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Barry White Receives Hollywood Walk of Fame Star

The Late Barry White Honored With Posthumous Star On The Hollywood Walk Of Fame

The Hollywood Chamber of Commerce honored Barry White posthumously with a star on the Hollywood Walk of Fame on September 12, 2013. “People can’t get enough of Barry White’s music and even though he passed away many years ago, his songs will live on in the hearts of many,” stated Ana Martinez, Producer of the Walk of Fame ceremonies. “We are honored to have Barry White, his legendary voice and timeless songs immortalized on the Walk of Fame.”
Emcee Leron Gubler, President & CEO of the Hollywood Chamber of Commerce and guest speakers wife Glodean White and Berry Gordy helped unveil the posthumous star at 6914 Hollywood Boulevard in the category of Recording.

1944-2003 - Barry White - In Memoriam


Barry White, disco’s most significant star, died on Friday, July 4. He was 58 years old. Overweight, with high blood pressure and diabetes, White had been a very sick man for some time. He left his companion, Catherine Denton; his second wife, Glodean James (they separated but never divorced), whose signing group Love Unlimited he discovered and produced; three daughters and two sons; and many grandchildren. Can I overlook that he also left behind millions of fans, many of them just discovering his music?
He was a large — very large — man, with a large — very large — voice. Barry White made largeness his calling card, in songs as unforgettable as they were inescapable. " Can’t Get Enough of Your Love " , " My First, My Last, My Everything " , " Love’s Theme " , " It’s Ecstasy When You Lay Down Next to Me " — who among us, growing up during the disco 1970s or afterward, does not know and even adore these songs? Of course, they were over-written, and perhaps White over-sang them too, but that was part of the strategy he used to make his largeness manifest. It was easy to believe what he wrote and sang because his deep-rolling bass had immensity to spare. You could stand on what he said to you; it outflanked you and loomed over you. It was real in three dimensions.
In addition, White was a master orchestrator. To be sure, he took riffs from Isaac Hayes, strings and horns from Norman Whitfield (the Temptations’ late-1960s producer of such hits as " Papa Was a Rolling Stone " and " Masterpiece " ), quiet moods from Curtis Mayfield, and high notes from late-1960s falsetto soul, and what he made of these sources never violated their style. He was mainstream to the max, and it worked because his orchestrations were as over-the-top sentimental as his expression of them was out-of-bounds large.
Is it too much to say that White, almost alone, made disco what it was? He did not invent it — Brazilian 1970s pop, European art-rock, Isaac Hayes, and James Brown did that — but, far more than any other artist, he gave a context and a romantic persona to disco’s dreaminess, its light touch, its flirtations, and its orgasmic format. He was still at the top of his career 20 years after his first successes. I saw a full-length concert at the FleetBoston Pavilion a couple of years ago in which Mr. Largeness draped his romantic mantle over two full hours of love croons, swoons, lullabies, and longings, his bass voice every bit as luminescent as during the disco years two decades past. Old fans and young attended and screamed. White sang every word as if it mattered oh so terribly. He may not have meant any of it, but no one there was going to take the chance that he didn’t.


Barry White - The Maestro

The Man: His Music
Barry Eugene White was born on 12 September 1944, in Galveston, Texas, the eldest of two children. His birth at Galveston was entirely due to his mother visiting relatives and extending her stay there. Back home in California, he was raised in Watts, Los Angeles, along with his brother Darryl who was born thirteen months later.

Darryl was to be murdered in a meaningless Gangland killing on 5 December 1983 which devastated Barry who later remarked "Believe me, life is very cheap in that world. It's crazy, but he only died over two dollars." As children the two brothers doted on each other and were best friends; indeed their mutual nickname 'Burly' was a slip of the tongue as the infants tried to say 'Buddy'.
They were brought up by their mother, actress Sadie Marie Carter, who appeared in the 1931 movie "Trader Horn”. She and their Father Melvin A. White, never married and didn't live together as such. Barry recalled, "When I started school, my Father saw my birth certificate and noticed my Mother's surname on it. Well, he just scribbled out 'Carter' and wrote in his own, 'White'."

Brought up in a musical household, Barry remembered being taught to harmonise by his Mother at the age of four. "Mama was singing 'Silent Night' and I sang the counterline; that's when music came into focus. I was fine-tuned; I stayed glued to the phonogram when Mama played her records; symphonies, sonatas, melodies soaring through me. Darryl loved fighting but I loved violins. I was drawn to the mystery of sound. Even though Mama taught piano, I never learnt to read or write music.”
Seduced by the sound of Mama playing "Moonlight Sonata” on a used upright she paid $50 for, Barry recalled "It was so beautiful watching that Taurus Queen play that piano. She tried to teach me the scales but I told her I wanted to learn it my way. One of the greatest gifts she gave me was when she said 'Okay"".
Barry sang in his Baptist Church Choir, played the organ and soon went on to arrange their music. He played piano on “Goodnight My Love” by Jesse Belvin at the age of eleven and was paid $55 for the session. Later, as an early teenager, his trademark voice became apparent. "It changed when I was 14', he said later, 'I woke, up and spoke to my Mom and the whole of my chest vibrated. She was in shock!" he laughed.
As well as his Mother, radio played a great part in the Maestro's early life and he built up quite a record collection by burgling people's houses to satiate his appetite for music. "I only stole the good ones!" Barry mischievously remarked on television in 1993.

Early Years
Convinced that music would be his life Barry left school at the age of fifteen, “I quit High School on my birthday; it was my senior year and I didn't see the point. I was ready to make music." But first he had to tame the rebellious streak which would later engulf Darryl's life, getting into trouble with the law and serving seven months at Juvenile Hall for stealing $30,000 worth of Dual 90 Cadillac tyres. The dehumanising side of this experience affected him deeply, and he explained “While I was in jail, I came to grips with owning up to my mistakes and made up my mind to never hand my freedom over to anyone else again in my life."
When some of Barry's school-friends formed the R & B group The Upfronts in 1960, he sang Bass (“Although I never wanted to be a singer"), and wrote songs. Soon after touring the L.A. club scene with the Upfronts, he sung and recorded with the Atlantics and the Five Du-Tones.

By now spellbound with the magic of the recording studio, Barry learnt his craft as engineer, producer and all-round musician, and was soon able to play every instrument presented to him, with the exception of strings and horns. His first taste of success came in 1963 and his involvement with Bob and Earl on "Harlem Shuffle”, during the sessions of which he met arranger Gene Page.
At this time Barry was married to his childhood sweetheart, with four children and eager to make a living to support his family. The marriage was not to last and ended in divorce in 1965 (when Barry was 21) after a six year romance. A publishing deal with Downey Music in 1966 led to a single "Man Ain't Nothin'' flipped with "I Don't Need It" under the name 'Lee Barry' although the composer and arranger credit is Barry White. This was to be the first ever Barry White solo release.
He was contracted to produce an album for Danny Wagner ‘The Kindred Soul Of Danny Wagner' (Imperial) in 1966, featuring Barry White singing backgrounds on a rework of “Harlem Shuffle” and lead vocals on “My Buddy” which has appeared on lots of early-material CDs ever since. Around the same time, he became A & R (Artist and Repertoire) man for the Mustang/Bronco labels and was commissioned to produce several acts including four Viola Wills and three Felice Taylor singles in 1966/67. Viola would not hit the charts until 1979 (with "'Gonna Get Along Without You Now"), but Barry took Felice into the US Billboard charts with “It May Be Winter Outside” (later revived by Love Unlimited) and the UK charts with "I Feel Love Comin' On", both in 1967.
At that time, Barry was also licensing productions to UNI records, with two Lori Hampton 45s to his credit. Motown aficionados will be interested that he produced the legendary Brenda Holloway, under the assumed name Brendetta Davis, on the single “Until You Are Gone” c/w “I Can't Make It Without Him” on Liberty records in 1968. However, we have been informed that Brendetta en Brenda are two different singers (although we belive they knew each other). It is true to say that Brenda Holloway was a long-standing favourite of Barry's and in fact later appeared as a backing vocalist on the most of his A. & M. albums.
Just as it seemed Barry was on the verge of success at Mustang/Bronco, the label folded in 1969 and he went back to the drawing board, surfacing to write a song for the Hanna-Barbera TV series ‘The Banana Splits' in 1969. The tune “Doin' The Banana Split” – not nearly as bad as the title sounded - appeared on the show and this lucrative move kept Barry's finances afloat. In 1970 he released “Little Girl” flipped with a raw R. & B. cover of Elvis's "In The Ghetto" under the pseudonym Gene West.
Also in 1970, he wrote and produced the first recording of the classic “Your Sweetness Is Your Weakness” for Jackie Lee on UNI. Barry's connection with Jackie Lee lasted over a decade, as Jackie also recorded as Earl Nelson (of Bob & Earl) and Jay Dee on the Barry White-produced 1974 album ‘Come On In Love'.
Back in 1968, while sitting in on a Motown recording session with Gene Page producing, Barry met three backing singers and wanted to know whether he could work with them, as he "just knew the girls had got what it takes.” The singers were Glodean James, her sister Linda, and cousin Diane Taylor... Love Unlimited. By 1969 he started work and rehearsed them for over two years and in 1971 met Russ Regan of UNI records who eventually signed Love Unlimited to the label.
In the spring of 1972 they unleashed the first single, "Walkin' In The Rain With The One I Love”, during which Barry's trademark deep-voiced talkover is heard for the first time. This became a worldwide smash, reaching Top Twenty status in both the US and UK.

Within months of that smash and its hit album ‘From A Girl's Point Of View…' (the first by Love Unlimited), Russ Regan was head-hunted by the newly reactivated 20th Century records, and Russ encouraged Barry to move across with him and take Love Unlimited to the new label.

Barry began looking for a male vocalist to record his own songs, and indeed had demoed several songs to launch this new artist. Everyone who heard these demos urged Barry to release them himself. Eventually, he was persuaded to sign with 20th Century as a solo artist. The first sessions resulted in his debut Gold album ‘I've Got So Much To Give' and the lead single, “I'm Gonna Love You Just A Little More, Baby", which became the fastest-selling single in 20th Century's history.
The next triumph came with the second Love Unlimited album, 1973's ‘Under the Influence Of...' From its day of release US radio DJs flipped over “Love's Theme”, the instrumental piece which opened the album, and demanded its release as a single. Now, credited to The Love Unlimited Orchestra, the track smashed its way to Number One on the US chart, and reached the Top 10 in 25 countries around the world. Simultaneously, both Barry's second album, ‘Stone Gon'' and the single “Never, Never Gonna Give Ya Up”, made the Top 20 on both sides of the Atlantic, with the LP making his British album chart breakthrough. 


On the back of “Love's Theme”, the second Love Unlimited album soared to No. 2 on the Billboard Albums Pop chart, and as such the trio became the first female group ever to chart that high with a regular album. Through Love Unlimited, Barry finally got due recognition for some overlooked classics, “It May Be Winter Outside” and “Under The Influence Of Love”, which both reached the Billboard Hot 100. The backing track to Smoke's 1971 single “Oh Love (Well We Finally Made It)” (MoSoul) was employed on the same album to create the definitive version of the tune. Barry revisited this song himself on his ‘Can't Get Enough' album, the only instance of Barry and Love Unlimited recording the same song.

Now among the elite of hit-makers throughout the world, it was time for the Orchestra to do a full album, and the Gold-selling ‘Rhapsody In White' in 1974 was the result; Barry's growling introductions becoming a trademark and providing the blueprint for many classic albums. Following the low-key ‘Together Brothers' soundtrack, Barry was to reach the dizziest heights in September 1974 with the release of his third solo album, 'Can't Get Enough', and the lead-off single “Can't Get Enough Of Your Love, Babe”. Both reached the top of the American charts and the UK Top 10. The follow-up single, "You're The First, The Last, My Everything”, became a Number One in the UK and many European countries, and became his anthem in concerts.

 He married Glodean James of Love Unlimited in October 1974 and they became the hippest couple in showbiz. Pictures of Glodean's four-inch nails accompanied most of their press stories when Barry, Love Unlimited and the Orchestra came to the UK in 1975 on a triumphant world tour.

White Gold
The years 1973-75 were a bumper period for Barry White music. His sound was all over the radio and the burgeoning ‘Disco' scene. In addition to his own, Love Unlimited and the Orchestra releases at that time, he produced one-off albums for many other artists. These are Tom Brock ‘I Love You More And More' (20th Century), Jay Dee ‘Come On In Love' (Warner Bros.), Evan Pace ‘Face To Face' (Blue Thumb), Gene Page ‘Hot City' (Atlantic), Gloria Scott ‘What Am I Gonna Do?' (Casablanca), Westwing ‘Westwing' (20th Century) and White Heat ‘White Heat' (RCA), all of which are highly collectable today.

Between 1973 and 1979 Barry White, Love Unlimited and the Love Unlimited Orchestra released 20 albums on 20th Century records, almost all of which achieved at least Gold status in America. He sold $16 million worth of records in 1974 alone and the New York Times reported that Barry was responsible by some for the so called ‘Baby Boom' in the mid-Seventies, “Not me personally, but my music!" Barry teased.
Barry's long list of hits achieved classic status, with discs such as "Love's Theme”, "Can't Get Enough Of Your Love Babe", “Let The Music Play”, “What Am I Gonna Do With You", "It May Be Winter Outside", “You See The Trouble With Me”, "It's Ecstasy When You Lay Down Next To Me”, “Just The Way You Are” and “Don't Make Me Wait Too Long”, becoming a virtual soundtrack to the Seventies.
Yet this extraordinary success could not be maintained and in 1979 Barry sensed the tide was turning and set about building as much independence as the music business would allow by forming Unlimited Gold records. He took the company for distribution to CBS, and intended the label to be a vehicle for himself, Love Unlimited, the Orchestra and newly signed talent.
From the beginning, Unlimited Gold failed to live up to its promise, as internal wrangling and executive politics sidelined Barry's dream. Indeed, CBS in the UK declined to release a single from each of Barry's LPs ‘Beware!' ‘Change' and ‘Dedicated', which stifled album sales. But all the other acts fared even worse.




Barry persisted with the label which went on to issue fourteen albums in total; five by Barry, a further album in a duet with Glodean, two by Love Unlimited, three by the Orchestra and one each by his singings Danny Pearson and Jimmie and Vella Cameron and a Greatest Hits compilation.


However, only Barry's albums registered any US sales, and mostly they could only edge into the top half of Billboard's Top 200 Albums. But of the ten released in Europe, not one reached the UK charts and the label closed its doors in 1984 with hardly a murmur.
The mid-Eighties brought personal tragedy in the death of Diane Taylor of Love Unlimited after a long illness with cancer. The group disbanded when she became too ill to tour although Glodean continued to appear on stage with Barry in his concerts. Barry was also devastated by the death of brother Darryl and took these events as a sign to look at where his life was heading both personally and professionally.
After taking stock he soon became aware that hip-hop, rap and swingbeat were the new flavour. With echoes of his days with Mustang/Bronco, Barry set about mastering the new technology as he learnt how to program drum machines and synthesisers, spending several days a week; sometimes twenty four hours a day buried deep inside the recording studio. He later remarked "I was used to going into the studio with ten guys; now I had to learn how to go in there with one machine. I was locked into one style of recording ... in the middle of my forties I had to shift my mind without losing my soul."
During his time away, Barry White's huge influence on music from the Seventies onwards became acknowledged by fellow artists and music critics alike. His talking introductions were the forerunner to Rap; the full-length album versions of hit singles predated the 12" by several years; the instrumental B-sides - which he started in 1967 - became the blueprint to "Dub' mixes twenty-five years later; and his backing tracks would be sampled by acts as diverse as Mary J. Blige and Robbie Williams.

It was now time to relaunch his career and his return to recording came with a new A. & M. contract signed in 1987. Straight away his hit-making days resumed with the UK Top 20 single "Sho' You Right" and the album "The Right Night and Barry White". This was followed by a triumphant world tour in 1988 which tied-in with Barry's return to the UK Top 5 album charts. 'Barry White: The Collection' assembled many of his Seventies hits with the addition of "Sho' You Right” and the Paul Hardcastle Remix of "Never, Never Gonna Give Ya Up". This title has gone on to be the most durable compilation of any in UK chart history.
His reputation with the hip-hop audience soared through a one-off duet with Big Daddy Kane, “All Of Me”, which became a Gold American single. Another triumph came with Barry's appearance on the Grammy-winning "The Secret Garden" from Quincy Jones' album ‘Back on the Block', which was also certified Gold. 1989 closed with the release of the acclaimed album 'Barry White: The Man Is Back!'

Barry blasted into the Nineties with his third A. & M. album, 1991's ‘Put Me In Your Mix', selling strongly is America, with the title single becoming his biggest R. & B. bit for a decade, peaking at #2 on the Billboard R & B chart. Later that year, the duet with Isaac Hayes, "Dark and Lovely", also did well.

In 1992 Barry was on another hugely successful UK tour where he met long-time admirer Lisa Stansfield at the Hammersmith Odeon. Shortly afterwards Barry sang "All Around The World" with Lisa on BBC-2s "Rapido" and reaction was such that they recorded it as a B-side to one of her hits. Lisa remarked "one of my biggest heroes is Barry White” and had previously dedicated her "Affection' album to him. She went on to have a hit with her own version of “Never, Never Gonna Give You Up” in 1997 and duetted with Barry again on his last album ‘Staying Power', on the song “The Longer We Make Love”.
Yet despite all this activity, in many ways this was a sad time for Barry, as old endings and new beginnings charted this phase of his life and career. He separated from Glodean in 1988 although never divorced her. He discreetly closed the door on that chapter of his life would never discuss their relationship, except to later invite people to listen to the song “Whatever We Had We Had” from 'The Icon is Love', and said "It's all there, if you really want to know". He and Glodean remained good friends for the remainder of Barry's life.

Further upheaval came following the 1993 earthquake that destroyed his L.A. home and R.I.S.E. studios, from where Barry moved to Las Vegas and then to Encino in California to subsequently live with his long-time companion Katherine Denton.
By 1994 Barry had sensed there was greater potential for his recordings, and embarked upon using outside producers for the first time. However, it was important that he work with people sympathetic to his style and method of recording. Gerald Levert, Jimmy Jam and Terry Lewis had no difficulty augmenting Barry White and long-time collaborator Jack Perry.
The resulting album, 'The Icon Is Love', astonished observers with its sure-footed blend of modern and traditional, as the now-classic "Practice What You Preach” single became his first International Top 20 hit in over a decade and the album quickly amassed over four-million sales world-wide.

A new generation of listeners caught up with Barry's magic and he became much in-demand on TV shows and in interviews. He appeared on the ‘Late Show with David Letterman' several times up to 1999 and starred as himself in episodes of the ‘Ally McBeal' and ‘The Simpsons'. He also found time to write his autobiography, ‘Love Unlimited: Insights On Life & Love' with Marc Eliot.
For a while there was speculation that a new group Love U II, ‘a new Love Unlimited for the 90s', featuring Glodean and sister Linda James, would surface, although no recordings were issued and it's probably correct to say that nothing made it past the demo stage.

The late Nineties saw Barry sign a new recording deal with Private Music and in 1999 his final album, ‘Staying Power', was released. Featuring Puff Daddy, Lisa Stansfield, and Chaka Khan, this Gold-selling album garnered Barry two Grammy Awards in 2000 (his first), for Best Male R&B Vocal Performance for the song "Staying Power" and Best Traditional R&B Vocal Performance for the album ‘Staying Power'.

Sadly, Barry had been suffering from poor health for some time, and years of living with hypertension and diabetes took its toll, forcing him to cancel several dates of his last World Tour in 2000. His health further deteriorated and he was hospitalised towards the end of 2002, suffering a stroke on 1 May 2003 from which point he was awaiting a kidney transplant. Barry died on Friday 4 July 2003 at around 0930 PST at the Cedars-Sinai Medical Centre, the cause of death given as kidney failure, brought on from years of high blood pressure.
At the time of Barry's death, he was preparing a "duets" album for release during 2003, that would have been a fitting legacy to a true Giant of Soul. However, to date, this material has never appeared.
Barry's musical heritage continues with his children who survive him, many of whom followed him into the business: LaNese, Denise, Nina, Shaherah, Barry Jr., Darryl, and his stepchildren, Bridget and Kevin. He is also survived by Katherine Denton and her child she named Barriana.

Let The Music Play Forever
A phenomenon spanning over four decades, the legendary Barry White carved a unique place in the hearts of music fans across the World. His success was truly international, reflected by more than 100 Gold and 38 Platinum record awards. We will always share a little love in our hearts for Barry White: writer, arranger, producer and super smooth vocalist. His influence on music has been awesome, and will continue to be so.

Exalted as ''The Sultan of Soul'', ''The Man'' and ''The lcon of Love'' ... Barry White was and forever will be ...The Maestro


Barry Eugene White (September 12, 1944 – July 4, 2003) was an American record producer and singer-songwriter.
A five-time Grammy Award-winner known for his distinctive bass voice and romantic image, White's greatest success came in the 1970s as a solo singer and with the Love Unlimited Orchestra, crafting many enduring soul, funk, and disco songs such as his two biggest hits, "You're the First, the Last, My Everything" and "Can't Get Enough of Your Love, Babe". Worldwide, White had many gold and platinum albums and singles, with combined sales of over 100 million, according to critics Ed Hogan and Wade Kergan.

Early life and music songwriting
White was born Barry Eugene Carter in Galveston, Texas and grew up in the high-crime areas of South Central Los Angeles. White was the elder of two brothers; his brother Darryl is 13 months younger. As a child, White grew up listening to his mother's classical music collection. White first took to the piano emulating what he heard on the records. White's introduction to music later led to him playing piano on Jesse Belvin's hit single, "Goodnight My Love". During his teenage years, Barry and his brother got involved with crime and gang activity. At age 17, he was jailed for four months for stealing $30,000 worth of Cadillac tires.
While in jail, White listened to Elvis Presley singing "It's Now or Never" on the radio, an experience he later credited with changing the course of his life. After his release, he left gang life and began a musical career at the dawn of the 1960s in singing groups before going out on his own in the middle of the decade.
The marginal success he had to that point was as a songwriter. His songs were recorded by rock singer Bobby Fuller and TV bubblegum act The Banana Splits. He was also responsible in 1963 for arranging "Harlem Shuffle" for Bob & Earl, which became a hit in the UK in 1969. He discovered disco artists, Viola Wills and Felice Taylor in 1965 and signed them to Mustang/Bronco Records, for which he was working as A&R manager for Bob Keane.

The Seventies as producer
In 1972, he got his big break producing a girl group he had discovered called Love Unlimited. Formed in imitative style of the Motown girl group The Supremes, the group members had gradually honed their talents with White for two years previously until they signed contracts with Uni Records. His best friend, music industry businessman Larry Nunes, helped to finance their album. After it was recorded, Nunes took the recording to Russ Regan, who was the head of the Uni label owned by MCA. The album, 1972's "From A Girl's Point of View We Give to You... Love Unlimited" became a million album seller.
White produced, wrote and arranged their classic soul ballad, "Walking In The Rain With The One I Love", which climbed to #14 in the Billboard Hot 100 Pop chart and #6 on the Billboard R&B chart in late 1972. This single also reached #12 in the UK chart. White's voice can clearly be heard debuting in this piece as he plays the lover who answers the phone call of the female lead.
Soon after, Regan left Uni for 20th Century Records. Without Regan, White's relationship with Uni soured. With his relationship with Uni over and Love Unlimited contract-bound with the label, White was able to switch both his production deal and the group to 20th Century Records. (They recorded several other hits throughout the 1970s, including "I Belong To You," which spent over five months on the Billboard R&B chart in 1974 including a week at #1. White also married the lead singer of the group, Glodean James, on July 4, 1974.)

The Seventies as solo artist
White wanted to work with another act but decided to work with a solo male artist. While working on a few demos for a male singer, he made three song demos of himself singing and playing, but Nunes heard them and insisted that he re-record and release them himself as a solo recording artist. After arguing for days about it, White was finally persuaded to release the songs himself although he was initially reluctant to step out in front of the microphone.
He then wrote several other songs and recorded them for what eventually became an entire album of music. He was going to use the name "White Heat," but decided on using his given name instead. White was still hesitating up to the time the label copy was made. It eventually became the first solo White album, 1973's "I've Got So Much to Give". It included the title track and his first solo chart hit, "I'm Gonna Love You Just a Little More Baby", which also rose to #1 on the Billboard R&B charts as well as #3 on the Billboard Pop charts in 1973 and stayed in the top 40 for many weeks.

The Love Unlimited Orchestra
In 1972 White created The Love Unlimited Orchestra, a 40-piece orchestral group to be used originally as a backing band for the girl-group Love Unlimited. However, White had other plans, and in 1974 he released an album of their music titled "Rhapsody in White", yielding the now-timeless composition "Love's Theme," reaching #1 on the Billboard Pop charts. It was one of only a handful of instrumental recordings ever to do so.
White is sometimes credited with ushering in the "disco" sound, seamlessly combining R&B music with classical music. Some also regard the song as the first hit in the actual "disco era", but Nino Tempo & the 5th Ave Sax Band's song "Sister James" had already reached the Billboard Hot 100 a few months before and had a disco sound in its own right.
He would continue to make albums with the Orchestra, but never achieved the same kind of success with his debut album. The Orchestra ceased to make albums in 1983, but continued to support White as a backing band.

The Eighties
After six years White left 20th Century in 1979 to launch his own label, Unlimited Gold, with CBS/Columbia Records. Although White's success on the pop charts slowed down as the disco era came to an end, he maintained a loyal following throughout his career. Despite several albums over the next three years he failed to repeat his earlier successes, with no singles managing to reach the Billboard Hot 100 except for 1982's "Change," climbing into the Billboard R&B Top 20 (#12). His label venture was exacting a heavy financial cost on White, so he concentrated on mostly touring and finally folded his label in 1983.
After four years he signed with A&M Records, and with the release of 1987's "The Right Night & Barry White," the single titled "Sho' You Right" made it to the Billboard R&B charts, peaking at #17.
In 1989 he released "The Man Is Back!" and with it had three top 40 singles on the Billboard R&B charts: "Super Lover", which made it to #34, "I Wanna Do It Good to Ya", which made it to #26, and "When Will I See You Again", which made it to #32.

The Nineties
After White took part in a Quincy Jones record, "The Secret Garden," which topped the R&B chart in 1990, he mounted an effective comeback with several albums, each one more successful than the last. He returned to the top of the charts in 1991 with the album "Put Me In Your Mix", which reached #8 on the Billboard R&B Albums chart and the song by the same name reached #2 on the Billboard R&B singles chart.
In 1994 he released the album The Icon Is Love which went to #1 on the Billboard R&B album charts, and the single "Practice What You Preach" gave him his first #1 on the Billboard R&B singles chart in almost twenty years, and was nominated for a Grammy in the Best R&B Album category (it lost to TLC's "CrazySexyCool").
In 1996, White recorded the duet "In Your Wildest Dreams" with rock icon Tina Turner. 1996 also saw the release of Space Jam and its soundtrack, on which White had a duet with Chris Rock, called "Basketball Jones," a remake of Cheech & Chong's "Basketball Jones" from 1974.
His final album, 1999's Staying Power, resulted in his last hit song "Staying Power," which placed #45 on the Billboard R&B charts. The single won him two Grammy Awards in the categories Best Male R&B Vocal Performance and Best Traditional R&B Vocal Performance.

Over the course of his career White occasionally did work as a voice actor. He voiced the character Bear in the 1975 film Coonskin and also played the character Sampson in the movie's live-action segments.
He was featured in several episodes of The Simpsons, and most importantly the episode "Whacking Day" in which the townspeople of Springfield used his famously deep bass singing voice, played through loudspeakers placed on the ground, to lull and attract (mostly female) snakes. White was a fan of the show, and had reportedly contacted the staff about wanting to make a guest appearance.
He played the role of a bus driver for a Prodigy commercial in 1995, and he also portrayed the voice of a rabbit in a Good Seasons salad dressing mix commercial, singing a song called "You Can't Bottle Love."
In addition, he did some work for car commercials, most famously for Oldsmobile, and later on, Jeep. He also provided voice over for Arby's Restaurant commercials on TV and Radio to promote their 'Market Fresh' menu. He made two guest appearances on the comedy-drama TV series Ally McBeal, as his music was often featured on the show in dream sequences.
Illness and death White, who had been clinically obese for many of his adult years, had been ill with chronically high blood pressure which resulted in kidney failure in the autumn of 2002.
He suffered a stroke in May 2003, after which he was forced to retire from public life. On July 4, 2003, he died at Cedars-Sinai Medical Center in Los Angeles after suffering from complete renal failure. His remains were cremated, and the ashes were scattered by his family off the California coast.
On September 20, 2004, he was posthumously inducted into the Dance Music Hall of Fame at a ceremony held in New York.

from  wikipedia