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About Love Unlimited Orchestra
The longtime support unit for R&B love man Barry White, the 40-piece Love Unlimited Orchestra's lush, string-laden sound helped set the stage for the emergence of disco. The ensemble was originally formed by White to back his female proteges Love Unlimited beginning with their 1972 debut LP; the orchestra soon began supporting White himself as well, and in 1974 they issued their first LP Rhapsody in White, scoring a hit with the single "Love Theme." Two other albums, Together Brothers and White Gold, appeared later that same year, and in 1975 theLove Unlimited Orchestra returned with Music Maestro Please. Around the time of the release of 1976's Sweet Summer Suite, the orchestra welcomed to its ranks a new member, saxophonist Kenny Gorelick, who under the name Kenny G. later went on to considerable success as a solo act. After recording the theme to Dino de Laurentiis' big-budget 1977 remake of King Kong, the Love Unlimited Orchestra recorded My Musical Bouquet a year later; Just a Little Bit Different followed in 1979, and in 1981 the group yielded two more LPs, Let 'Em Dance and Welcome Aboard. 1983's Rise was the final new Love Unlimited Orchestra LP, although they continued backing White in the studio and onstage. ~ Jason Ankeny, All Music Guide
Love Unlimited Orchestra's Discography (2)
| The Best Of Love Unlimited Orchestra | Polygram Records |
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| Rhapsody In White | Mercury Records |
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Compilations Featuring Love Unlimited Orchestra (20)
| Love Songs |
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| Love Songs |
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| Sampled Volume 4 | Virgin Recor... |
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| Sampled: volume 4 | Virgin Recor... |
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| I Love Christmas | BBC Worldwid... |
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Shazam Recommends...
Shazamers Who iD'd Love Unlimited Orchestra
| Featured Review | |
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Kids MGMT |
| With 2005's "Time To Pretend" MGMT created a musical moment that would resonate for the next three years, putting it amongst the creme de la creme of new millennium indie anthems. With latest single, "Kids", MGMT fail to scale the heights they did with their first single, but still deliver a track that has met with strong approval from such critical sources as Pitchfork media, Zane Lowe and, surprisingly, dance music bible Mixmag who cited it as one of their "tunes of the year". Sporting an overridingly childlike melody that shimmers due to the interesting use of a distorted stylophone, the track washes over the listener thanks to the great use of a Gary Numan-esque synth line. This is all brought to the fore on the new remix by Belgian dance maestros Soulwax, who turn the muted indie cool of the original into an irrepressible club monster. If any evidence is needed, here is a clip of Erol Alkan playing the track at the recent Pukkelpop festival. Quite simply, amazing! | |
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