Something You've Got" and there's "Turn Back the Hands of Time," highlighted by some sweet punchy horns. And on, and on. Lesser known releases included the excellent "Could I Forget You," "I'll Be Right Here" and "Homewreckers." Davis' bluesy, baritone/tenor is soothing, assured, and remarkably believable on the 23 tracks. An excellent import CD by one of Americas most underappreciated soul singers. ~ Andrew Hamilton, All Music Guide [-] Hide

The Dells were one of the few groups that rode the transition from doo wop to smooth soul without missing a beat and without falling off the charts. Just as remarkably, the group did so without declining much in quality, as Hip-O's definitive double-disc Anthology proves. Throughout these 36 tracks, the music changes, from street-corner R&B to... [+] Read More

The Dells were one of the few groups that rode the transition from doo wop to smooth soul without missing a beat and without falling off the charts. Just as remarkably, the group did so without declining much in quality, as Hip-O's definitive double-disc Anthology proves. Throughout these 36 tracks, the music changes, from street-corner R&B to string-drenched disco-soul, but in all their incarnations, the Dells always sound wonderful. There are a handful of minor hits missing, but all the big singles -- including both the Vee-Jay and Cadet versions of "Oh, What a Nite" and "Stay in My Corner" -- are here, assembled chronologically. As such, it tells an epic story of a group whose history mirrored the story of R&B vocal groups from the '50s through the '70s. The latter-day material may pale somewhat in comparison to the band's early classics, but it holds up well against other '70s soul. The final cut, the group's surprise 1991 hit "A Heart Is a House for Love" -- their contribution to Robert Townsend's The Five Heartbeats, which was a loose tribute to the Dells themselves -- illustrates that the group sounded terrific well into their third decade of performing, which is a true sign of greatness. Anthology is a testament to their greatness, offering solid proof that they were one of the greatest vocal R&B groups of their time. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Chi-Lites were one of the most influential and skilled vocal groups of the late '60s to the mid-'70s. Producer and lead singer Eugene Record always crafted interesting tracks that made the group stand out in a genre that was full of competition. Greatest Hits assembles 16 of their best 1969-1972 tracks. Early songs, "I Like Your Lovin'" and... [+] Read More

The Chi-Lites were one of the most influential and skilled vocal groups of the late '60s to the mid-'70s. Producer and lead singer Eugene Record always crafted interesting tracks that made the group stand out in a genre that was full of competition. Greatest Hits assembles 16 of their best 1969-1972 tracks. Early songs, "I Like Your Lovin'" and "Are You My Woman," still are a little cluttered and unfocused. This package proves that Record more than caught on. The well-produced "(For God's Sake) Give More Power to the People" accurately depicts the problems of early '70s America without being preachy. The astute "We're Are Neighbors" is a production gem with its blaring horns and fuzz/acid guitar. As polemic tracks began to play out, the Chi-Lites began to concentrate more on ballads. Classics "Oh Girl" and "Have You Seen Her" both have retained their melancholy strength and lyrical prowess. Perhaps the most interesting thing about Greatest Hits is the breadth of their work. From the not too bright protagonist of the "I'm Ready If I Don't Get to Go" to the unintentionally hilarious "Living in the Footsteps of Another Man," the group simply covered more lyrical ground than most of their contemporaries. Greatest Hits also includes the Chi-Lites and Record's most ambitious work. The dreary yet skilled "Coldest Days of My Life" certainly attains the sense of loneliness and isolation that Record often covered in his work. Other anthologies covering their work certainly came after this 1972 set, but Greatest Hits may be most desired by their fans. ~ Jason Elias, All Music Guide [-] Hide

The Spinners were rivaled only by the O'Jays as the greatest Philly soul group, and for that matter the greatest vocal group of the '70s. For listeners who don't want to dig as deeply as the excellent double-CD anthology One of a Kind Love Affair, Rhino's The Very Best of the Spinners is a stellar single-disc career summary that offers a... [+] Read More

The Spinners were rivaled only by the O'Jays as the greatest Philly soul group, and for that matter the greatest vocal group of the '70s. For listeners who don't want to dig as deeply as the excellent double-CD anthology One of a Kind Love Affair, Rhino's The Very Best of the Spinners is a stellar single-disc career summary that offers a concentrated dose of the group's sweet soul magic. It also serves as a primer on the best work of Thom Bell, Philly soul's "other" great producer besides the legendary Gamble & Huff team. Incredibly, every one of the 16 tracks here -- culled from 1970-1980 -- reached the R&B Top Ten, and half went all the way to number one on either the pop or R&B lists. As this collection demonstrates, the Spinners' massive popularity was well-deserved. Built around the magnetic leads of Philippe Wynne, their records were tastefully, elegantly romantic, full of adult heartache and longings as complex as the group's shifting harmonies. The compilers also license the pre-Wynne Motown hit "It's a Shame," co-written by Stevie Wonder, and include two disco-tinged medleys that returned the Spinners to the Top Ten for the last time at the close of the '70s. But the Wynne material is really the backbone of their output, and Thom Bell's gorgeous production frames his voice with just the right amount of sweetness. There's more to discover on One of a Kind Love Affair, but The Very Best of the Spinners is so solid from top to bottom that it's hard to argue with; one or the other is a necessary purchase for anyone even remotely interested in '70s soul. ~ Steve Huey, All Music Guide [-] Hide