When it comes down to it, Barry White is my favorite artist of all-time. Since the time I was 9, all of my musical roads have led back to him. My mom got me a disco hits compilation and I loved most of the songs, but "Can't Get Enough of Your Love, Babe" was the standout for me. When I was 12, I purchased a three-CD 70s R&B compilation solely because it had Barry White's "I'm Gonna Love You Just a Little More, Baby". Not the wisest of financial moves.
The next year, I saw that my dad had a Barry White greatest hits CD. Naturally, I took it and played it to death every day after school. Then I uncovered two old vinyls of The Man and Barry White Sings for Someone You Love. While traveling to Montreal that summer, all I could think of (besides being in lovely Canada!) was getting back home to the turntable, the LPs and listening to the sweet string ending of "Of All the Guys in the World". White so stridently yet so easily caresses his music with romantic tenderness. The idea of a former street hustler creating music dedicated to love and expressed through a 40-piece orchestra is just mind-boggling. I have since learned other definitions and exhibitions of emotion as it relates to music, but Barry was the 1st. He's the genesis for how I judge and interpret all of the other musicians I have come across.
So here is the 1st part of my ode to the Maestro of Love, a nice overview and intro to all of his albums.
The next year, I saw that my dad had a Barry White greatest hits CD. Naturally, I took it and played it to death every day after school. Then I uncovered two old vinyls of The Man and Barry White Sings for Someone You Love. While traveling to Montreal that summer, all I could think of (besides being in lovely Canada!) was getting back home to the turntable, the LPs and listening to the sweet string ending of "Of All the Guys in the World". White so stridently yet so easily caresses his music with romantic tenderness. The idea of a former street hustler creating music dedicated to love and expressed through a 40-piece orchestra is just mind-boggling. I have since learned other definitions and exhibitions of emotion as it relates to music, but Barry was the 1st. He's the genesis for how I judge and interpret all of the other musicians I have come across.
So here is the 1st part of my ode to the Maestro of Love, a nice overview and intro to all of his albums.
I've Got So Much To Give (1973)
White's reluctant solo debut. After producing an album for Love Unlimited (who contribute backing vocals on all his 70s albums), friends of the Maestro insisted that he record an album himself. Their reasoning? Who could be better than White at singing and interpreting the lyrics he wrote.
It was a great call. This album features three bona fide classics in its 5 tracks. The funky and raunchy "I'm Gonna Love You Just a Little More, Baby" went to #1 R&B and #3 pop. "I've Found Someone" is a sweet ode to finding new love, while the title track is an 8-minute ballad. It's driven by White's at-first somber piano intro and then carried by a magnificent orchestral arrangement complete with sweeping strings and bellowing French horns. It builds and builds and builds and then... drops off in the end to a drunk-on-love White rapping while cymbals fluttering like butterflies, a flute darts in and out, and a guitar caressingly rolls around.
It was a great call. This album features three bona fide classics in its 5 tracks. The funky and raunchy "I'm Gonna Love You Just a Little More, Baby" went to #1 R&B and #3 pop. "I've Found Someone" is a sweet ode to finding new love, while the title track is an 8-minute ballad. It's driven by White's at-first somber piano intro and then carried by a magnificent orchestral arrangement complete with sweeping strings and bellowing French horns. It builds and builds and builds and then... drops off in the end to a drunk-on-love White rapping while cymbals fluttering like butterflies, a flute darts in and out, and a guitar caressingly rolls around.
Stone Gon' (1973)
A quick follow up album that also features just five songs, Stone Gon' only has two tracks that can be genuinely called songs. "Never Never Gonna Give You Up" (#2 R&B, #7 Pop) is the funky business on this album. It commences hauntingly, almost sinister in fact, before exploding into a sonic orgasm. Huge fan of the "light on its feet" flute popping about like its running across hot coals. "Honey Please Can't You See" is the 1st song in his solo catalog that openly hints at the disco revolution he'd soon release on his next solo album and with the Love Unlimited Orchestra.
The other three tracks are extended rappings, but they are impeccable night time music to relax to. Particularly the 2-3 minute outros on "Hard to Believe That I Found You" (with a plaintive sax) and "Girl It's True, Yes I'll Always Love You" are gorgeously slumber-inducing.
The other three tracks are extended rappings, but they are impeccable night time music to relax to. Particularly the 2-3 minute outros on "Hard to Believe That I Found You" (with a plaintive sax) and "Girl It's True, Yes I'll Always Love You" are gorgeously slumber-inducing.
Can't Get Enough (1974)
White's commercial peak. The album went to #1 as did it's title track. Perhaps his most well-known song with a festive feel enhanced by White double-tracking his lead vocals. For my money, it's the most effective love song he wrote. However, the most effective love song he recorded was "You're the First, the Last, My Everything" an old country tune he gussied up and turned into a disco classic that just glides so easily (and glided to #2 on the pop chart).
Surprisingly, there is only one extended song, in contrast to the earlier albums. It's no great shakes. The two left over songs, though, ain't nothing to play with, especially "Oh Love We Finally Made It", which is built around a fine, rumbling bass line and closes with a sax wailing to high heaven. "I Love You More Than Anything (In This World Girl)" for the first time finds White in a bragging mood, perhaps gaining confidence in his abilities, by declaring "finders keepers, losers weepers" as he implores he new love to forget about her sad sack previous man.
Surprisingly, there is only one extended song, in contrast to the earlier albums. It's no great shakes. The two left over songs, though, ain't nothing to play with, especially "Oh Love We Finally Made It", which is built around a fine, rumbling bass line and closes with a sax wailing to high heaven. "I Love You More Than Anything (In This World Girl)" for the first time finds White in a bragging mood, perhaps gaining confidence in his abilities, by declaring "finders keepers, losers weepers" as he implores he new love to forget about her sad sack previous man.
Just Another Way to Say I Love You (1975)
The closing album in White's initial glory run, it featured his last top ten hit until 1978 in "What Am I Gonna Do With You". And my goodness was it a well-deserved hit. I can still remember where I was the 1st time I heard it. It just (over)flows with energy, every instrument working in concert to take the song higher and higher. And the tongue-rolled dum-dum-dums he spurts out at the end... screw it, just listen to the song now.
"Heavenly, That's What You Are to Me" continues the Barry White tradition of closing songs on a gorgeous note, especially its harp and radiating guitar, but the whole thing is complimentary. "All Because Of You" reverses the formula though, commencing with two minutes of heavenly buildup, White calmly, confidently just throws out various things that exist all because he loves his special lady.
Of final note is the two-part "Love Serenade", easily the freakiest thing White recorded, which is hard to dispute when comes right on out and says "take it off... take it all off" in the song's first few seconds. Definitely not something for the kids. but I listened to it at age 12 and I turned out just fine.
"Heavenly, That's What You Are to Me" continues the Barry White tradition of closing songs on a gorgeous note, especially its harp and radiating guitar, but the whole thing is complimentary. "All Because Of You" reverses the formula though, commencing with two minutes of heavenly buildup, White calmly, confidently just throws out various things that exist all because he loves his special lady.
Of final note is the two-part "Love Serenade", easily the freakiest thing White recorded, which is hard to dispute when comes right on out and says "take it off... take it all off" in the song's first few seconds. Definitely not something for the kids. but I listened to it at age 12 and I turned out just fine.
RSS Feed