Walmart US Ecommerce Website

GENERAL MERCHANDISE

PHARMACY

GROCERIES

VUDU

SPARK

PHOTO

ADVERTISING

SAVINGS CATCHER

GIFTCARDS

INHOME

AFFILIATE

ONEAPP

LOTUS

HELP

SMART_REORDER

GROCERY

CONV_COMMERCE

New Copy Block Topic Module, Tuesday, April 09, 2024, 3:25:19:46 am

New Pills Module Module, Thursday, August 22, 2024, 2:14:30:02 pm

Sort

Sold By

In-store

Speed

Price

Online Savings

Availability

Customer Rating

New Sort & Filter on Topic Page Module, Monday, January 15, 2024, 3:08:36:58 pm

Best Seller

Best Match

Price: low to high

Price: high to low

Walmart

Marketplace sellers fulfilled by Walmart

Marketplace sellers

Tomorrow

2 days

Anytime

Electronics

Movies & Music

$3 - $5

$5 - $10

$10 - $20

$20 - $30

$30 - $40

$40 - $50

$50 - $75

Reduced Price

Online

Not Sold Online

In Store

Out of Stock Online

4 - 5 Stars

3 - 3.9 Stars

2 - 2.9 Stars

1 - 1.9 Stars

« Foot Loose & Fancy Free (Remaster) » de Rod Stewart

Rod Stewart continued to regain his strength with "Vagabond Heart," the follow-up to his comeback album, "Out of Order." "Vagabond Heart" is a stronger, more diverse album than its predecessor, featuring a more consistent set of songs, including Robbie Robertson's "Broken Arrow" and the hit "Motown Song," as well as a convincing, impassioned performance by Stewart. - by Stephen Thomas Erlewine, Rovi

« Vagabond Heart » de Rod Stewart

The somber black and white cover could have been a knowing allusion to "Meet the Beatles!," but it's really a signal that Van Halen is playing it for keeps on "OU812," their second record with Sammy Hagar. Indeed, the striking thing about: "OU812" is that all its humor is distilled into a silly punny title, because even the party tunes here -- and there are many -- are performed with a dogged, determined vibe. When David Lee Roth fronted the band, almost everything that Van Halen did seemed easy -- as big, boisterous, and raucous as an actual party -- but Van Hagar makes good times seem like tough work here. Apart from a few cuts -- the countryish hook on "Finish What Ya Started," the slow, bluesy strut "Black and Blue" -- the riffs are complicated, not catchy, the rhythms plod, they don't rock, and Sammy strains to inject some good times by singing too hard. It gives "OU812" a bit of a dour feel, not entirely dissimilar to "Fair Warning," but unlike that early unheralded gem, this isn't a descent into darkness; it's merely a very inward rock record, as Eddie Van Halen pushes the band toward interesting musical territory. Often, this takes the form of jazzy chord changes or harmonies -- most evidently on the sleek opener, "Mine All Mine," but also on the otherwise metallic boogie "Source of Infection" -- but there's also "Cabo Wabo," the longest jam they've laid down on record to date, and a cover of Little Feat's "A Apolitical Blues" (which could have been a salute to producer Ted Templeman's early glories as much as a chance to do some down-n-dirty blues rock). Of course, there's also a pair of power ballads here, both poppier than the ones on 5150 -- "When It's Love" is pure balladry, "Feels So Good" rides along on a gurgling synth -- but really, they're red herrings on a record that's the hardest, darkest rock Van Halen has made since "Fair Warning." And if it isn't as good as that record (even if it's nearly not as much fun), it's nevertheless the best showcase of the instrumental abilities of Van Hagar. ~ Stephen Thomas Erlewine, All Music Guide

« OU812 » de Van Halen

ZZ Top Afterburner

Katy's new album features "Roar," "Unconditionally," "Dark Horse" feat. Juicy J, "Walking on Air" and more! The deluxe edition includes 3 bonus tracks.

Katy Perry - Prism (Deluxe Edition)

"Iron Maiden - Classic Albums: The Number Of The Beast": Eagle Visions Classic Albums series is well established as the ultimate guide to the albums that have defined our lives. Iron Maiden's "The Number Of The Beast" was the album that launched the band onto a global stage. Featuring new vocalist Bruce Dickinson it topped the UK charts, took them in to the US Top 40 for the first time and was a top 10 album around the world. This programme features interviews with band members Bruce Dickinson, Steve Harris, Adrian Smith, Dave Murray and Clive Burr. Also featured are manager Rod Smallwood and album producer Martin Birch. Adrian Smith contributes exclusive acoustic guitar versions of "Children Of The Damned" and "The Number Of The Beast." There are masses of previously unseen footage from the "Beast On The Road Tour" show at Hammersmith Odeon and a full length version of "Hallowed Be Thy Name" from 2001s "Rock In Rio."

Iron Maiden - Classic Albums: The Number Of The Beast (Music DVD)

Josh Groban's fifth studio album, 2010's Illuminations, finds the vocalist working with songs informed as much by American roots music as by the classical crossover sound he helped popularize. Featuring production from famed producer Rick Rubin (Red Hot Chili Peppers, Johnny Cash, Metallica), the album includes many Groban originals, some of which were co-written with former Semisonic frontman and Dixie Chicks collaborator Dan Wilson. Also lending their talents here are such luminaries as guitarist Smokey Hormel, organist Spooner Oldham, arrangers David Campbell and James Newton Howard, Brazilian star Carlinhos Brown, and others., Rovi

Josh Groban - Illuminations

Reba McEntire's "Greatest Hits" covered the singer's early tenure on MCA Records, 1984-1987 (following her seven-year stint at Mercury Records), and was thus the sound of a country artist coming into her own. It also found McEntire pledging allegiance to the neo-traditionalist school of country music. Greatest Hits, Vol. 2 is a sampler of what came after in the years 1987 to 1993, as McEntire eased back on the traditionalism and returned to contemporary country crossover. The collection contains ten of the 22 singles McEntire released during the period, all but one of which reached the country Top Ten. Two of them are newly recorded songs: "Does He Love You," a duet with Linda Davis that went on to hit number one and win a Grammy Award for Best Country Collaboration with Vocals, and "They Asked About You," which reached the Top Ten. The other eight songs are not the eight most successful of the remaining 20 singles. In fact, five number-one hits McEntire scored during the period are missing. (For the record, they are "The Last One to Know," "I Know How He Feels," "New Fool at an Old Game," "Cathy's Clown," and "The Heart Won't Lie.") If the choices seem arbitrary in terms of chart statistics, it may be that McEntire herself made the selections on the basis of what the songs meant to her and what she thought they meant to her fans. "Fancy," for example, a revival of a Bobbie Gentry song that only reached number eight, has a feisty message about succeeding against the odds, even if you have to break the rules to do it, while "The Greatest Man I Never Knew," a woman's reflection on her supportive, if emotionally remote father, may have struck a strong chord with the singer as it did with many of her listeners, even if it didn't quite get to number one. There also seems to have been an attempt to treat the disc as a regular album in the sense of pacing and contrast in tempo. That makes it listenable, and it certainly does contain some of McEntire's better songs of the period. But it omits more than it includes. ~ William Ruhlmann, All Music Guide

Reba McEntire - Greatest Hits, Vol. 2

Dire Straits - Dire Straits (Remaster)

Toronto - The Greatest Hits

Tim McGraw has had an impressive string of chart successes. The snarling "Do You Want Fries with That" is included and "Real Good Man" is also here. McGraw's version of Bruce Robison's "Angry All the Time" is both a striking song and performance and is the clear centerpiece of this collection, while "Find Out Who Your Friends Are," which features Tracy Lawrence, has a comforting and commonplace wisdom, and anyone who has had a flat tire in the middle of nowhere and then discovered that there's no jack in the trunk, well, this is the song you'll want to sing, and yes, you'll probably find out who your friends are, which is always good to know. ~ Steve Leggett, Rovi

Tim McGraw - Greatest Hits, Vol. 3

Rise Against has moved up in the sonic nicety department -- loud rock vet GGGarth produces, and the Andy Wallace mix is a flawless cross section of thick, grit, and slick. But Siren Song of the Counter Culture is simply the band's latest statement, combining their significant yet not unwelcome Bad Religion influence with nods to the rousing choruses of peers like A.F.I. Beyond that grandiose title, Rise Against seem to have diversified their lyrical base. There are still salvos of sharply defined social criticism -- "If we're the flagship of peace and prosperity/We're taking on water and about to f*cking sink," begins the blistering hardcore opener, "State of the Union." But Rise Against also rock on the personal reflection or relationship tip. "Paper Wings" builds a sad story about growing apart around a winning lead guitar lick straight from their Fat Wreck past, while the staggeringly paced "Blood to Blood" is in the bitter first person. "'I don't love you anymore/Is all I remember you telling me." Sometimes Siren Song gets carried away with its own melodic urgency. The multiple layers of guitars and somewhat obvious mixing tweaks in "Tip the Scales" and "Rumors of My Demise Have Been Greatly Exaggerated" lead Rise Against to lose the thread of hardcore volatility that's driven them since the beginning. Still, this is their major-label debut, and a band's gotta eat, so maybe the fuller sound and occasional forays into acoustic guitars and cello overdubs ("Dancing for Rain") are OK. Rise Against has always been pretty sincere in both its politics and commitment to hardcore revivalism, so if Siren Song nods to accessibility, it's only to recruit more kids for the raging. ~ Johnny Loftus, Rovi

Rise Against - Siren Song Of The Counter Culture

The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Pete Townshend. Hailed as a breakthrough upon its release, its critical standing has diminished somewhat in the ensuing decades because of the occasional pretensions of the concept and because of the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot. Nonetheless, the double album has many excellent songs, including "I'm Free," "Pinball Wizard," "Sensation," "Christmas," "We're Not Gonna Take It," and the dramatic ten-minute instrumental "Underture." Though the album was slightly flawed, Townshend's ability to construct a lengthy conceptual narrative brought new possibilities to rock music. Despite the complexity of the project, he and the Who never lost sight of solid pop melodies, harmonies, and forceful instrumentation, imbuing the material with a suitably powerful grace. ~ Richie Unterberger, Rovi

The Who - Tommy

Replacing the band's volume in A&M's Classics series, Greatest Hits collects all Styx's major chart and radio hits, from "Lady" to "Show Me the Way." Although they were a definitive album-oriented rock band, creating records that were meant to be listened to as a whole, their finest moments were always their singles, making Greatest Hits the only Styx disc many fans will need to own. ~ Stephen Thomas Erlewine, Rovi

Styx - Greatest Hits

After finally running out their 13-year, seven-plus album deal with a poisonously indifferent Atlantic Records via 2005's workmanlike Octavarium, progressive metal standard bearers Dream Theater took advantage of their well earned free agent status to enjoy a heated courtship from several interested labels, before eventually settling on the artistically simpatico Roadrunner. But, ironically, Dream Theater's first album for the label that heavy metal built, 2007's Systematic Chaos, was relatively accessible by the group's standards, complementing every epic and complex composition with a comparatively concise and hooky song, thus leaving it to its 2009 successor, Black Clouds & Silver Linings, to really flex the band's progressive metal muscles to their maximum girth. And in fact, Dream Theater's tenth long-player is about as dense and challenging as any album in their daunting discography (and certainly the darkest of spirit since 2003's Train of Thought), by emphasizing not only the virtuoso members' ever stupefying musicianship, but also their most aggressive and thoroughly metallic songwriting tendencies. Sixteen-minute opener "A Nightmare to Remember" and its half-as-long follow-up, "A Rite of Passage" (later edited further for release as the album's first single), quickly establish this agenda via frequently thrash-paced staccato riffing, some of John Petrucci's most blistering guitar solos ever, and the return of drummer Mike Portnoy's syncopated growls (no doubt inspired by his pal Mikael ?kerfeldt of Opeth), providing contrast for singer James LaBrie's soaring melodic elegance. Third track "Whither" -- a tender ballad and mere babe at five minutes in length -- is this album's only concession to commerce (and one of Dream Theater's better stabs at the form it is, too); but after that it's right back to prog rock in excelsis, via the final chapter in the band's "AA Saga," "The Shattered Fortress," which references songs from previous albums such as "The Glass Prison" and "The Root of All Evil," in emulation of the "Conceptual Continuity Clues" method favored by one of Portnoy's heroes, Frank Zappa. Only two, not surprisingly massive song suites remain now, and interestingly, both pay evident tribute to Rush! First up, "The Best of Times" boasts an extremely Alex Lifeson-like lead guitar motif and verse chords that were clearly evolved from "The Spirit of Radio," later showcasing the most versatile and classically steeped performance on this record by keyboard wizard Jordan Rudess. Second, the revealingly named "The Count of Tuscany" (surely a thinly veiled allusion to the Rush's famed instrumental, "La Villa Strangiato") catches Portnoy in the act of outright Neil Peart worship, colluding with Petrucci on their own version of "Xanadu" before leading their bandmates into another heady prog-metal magnum opus brimming with more ideas, notes, and time changes over 19 minutes than most bands bother with over a ten album career. That last bit sound at all familiar? That's because, at the end of the day, one must admit that Black Clouds & Silver Linings, for all its abundantly positive qualities and minor but clear distinctions from prior efforts, is still an archetypal Dream Theater album; one that's unlikely to broaden their audience all that much, but is conversely guaranteed to thrill their hardcore converts with its renewed devotion to the most exigent and stimulating facets of the band's chosen musical domain. ~ Eduardo Rivadavia, All Music Guide

Dream Theater - Black Clouds & Silver Linings

The Trews - No Time For Later

With the exception of a lackluster remake of Led Zeppelin's "Good Times Bad Times," Godsmack's album of the same name is a solid compilation of their biggest songs. Considering that the face of music changed quite a bit since their debut in 1997, it's easy to forget what titans of alt rock radio they were in their heyday. Not counting the aforementioned cover song, every one of the tracks on Good Times, Bad Times cracked the Billboard Mainstream Record Charts, most notably the record-breaking, Alice in Chains influenced "Whatever," which lingered at number seven on Billboard for a stupefying 33 straight weeks. Also included are "Speak," "Straight Out of Line," and "I Stand Alone" (all number ones) alongside "Running Blind" and "Touché," from their all-acoustic EP, The Other Side. If you crave Godsmack and you prefer the hits, this one's for you. - by Jason Lymangrover, Rovi

Godsmack - Good Times Bad Times: Ten Years Of Godsmack

The long-awaited single-disc anthology of Nirvana's work, simply titled Nirvana, has all the hits and many of the radio favorites, plus the very good previously unreleased final recording, "You Know You're Right." ~ Stephen Thomas Erlewine, Rovi

Nirvana - Nirvana

Ralph Stanley - Old Songs & Ballads, Vol. 1

Steppenwolf entered the studio for their recording debut with a lot of confidence -- based on a heavy rehearsal schedule before they ever got signed -- and it shows on this album, a surprisingly strong debut album from a tight hard rock outfit who was obviously searching for a hook to hang their sound on. The playing is about as loud and powerful as anything being put out by a major record label in 1968, though John Kay's songwriting needed some development before their in-house repertory would catch up with their sound and musicianship. On this album, the best material came from outside the ranks of the active bandmembers: "Born to Be Wild" by ex-member Mars Bonfire, which became not only a chart-topping high-energy anthem for the counterculture (a status solidified by its use in Dennis Hopper's movie Easy Rider the following year), but coined the phrase heavy metal, thus giving a genre-specific name to the brand of music that the band played (and which was already manifesting itself in the work of bands like Vanilla Fudge and the just-emerging Led Zeppelin); the Don Covay soul cover "Sookie, Sookie," which, as a single by the new group, actually got played on some soul stations until they found out that Steppenwolf was white; two superb homages to Chess Records, in the guise of "Berry Rides Again," written (though "adapted" might be a better word) by Kay based on the work of Chuck Berry, and the Willie Dixon cover "Hoochie Coochie Man"; and Hoyt Axton's "The Pusher," an anti-drug song turned into a pounding six-minute <I>tour de force</I> by the band. The rest, apart from the surprisingly lyrical rock ballad "A Girl I Knew," is by-the-numbers hard rock that lacked much except a framework for their playing; only "The Ostrich" ever comes fully to life among the other originals, but the songs would catch up with the musicianship the next time out. ~ Bruce Eder, Rovi

Steppenwolf - Steppenwolf

Mario Pelchat - Noël Avec Jireh Gospel Choir

Roch Voisine - Christmas Is Calling

"Jackson Browne - Next Voice You Hear: The Best Of Jackson Browne" - 15 of the best songs by Jackson Browne.

Jackson Browne - Next Voice You Hear: The Best Of Jackson Browne

Blake Shelton - Based On A True Story...

Lullaby Players - Sleepytime Tunes: Lullaby Tribute To Taylor Swift

At a time when country music was sliding deeper and deeper into a soulless pop rut, Capitol Records Nashville took a chance on North Carolina native Eric Church and his hard-edged music. With one foot planted firmly in the Haggard tradition and the other in the outlaw style of Waylon and Hank Jr., Church stormed onto the charts with his debut album, Sinners Like Me. He grew up listening to the old-school sounds of the Hag and his outlaw brethren, but he also had one ear tuned to the rock & roll sounds rumbling from the other side of the tracks. Sinners Like Me is a cool country-rock hybrid that is far removed from the lameness that is usually associated with the 21st century country music scene. The boot stomping grit of "Before She Does," an electric guitar steeped number that has Church wailing that Jesus will be back before the girl who left him high and dry will, sets the tone for the entire disc. Raw and real pretty much sums up the 11-track collection. One minute Church is reflecting on an old pair of boots that have seen him through many hard times on the mandolin smoked "These Boots," the next he's slipping into the skin of a death row inmate in his final moments on the lump-in-the-throat "Lightning." If you look up the word "authentic" in the dictionary, you just might see a picture of Eric Church. - by Todd Sterling, Rovi

Eric Church - Sinners Like Me

This is John Legend's first solo studio album since 2008's Evolver. Between the two releases, he recorded the Grammy-winning Wake Up! with the Roots, scored a gold single with "Tonight (Best You Ever Had)" (from the Think Like a Man soundtrack), was featured on a couple albums' worth of songs by other artists, and somehow managed to be deeply involved in philanthropy. He also got engaged. Although he proposed to model Chrissy Teigen five years after meeting her, much of Love in the Future seems drawn from a romance that was quicker to bloom. "The Beginning…" sets a tone of urgency with a scene from the day after their first night spent together. Legend sings with certitude, "Pick some names, boy or girl/Then we'll change, change the world." That sense of blissful urgency -- of seizing the moment, getting lost, and knowing that the future is set -- is belied in the pacing. Even the album's standard 16-track edition meanders at a crawling pace. It's broken up by the occasional soaring arrangement or some hypnotically clanking/pinging percussion, as heard on highlight "Made to Love," which resembles a latter-day Moby collaboration with distant handclapping, spooky background vocals, and a sample from Lil Louis' noisy house classic "Video Clash." This is a heavy, laboriously made set of songs. The list of producers alone includes Hit-Boy, Bink, 88 Keys, the Runners, Doc McKinney, Q-Tip, and Ali Shaheed Muhammad. Kanye West, and Dave Tozer pile on as co-producers and co-executive producers. Perhaps they ensured that the whole album would have its dramatic, slightly eerie tone; even the covers of Bobby Caldwell's "Open Your Eyes" and Anita Baker's "Angel" are a little uneasy. That level of sonic indulgence seems like it should be incompatible with an artist who is, essentially, a piano man, but Love in the Future is among Legend's best work, made for couples who are into one another for the long term while feeling a little daring and crazy. - by Andy Kellman, Rovi

John Legend - Love In The Future

Seemed like drama was always something Eminem craved, but in the year leading up to The Re-Up, the drama was heavy, a really, really bad kind of heavy. He checked himself into rehab, got remarried for a few months to the infamous Kim before that went south, then his best man and best friend Proof is murdered in a bizarre and depressing incident that made all the gangster talk that came previously extra chilling. A mixtape that was originally planned to be released on the underground circuit, The Re-Up has plenty of that serious heat that influenced Eminem to go aboveground with the release. There's the surging remix of 50 Cent's "Ski Mask Way," the excellent all-star single "You Don't Know," a couple clever redo's of Akon's "Smack That" single with various members of the Shady family, and "There He Is" with newcomer Bobby Creekwater living up to his hype over a rich Alchemist beat. Tacked onto the end is Eminem's shining moment, "No Apologies," which speaks to his frozen heart, then lashes out at critics. The man's lyrical dexterity is on display for the soul-searching closer, there's no doubt about that, but the target is questionable, since it didn't really seem like Em was getting a critical drubbing in 2006. A diversion maybe? Could be, since he's sidestepping a whole lot of the other issues here. While Proof gets his due with the intro to his unreleased track "Trapped," this is hardly his memorial, plus his D12 brothers Bizarre and Kuniva are in no hurry to lay off the gun talk with their visceral and knowingly irresponsible "Murder." The quick marriage/divorce and rehab are barely noted, either, and while Em has every right to keep whatever he wants private, longtime fans looking for that usual candor are in for a shock. Instead of using the mixtape format as an up-to-the-minute dispatch from the soul, Em has decided to bring the Shady empire back into focus with The Re-Up. 50 Cent and his G-Unit crew are brought back into the Shady scene when it seemed they just about outgrew it, and with Creekwater, Cashis, and Stat Quo all anxious to become "rookie of the year," the Shady spotlight is validated. Once the Eminem hardcore accept that this is more about the whole talented and hungry crew than the man with a devastating year on his hands, they'll co-sign. - by David Jeffries, Rovi

Eminem - Eminem Presents The Re-Up

Soundtrack - Glee The Music: The Christmas Album, Vol. 4

Frank Sinatra - Duets II

Dio - Holy Diver

J. Geils Band - Best Of The J. Geils Band

Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including "Come Rain or Come Shine" and "Don't Let the Sun Catch You Cryin'"). Charles' voice is heard throughout in peak form, giving soul to even the veteran standards. ~ Scott Yanow, Rovi

Ray Charles - The Genius Of Ray Charles

Originally released as Sit Down Young Stranger in the summer of 1970, this album was reissued under this name a few months later, as the song "If You Could Read My Mind" began its climb up the pop chart. The single peaked at number five, while the album reached number 12. It seemed as though "If You Could Read My Mind" was everywhere in the early months of 1971. Its appeal crossed genres and age groups, and its simplicity and acoustic arrangement fit in nicely with the burgeoning singer/songwriter scene then storming the airwaves and record stores. The entire album is rich in the simple beauty of its folky melodies and personal lyrics. Lightfoot is accompanied here by his regular band of the time, Red Shea on guitar and Rick Haynes on bass. This trio is expanded on several cuts with Warner/Reprise labelmates Ry Cooder on bottleneck guitar and mandolin, John Sebastian on autoharp, harmonica, and electric guitar, and Van Dyke Parks on harmonium. In addition, there are subtle string arrangements by Randy Newman on two tracks, Nick DeCaro on three. This album fits in very well with the acoustic-based music being made at the turn of the '70s. Even so, the music here is timeless, still feeling and sounding great many years after its release. - by Jim Newsom, Rovi

Gordon Lightfoot - If You Could Read My Mind

The Essentials more or less lives up to its name, gathering a dozen definitive Harry Chapin songs, including "Taxi," "W*O*L*D*," "Cat's in the Cradle," and "30,000 Pounds of Bananas." Other highlights include "Dreams Go By," "Dance Band on the Titanic," and "Better Place to Be." More in keeping with The Anthology of Harry Chapin than The Gold Medal Collection or The Story of a Life: The Harry Chapin Box in terms of its depth and breadth, Essentials offers a decent primer of Chapin's best-known work. ~ Heather Phares, All Music Guide

Harry Chapin - The Essentials

Classical Treasures - Classics For Relaxation (2CD)

From 1974-1979, KC & the Sunshine Band were one of the most popular R&B/pop acts and writers of the era. "The Best of KC & the Sunshine Band" covers the high points of the band's production team of keyboardist/vocalist Harry Wayne "K.C." Casey and quirky bassist Richard Finch. The earliest tracks, "Queen of Clubs" and "Sound Your Funky Horn," are good but not great glossy, heavily produced R&B. The list of hits here is impressive whether looking from a straight-up R&B standpoint or early R&B-based disco. "Get Down Tonight" and "That's the Way I Like It," in fact, are the perfect examples of what happened in dance-based music. Tracks from the band's best album, Part 3, rightfully get a lot of slots here. Essential offerings like "I'm Your Boogie Man," "Wrap Your Arms Around Me," "I Like to Do It," and "(Shake, Shake, Shake) Shake Your Booty" display the band as a tireless polyrhythmic machine. The brilliant "Keep It Comin' Love" arguably bests them all. This best-of also includes later tracks, including the raucous and flashy "Do You Wanna Go Party" and the sweeping ballad "Please Don't Go." Although this best-of is more thorough than most, fans might notice a few omissions. "I Get Lifted" and their so-bad-it's-good cover of the Four Tops' classic "It's the Same Old Song" didn't make the cut. "The Best of KC & the Sunshine Band" is an excellent overview and proves that the band was indeed closer to R&B than they ever were to disco. ~ Jason Elias, Rovi

Anderson Merchandisers(1000+)

Your data, your choice