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[2] "one" was also placed on the corresponding album, grow into one. Despite LISA being in the song, the track listing on the back covers of the single did not list her as the featured artist. [3] Both "m•a•z•e" and "one" made it to the album grow into one, but only "m•a•z•e" had its own music video placed on the DVD 7 Spirits.
Joy and Pain is the fourth album by Bay Area-based R&B group Maze, released on July 18, 1980, on Capitol Records. [2] The album features the R&B hits "Southern Girl" and "The Look in Your Eyes," along with the title track, all of which remain staples on Urban radio stations.
Signed to a recording contract with Capitol Records in 1976, Maze would release their debut album, Maze featuring Frankie Beverly in 1977. From that album, Maze would earn a devoted fan base with classic tracks "Happy Feelin's", "While I'm Alone" and "Lady of Magic" ultimately giving them their first gold record.
Maze, also known as Maze Featuring Frankie Beverly and Frankie Beverly & Maze, is an American soul band founded by Frankie Beverly in Philadelphia in 1970. [1] Under its original name Raw Soul, the band moved to San Francisco and was introduced to Marvin Gaye. Gaye took the group on the road with him as one of his opening acts, and in 1976, he ...
[2] Smash Hits: 8/10 [3] We Are One is the fifth studio album and sixth overall album by Bay Area-based R&B group Maze. It was released in 1983 on Capitol Records.
"Before I Let Go" is a song performed by American R&B band Maze, issued as the second single from the band's fifth album and first live album Live in New Orleans. Although Live in New Orleans is a live album, "Before I Let Go" appears on the album as a studio recording. [ 4 ]
Live In New Orleans is the first live album and fifth overall album by Bay Area-based R&B group Maze. Recorded live at Saenger Theatre in New Orleans, Louisiana November 14–15, 1980. With four new tracks recorded at The Automatt in San Francisco, California.
The Rolling Stone Album Guide wrote that Silky Soul "finds Maze updating its graceful sound with a subtly bracing touch of synthesized rhythms." [5] The Boston Globe thought that Frankie Beverly ably spans "boudoir intimacies and pleas for South African liberation and black cooperation—all with a voice as cool and buttery as [Marvin] Gaye's."