Carol Duboc originally began her musical career as a background singer and a songwriter, writing R&B hits for Chante Moore, Stephanie Mills, and Patti LaBelle. Her solo career, which has as of this writing resulted in four CDs, features her performances mostly falling in the smooth field where her likable and warm voice is heard at its best on ballads. Her Songs for Lovers has Duboc's voice showcased throughout, other than a guest appearance by flutist Hubert Laws. She contributed eight of the ten songs with "My Valentine" (also released as a single) being featured in two versions. While some of Duboc's pop songs might be covered by otherwise, her most memorable performance in this program is her rendition of "Feel Like Making Love." Still, it would be preferable to hear her with a "real" band, since Tim Carmon (with his overdubbed keyboards and drum programming) is responsible for all of the music, other than a few appearances by two guitarists and Laws, and the performances lack much spontaneity. Fans of Carol Duboc's voice, however, will want this release. ~Scott Yanow
Nusrat Fateh Ali Khan opens this album as he often opened his live shows, by calling upon God in the form of Allah to come and bless the gathering with His presence. For that is the sole purpose of the qawwal: to reach God through music, through his voice. And this collection of Devotional and Love Songs is set forth with that in mind. Unlike some of Khan's more Western-influenced releases, such as Mustt Mustt and Night Song, the songs are presented here with minimal instrumentation (mostly harmonium and tabla) in the traditional call and response form, with Khan singing a line that is echoed by the party of musicians that shares the stage with him.
CAROL WILLIAMS, from Montclair, New Jersey, was the first female singer to sign a solo recording contract with the legendary disco label Salsoul Records. With Williams vocal audition trumping all other hopefuls, allied with her extensive experience in the industry due to being an integral member of soul groups The Geminis and The Del-Rios, she was the obvious choice for the label who were looking for their equivalent of Gloria Gaynor who was riding high at the time with the success of her disco smash “Never Can Say Goodbye.” Williams soon got to work with legendary producer and multi-instrumentalist Vincent Montana, Jr. and his incredible Salsoul Orchestra, contributing not only several track selections but also co-writing three of the cuts on her debut offering.