THE DELFONICS-THE DELFONICS.

dereksmusicblog ♦ October 28, 2011 ♦ 3 Comments

THE DELFONICS-THE DELFONICS.

Growing up, The Sound of Philadelphia was one of the biggest musical influences in my life. For a number of years, it seemed to provide the soundtrack to my life. Sice then, I’ve been inseparable from that sweet, beautiful sound. Over thirty years later, hardly a day goes by when I don’t listen to an album on Philadelphia International Records. They however, weren’t the only Philadelphia based record label releasing some stunning soul music. Between 1967 and 1974 Philly Groove Records, founded by Stan Watson and Sam Bell in 1967, released a number of great albums. Watson and Bell had legendary producer Thom Bell in charge of A&R, and among the most famous of the artists he brought to label were First Choice and The Delfonics. Between 1968 and 1974, The Delfonics released five albums on Philly Groove, including their 1970 eponymous album The Delfonics, which this article is about. However, before that, the brothers Hart, William and Wilbert plus Randy Cain released two other albums, La La Means I Love You and Sound of Sexy Soul.

The Delfonics debut album La La Means I Love You was released in 1968, and was a combination of original material and cover versions. Among the original material were the singles La La Means I Love You, I’m Sorry and Break Your Promise. Of the three singles, La La Means I Love You was the biggest hit, reaching number four in the US Billboard 100 and number two in the US R&B Charts. Three years later in 1971, the single reached number nineteen in the UK. Apart from the original material, cover versions of songs like Bacharach and David’s The Look of Love and Alfie featured on the album, alongside The Shadow of Your Smile and Hurt So Bad. When the album was released, it reached number 100 in the US Billboard 200 and fifteen in the US R&B Charts.

Their second album Sound of Sexy Soul, released in 1969, again featured a mixture of original material and cover versions. Again, it was produced by Thom Bell, who together with William Hart the group’s lead singer, co-wrote five of the songs.Two of these were released as singles Ready Or Not Here I Come Can’t Hide From Love) and Somebody Loves You. Although Ready Or Not Here I Come Can’t Hide From Love) only reached number thirty-five in the US Billboard 100 and fifteen in the US R&B Charts, the song has since become one of The Delfonics best known songs. The album when it was released, peaked at number 155 in the US Billboard 200, but reached number eight in the US R&B Charts.

When their third album The Delfonics was released in 1970, it was a much bigger success, reaching number sixty-one in the US Billboard 200 and four in the US R&B Charts. Unlike their two previous albums, The Delfonics featured only original material. The Bell and Hart songwriting partnership contributed seven of the tracks, with Hart contributing two other songs. Of the five singles released from the album, Didn’t I Blow Your Mind (This Time) was the most successful, reaching number ten in the US Billboard 100, three in the US R&B Charts and selling over one million copies, and winning a Grammy Award for the Best R&B Performance by a Duo or Group. Although two other singles gave the group top ten US R&B singles, neither was as successful as Didn’t I Blow Your Mind (This Time), one of the most important soul singles of the time. Little did The Delfonics know it, but this was the high-point of their recording career, the slickest, most cohesive and highest quality of their five albums.

Two years later, in 1972, Tell Me This Is A Dream was released, and to this day, is an album that divides the opinion of both critics and fans alike. This was the first album the group had released since Randy Cain left the group. He was replaced by Major Harris, and sang on the group’s two final albums. Like the previous album, all of the songs on the album were original material. The first of the three singles released from the album Hey Love is perceived as an important breakthrough in soul music, because of the new and unique use of harmonies. Hey Love reached number fifty-two in the US Billboard 100 and fifteen in the US R&B Charts, proving the most successful of the three singles. Similarly, the album didn’t perform as well as it’s predecessor The Delfonics, reaching 123 in the US Billboard 200 and fifteen in the US R&B Charts.

The fifth and final album The Delfonics recorded for Philly Groove was Alive and Kicking. Sadly, the album wasn’t well received by critics, with the material being perceived as lacking the strength and quality of previous albums. This translated to sales of the album and three singles released from it. Of the three singles, only I Don’t Want To Make You Wain entered the US Billboard 100, reaching number ninety-one. Similarly, sales of the album weren’t good, reaching just number 205 in the US Billboard 200 and thirty-four in the US R&B Charts. Part of the problem was that when Alive and Kicking was being produced, Thom Bell was also producing albums by two other Philadelphia groups The Stylistics and Blue Magic. Not long after Alive and Kicking was released, The Delfonics decided to call it a day. They split up, and that was the end of the group in its original form. 

After the group split up, two groups emerged from The Delfonics, and both toured performing The Delfonics’ music. Over the years, the line-ups have changed with new members joining and leaving the group over the next thirty years. In 1999, William Hart’s group recorded an album as The Delfonics. Forever New was released by Volt, but failed to chart. However, it’s an album that was released twenty-nine years before Forever New was released, entitled The Delfonics that I’ll now tell you about.

The Delfonics opens with probably, their most famous track, the beautiful and brilliant love ballad Didn’t I Blow Your Mind (This Time). From the opening bars of the track when two burst of French horns open the track, until the closing notes, it’s one of the best ways to spend three minutes twenty-three seconds. A combination of piano, percussion, guitars and rhythm section William Hart’s melancholy, contemplative vocal. Behind him, the arrangement is complex, made up of an eclectic combination of instruments. This works wonderfully as slow, emotive waves of rueful, lush strings, guitars, drums, timpani, and subtle French horns combining to produce both drama and a deeply moving, sad sound. Even an electric sitar is deployed by Thom Bell along with the timpani and French horns in an effort achieve the right sound for the melody. Such was Bell’s determination to achieve perfection on the track. Accompanying William’s lead vocal, are Wilbert Hart and Randy Cain, whose voice have a similar gentle, wistful sound, that when combined with William’s unites quite beautifully. Together with an arrangement that’s almost symphonic, and slow, laden in emotion, Thom Bell succeed in producing a song that’s not only hugely memorable and iconic, but one of the most beautiful songs you’ll ever have the privilege of hearing. Not only is it the best song on the album, but it’s one of the best The Delfonics ever recorded. It was also a forerunner of the music that Gamble and Huff would produce on Philadelphia International Records.

Funny Feeling was the third of five singles released from the album. It reached number ninety-four in the US Billboard 100 and forty-eight in the US R&B Charts. Having to follow Didn’t I Blow Your Mind (This Time) on the album isn’t easy. It’s similar to having your painting hung next to Picasso or Constable in an art gallery. Straight away, it’s apparent the sound and style are almost the polar opposite to its predecessor. Guitars, a soaring vocal, driving rhythm section and rasping horns combine to create a faster tempo and full sounding arrangement. Even the vocals are quicker, louder and punchier, matching the arrangement perfectly. Meanwhile, rasping horns, stirring strings, a funk influenced rhythm section and chiming guitars combine with the vocals, reminding me of the tempo and style of many a Motown hit. Although very different to the opening track, it’s catchy, dramatic, not short of hooks and has a feel-good sound. Maybe a very different sounding track was the best way to follow Didn’t I Blow Your Mind (This Time), so comparisons couldn’t be drawn.

Another lovely slow track is When You Get Right Down To It, which features some great interplay between the three Delfonics. This was the last single released from the album, reaching fifty-three in the US Billboard 100 and twelve in the US R&B Charts. The song also benefits from a lovely melodic sound, and it seems strange that it didn’t do better as a single. Maybe because this was the fifth single released from the album, the record buying public wanted to hear new material from The Delfonics. When the track opens, drums, keyboards, percussion, guitars and horns combine before the vocal enters. A lush sound and slow tempo are perfect for another slightly wistful, thoughtful lead vocal. After that, each member of the group take turns of singing the lead vocal, while the other two members retreat, singing some beautiful harmonies. Behind them,Thom Bell’s arrangement sweeps along, incorporating slow string, percussion, chiming guitars, gentle bursts of horns and the rhythm section. A flute floats atop the arrangement, it’s sound providing a complete contrast to other instruments. My only criticism of the track is the sharpness of the drums. I much prefer the drum sounds on the Gamble and Huff produced tracks on Philadelphia International Records. However, having said that, this is the sound of The Delfonics that I much prefer, with the slower melodic arrangement combining with the gentle, thoughtful vocals. Together, the combine to produce a beautiful sounding song, one of the album’s best tracks.

Baby I Love You is a song about being in love, and is another track that demonstrates just how hugely talented The Delfonics were. Here, their vocal matches the beauty of the lyrics, with the vocal consider, tender and sung with a combination of emotion and passion. The arrangement is much more subtle, with the lushest of strings, rhythm section and guitars combining with bursts of French horns. Sometimes, the strings and drums punctuate the track with brief bursts of drama, highlighting the love expressed in the vocal. On this track, there’s one of the strongest bass lines on the album. It doesn’t overpower other instruments, but together with the drums, provides the track’s heartbeat. Some of the tracks on the album haven’t as strong a bass line, and this detracts from the sound. However,  everything about the track seems to combine brilliantly, resulting in a tender, beautiful song about being in love. Like the previous track, it’s one of the album’s standout tracks.

The Delfonics Theme (How Could You) is an instrumental, one that’s able to combine emotion, sadness and drama during what is an almost grand, orchestral sounding track. it’s a combination of chiming guitars, percussion, grand sweeping strings, braying horns and slow rhythm section. Over four and a half minutes, a track that wouldn’t sound out of place as part of a film soundtrack unfolds. A combination of the slower tempo and almost grandiose sound works well, and was a good way to close the first side of the album. It’s a very different track because of the lack of William, Wilbert and Randy’s vocals. Their only contribution was a short burst of harmonies, which helped lift the track. One wonders though, whether some more of their harmonies would’ve made an already good track, even better.

Side two of The Delfonics opens with Trying To Make A Fool of Me, the second single released from the album. It reached number forty in the US Billboard 100 and eight in the US R&B Charts. This was the follow-up to Didn’t I Blow Your Mind (This Time) and although not quite in that league, isn’t that far behind. Partly responsible for such a great track are William and Wilbert’s interchanging vocals. William sings one line of each verse, and Wilbert the next. Add to that the unique sound of the Wurlitzer piano which features throughout the track. Like Didn’t I Blow Your Mind (This Time), when the track opens, you immediately realize that the song is something special. A combination of dramatic drums, stirring, equally dramatic strings, flute and keyboards open the track, before the gentle, relaxed vocals enter. They’re a contrast to the arrangement which veers between a calmer, understated sound to a much more dynamic, dramatic sound. Guitars chime, while strings sweep and sharp sounding drums combine with gently rasping horns. Together with the vocal that wistfully asks and wonders whether they’re being made a fool of by their lover, it’s very much a winning combination, and although not quite as good as Didn’t I Blow Your Mind (This Time), it’s an excellent track, and the perfect way to open side two of the album.

Down Is Up, Up Is Down is a much faster track, with driving rhythm section, French horns, swirling strings and percussion combining before the vocal enters. It’s a very different sounding track, with the quicker tempo having a slightly clumsy sound. Meanwhile, the vocal is quicker, with their voices seeming to struggle with the increase in tempo. Their vocals are still good, as they soar heavenwards, but they aren’t quite as good as the other tracks. Percussion, strings, rhythm section and guitars do their best to produce a faster dance-floor friendly track, but ultimately, the result is slightly disappointing. So is the production which is neither as slick nor smooth as previous tracks. Sadly, after six really great tracks, this track doesn’t quite work, and is the album’s first disappointing track.

After the disappointing previous track, Over and Over is a much better track. It was the fourth of the singles released from the album, reaching number fifty-eight in the US Billboard 100 and nine in the US R&B Charts. A combination of keyboards, chiming guitars and rhythm section play slowly, and thoughtfully, as the tenderest of vocal enters. It’s laden with emotion and accompanied by tight backing vocals which sympathetically soar with the lead. Horns bray, while keyboards, strings, shimmering, chiming guitars and rhythm section produce waves of slow, dramatic and emotional sounding music, that at times benefits from an understated sound. When combined with the vocals, the result is quite beautiful and stunning. This more than makes up for the disappointing Down Is Up, Up Is Down.

Think About Me is another of the slower tracks on the album, one that benefits from both a lovely, lush arrangement and a beautiful vocal. The track opens with drums, keyboards, piano, guitar before a gentle and tender vocal enters. Gently, rasping horns, a slow moody bass and lush sweeping strings join, adding to an already melodic, emotive and beautiful arrangement that provides the perfect backdrop to the vocal. Like before, the tender lead vocal is accompanied by some hugely effective, beautiful backing vocals. They combine perfectly, and when added to Thom Bell’s lush, emotive arrangement, The Delfonics have produced yet another, sad, yet beautiful song.

The Delfonics closes with I Gave To You, another love song, and a track that, like the previous one is slower, full of emotion, and featuring a heartfelt delivery of the lyrics. Similar to the previous track is slow, spacious arrangement, which suits William Hart’s lyrics. A subtly played guitar chimes, before a near falsetto vocal enters, delivering the lyrics in a thoughtful, heartfelt manner. Together with slow, spacious drums and piano, sweeping strings drenched in emotion, subtle, braying horns and chiming guitars. Another addition are the by now familiar sound of the French horn, which have been used often during the album, sometimes maybe even overused. Here, they work well, combining with the rasping horns, strings and drums to produce an atmospheric, lush and emotive sounding arrangement. Together with some tender, thoughtful vocals, this excellent  William Hart penned love song is a lovely way to end the album.

Of the five albums The Delfonics recorded for Philly Groove, The Delfonics is by far, their most complete album. Much of this is down to some great songs, which apart from When You Get Right Down To It, were written by members of the group. On their previous two albums, half of the songs were cover versions, some of which were totally unsuitable for The Delfonics. Tracks like Alfie on La La Means I Love You and Scarborough Fair on Sound of Sexy Soul demonstrate this perfectly. Instead of tracks like those, The Delfonics was full of some brilliant tracks like Didn’t I Blow Your Mind (This Time), When You Get Right Down To It, Baby I Love You and Think About Me. The only poor track was Down Is Up, Up Is Down which I feel has a somewhat clumsy sounding arrangement. Apart from that, this album was the highpoint of The Delfonics career. By 1970, they were experienced both live and in the studio, and with Thom Bell producing an album of smooth, silky and slick soul music, The Delfonics should’ve gone on to much greater things. However, in 1971 Randy Cain left the group, and their two final albums for Philly Groove never quite recaptured the success of 1970s’ album The Delfonics. Eventually, the group split up after the release of their final album Alive and Kicking in 1974. By that time, Thom Bell was producing groups like The Stylistics and Blue Magic, of which Randy Cain was a member. So, when they split-up, they’d only recorded five albums, of which The Delfonics is the best of the lot. It’s available on Kent Records together with Tell Me This Is A Dream. Both albums are available on the one disc, as are The Delfonics first two albums La La Means I Love You and Sound of Sexy Soul. These albums allow you to hear some wonderful soul music from one of Philadelphia’s finest groups. Standout Tracks: Didn’t I Blow Your Mind (This Time), When You Get Right Down To It, Baby I Love You and Think About Me.

THE DELFONICS-THE DELFONICS.

http://www.youtube.com/watch?v=9NL1YPVnKDc