Released: January 1974
The Love Unlimited Orchestra had existed in all but name since Love Unlimited’s debut album in 1972. After playing on Barry White’s solo debut early 1973, the Orchestra got even more shine on Love Unlimited’s second album since the symphonic unit got two instrumental showcases: “Love’s Theme” and “Yes, We Finally Made It”.
Well, I don’t know whose idea it was, but somebody decided to release “Love’s Theme” in late 1973 as a single. As I’ve written about previously it was a global smash reaching the top 10 in Australia, Belgium, Netherlands, and the UK while reaching #1 in the Canada, South Africa, and the US where it was the third biggest single of 1974.
No doubt an album was forthcoming with those kinds of sales. Unsurprisingly, Rhapsody in White did major work going gold in the United States where it hit #8 on the Billboard 200 and #2 on the R&B album charts.
Honestly, this disc probably achieved gold sales based purely on the laurels of “Love’s Theme”, but fortunately there’s lots of good music here beyond the hit single.
The album begins appropriately with “Barry’s Theme” to compliment the theme already given to Love Unlimited. Whereas “Love’s Theme” begins with an avalanche of strings, this theme starts off with a slow build up of percussion revealing this endeavor will be a bit funkier and groove-laden.
Other similarly funky excursions include “Midnight and You” plus a recycled 1960s song White had written for Felice Taylor (“I Feel Love Coming On”). Unsurprisingly, given its title, “What A Groove” is the funkiest of the bunch. However, it should be stated all of these instrumentals are funky not quite full-fledged funk, except maybe “What A Groove”.
Not a bad thing since White is melding symphonic sounds with the backbone of R&B and funk to create something unique. Hey, he’s moving beyond his influences and being distinctive!
The symphonic side of things does shine through more on tracks like “Rhapsody in White”, which is undeniably a clone of “Love’s Theme”. That means it’s a fine outing, but not quite as good as its source material. “Don't Take It Away From Me” is the closest track here to an out and out disco record.
“Certain things turn me on…” is how White kicks off “Baby Blues”, which also provides a fine saxophone solo. Yes, this is probably the sexiest song here. Only competition is “Midnight and You”. Wouldn’t be a Barry White production without some sultry/sexy music.
ALBUM GRADE: B
Overall this a very good, if weird, album as it strangely straddles the worlds of soul, funk, (proto-)disco, and easy listening. I can easily see someone from any one of those sub-genres chiding this for being too much like one of the others.
As someone who likes cross-pollination of sounds, that’s gold for me, though.
Song Scores
Barry’s Theme: 7.5/10
Rhapsody in White: 7/10
Midnight and You: 8/10
I Feel Love Coming On: 6/10
Baby Blues: 8/10
Don't Take It Away From Me: 6.5/10
What A Groove: 7/10
Love’s Theme: 9/10