Jean Knight could do no wrong in 1971, when the strutting "Mr. Big Stuff" was climbing the pop and R&B charts, well on its way to becoming one of the most familiar chart hits of all time. Her debut album, with its no-brainer title, featured a lot of good material on it, not all of it in the same vein as her hit. Producer/arranger Wardell Quezergue (he also appeared on keyboards) handled the record well, with a band consisting of Malaco hands like guitarist Jerry Puckett and drummer James Stroud.
When Malaco Records started out in the late 1960s, the label that small Southern R&B companies looked up to was Stax. The Jackson, MS-based Malaco, like the Memphis-based Stax, focused mainly on deep-fried Southern soul in the beginning – only in 1968 and 1969, Malaco was a struggling young operation that was fighting to stay afloat. But ironically, Malaco would still be in business long after Stax's 1975 demise, and it would continue to favor classic soul long after most labels had moved away from it. When other black-oriented independents were putting out urban contemporary, rap and house music in the 1980s and 1990s.
39 Track compilation featuring artists from Universal & associated labels.
Selon Jean-Jacques Marie, plus que son virage libéral (beaucoup plus détaillé d'ailleurs chez Knight et surtout Thom), c'est sa volonté de réduire le pouvoir du comité central du parti communiste d'Union soviétique au profit, d'une part des organes de l'Etat, d'autre part des structures locales dudit parti communiste, qui a causé la chute de Beria. Son vrai crime, aux yeux de ses pairs, n'était pas tant l'amnistie partielle des déportés du goulag ou sa critique de la direction est-allemande qu'une simple réforme administrative qui aurait pu remettre en cause le pouvoir des dignitaires du comité central sur la nomenklatura. …