Moving On is Oleta Adams' most straightforward and mainstream release to date. Considering that she is working with Whitney Houston and Mariah Carey's producers (Rich & Friedman and Vassal Benford, respectively), the shift in sound shouldn't come as much of a surprise. What is a surprise is how well Adams' subtle voice works in this setting, adding extra textures to the subdued arrangements. Unfortunately, that can't compensate for inconsistent material, but Moving On remains a fine contemporary soul record.

Originally released in 1973 on Encounter Records, Profile's Sands of Time was produced by Bernard Purdie (a living, walking definition of soul-jazz drumming), and the album bears his signature sound. With Don Sands on organ, Dave Barron on guitar, Seldon Powell on tenor sax, Garnett Brown on trombone, Jimmy Owens on trumpet, Paul Martinez on bass, and Purdie and Butchman Bateman sharing the drum kit, with help from percussionist Norman Pride, the album catches an easy, gently funky shuffle tone from the opening track, Barron's "99 Baseball," and then never lets go. Instrumental versions of Al Green's "Let's Stay Together," Isaac Hayes' "Shaft," and Jimmy Webb's (via Isaac Hayes) "By the Time I Get to Phoenix" all fall into a delightful rainy-day groove, making Sands of Time somewhat of a lost classic.

Hall & Oates were in the middle of recording Private Eyes when Voices suddenly, unexpectedly broke big, with "Kiss on My List" reaching number one not just on the Billboard charts, but in Cashbox and Record World. As the album's producer, Neil Kernon, admits in Ken Sharp's liner notes to the 2004 reissue of the album, everybody knew that the new record would have to do better than Voices, but even if Hall & Oates were under a lot of pressure, they were in the fortunate position of not just having reintroduced their modernized, new wave-influenced blue-eyed soul on their previous record, but they already had much of the material nailed down. In other words, the sound and songs on Private Eyes were essentially conceived when the group was confident of the artistic breakthrough of Voices but not swaggering with the overconfidence of being the biggest pop act in America…

A stellar solo set from John Edwards - one of the tightest talents of the southern scene in the mid 70s, and a singer who would later break big with The Spinners! This album's got a really unique vibe - with some slight tropical touches hinted at by the cover image - and some deeper production from David Porter down at the Malaco and Ardent Studios - which ensures that the deep soul component of the music still stays strong! The whole thing's unlike anything else we can think of - and is a definite bridge between 70s soul scenes at the time - echoes of folks like Al Green or Sam Dees, but a tighter approach at points too.

Dance Across The Floor is a 1978 disco and funk release by Jimmy “Bo” Horne, capturing the peak energy of the late 1970s dancefloor era. Known for his infectious groove-driven style, Horne delivers a collection of upbeat tracks built around tight rhythm sections, funky basslines, and catchy vocal hooks designed for club and radio play. The album’s centerpiece, “Dance Across The Floor,” exemplifies the era’s disco aesthetic with its extended groove, rhythmic repetition, and celebratory atmosphere, making it a staple in underground and mainstream dance scenes alike. Across the record, funk influences remain strong, giving the album a rawer edge compared to more orchestral disco productions of the time. Songs like “Get Happy” and “Gimme Some” maintain a consistent party-driven energy, while variations such as instrumental and acapella versions highlight the rhythmic structure and vocal charisma behind the compositions. The production is warm, analog, and groove-focused, reflecting the Miami disco-funk sound that defined Sunshine Sound releases. Overall, the album stands as a classic example of late-70s dance music designed for continuous movement and club-oriented listening.

Miami Vice - The Ultimate Collection is a 2004 compilation inspired by the iconic television series Miami Vice, bringing together a curated selection of songs that defined the show’s distinctive atmosphere and cultural impact during the 1980s. The series became known not only for its stylized visuals and cinematic storytelling but also for its groundbreaking use of contemporary music, blending rock, pop, synth-driven soundscapes, and soulful ballads to enhance its urban crime narrative. This collection reflects that signature sonic identity by gathering tracks from a wide range of influential artists who shaped the era’s musical landscape. From atmospheric instrumentals composed by Jan Hammer to chart-topping hits by artists such as Phil Collins, Glenn Frey, Tina Turner, and Don Henley, the compilation captures both the emotional intensity and stylish coolness associated with the show. The inclusion of synth-heavy instrumentals reinforces the neon-lit aesthetic and moody tone that became synonymous with Miami Vice. Overall, the release serves as both a nostalgic tribute and a comprehensive overview of the music that helped define one of television’s most influential series.

Success Motown is a 1996 compilation bringing together classic recordings by Michael Jackson and The Jackson 5 from their influential Motown years. The collection highlights the early development of Michael Jackson as both a solo vocalist and lead member of The Jackson 5, capturing the youthful energy, soulful melodies, and polished production style that helped define Motown’s success during the late 1960s and early 1970s. The album combines upbeat funk-driven pop hits with emotional ballads, showcasing the versatility and natural charisma that made these recordings timeless. Tracks such as “ABC,” “I Want You Back,” and “I’ll Be There” reflect the infectious rhythm and vocal harmonies of The Jackson 5, while solo recordings like “Ben” and “Got To Be There” emphasize Michael Jackson’s emotional vocal maturity at a remarkably young age. The production remains rooted in classic Motown songwriting traditions, featuring memorable hooks, rich orchestration, and danceable grooves. Success Motown serves as an accessible overview of some of the most beloved early recordings from Michael Jackson’s formative musical era.

NOW 100 Hits 80s is a massive five-disc retrospective collection celebrating some of the most iconic and influential songs of the 1980s across pop, rock, soul, funk, and R&B. Released in 2019 by Universal Music On Demand, the compilation brings together a broad range of chart-topping artists and unforgettable hits that defined one of the most diverse decades in popular music history. The set moves through energetic dance-pop anthems, synth-driven new wave classics, soulful ballads, funk grooves, and arena-ready rock tracks, offering a comprehensive overview of the decade’s musical landscape. Featuring legendary performers such as Queen, Whitney Houston, Lionel Richie, Tears For Fears, Duran Duran, Chaka Khan, and Fleetwood Mac, the collection balances mainstream classics with enduring club favorites and radio staples. The sequencing across all five discs maintains strong variety while preserving the nostalgic atmosphere associated with 1980s music culture. Overall, the compilation serves as an expansive introduction to the era’s defining sounds and remains an essential collection for listeners interested in classic 80s music across multiple genres.