THE O’JAYS-BACK STABBERS.

dereksmusicblog ♦ November 2, 2011 ♦ Leave a comment

THE O’JAYS-BACK STABBERS.

Back in August 1972, after Gamble and Huff had previously managed to convince The O’Jays not to quit the music industry, the group released their debut album Back Stabbers. Having already released a series of singles and albums in the sixties for various labels including Minit, Imperial and Bell, nothing could’ve prepared them for the success that was about to come their way. Their debut single, Back Stabbers reached number three in the US Billboard 100 and number three in the US R&B Charts, while reaching number fourteen in the UK. The single was certified gold, having sold over 500,000 copies. This wouldn’t be the last single from the album that was certified gold.

Following on from this success, their debut album Back Stabbers reached number ten in the US Billboard 200 and number three in the US R&B Charts. Within less than a year, the album was certified gold, having sold over 500,000 copies. Quickly, it became one of the most important albums in the history of The Sound of Philadelphia. Since then, it’s seen as one of the most important soul albums of the seventies, and can be found in Rolling Stone magazine’s list of the 500 greatest albums of all time. The three remaining of the original five O’Jays had a lot to thank Gamble and Huff for. Eddie Levert, Walter Williams and William Powell’s lives were transformed, and the success of the album didn’t end there.

Although the second single released from the album 992 Arguments only reached number fifty-seven in the US Billboard 100 and thirteen in the US R&B Charts, the next single surpassed even the success of Back Stabbers. When Love Train was released in December 1972, this Gamble and Huff penned song reached number one in both the US Billboard 100 and US R&B Charts, while reaching number nine in the UK. Like Back Stabbers, it was certified gold, and became The O’Jays only US number one. One further single was released from the album, Time To Get Down, another Gamble and Huff composition. Unlike the joyous Love Train, Time To Get Down only reached number thirty-three in the US Billboard 100 and number two in the US R&B Charts. However, two million selling singles Back Stabbers and Love Train, and a million selling album Back Stabbers, was a pretty good way to start your recording career on Philadelphia International Records. However, what made Back Stabbers such a hugely successful album? That’s what I’ll now tell you. 

The O’Jays debut album Back Stabbers opens with When the World’s At Peace, a track that opens with a dramatic sound that combines elements of funk with soul. There’s even a rock influence with the soaring, screaming guitars, that combine with blazing horns and a funky, driving rhythm section. It’s after that that The O’Jays’ vocal enters, loud and passionate, singing about the world being at peace, which, back in 1972, seemed as impossible as it does now. While a punchy, driving and clever, repetitive arrangement unfolds behind them, the lead vocal is accompanied by tight harmonies and soulful, backing vocals. Meanwhile, the arrangement is a quick, fulsome melange of a funky piano playing minor chords, while the rhythm section join in with the funk influence and punchy, blazing horns. Matching the faster, near frantic arrangement is a powerful, soaring lead vocal, supplemented by faster, harmonies and backing vocals. Although this is quite different to other tracks on the album, The O’Jays deliver their message with emotion and passion, mixing elements of funk and soul to do so with aplomb. 

The million selling single Back Stabbers was the song that helped make The O’Jays one of the most popular and successful soul groups of the early seventies. This track is a warning about other men who will smile and shake their friend’s hand, but in reality, are plotting to steal their friend’s wife or girlfriend. A roll and flourish of piano, drums, chiming guitars and lush sweeping strings combine before a much gentler, but frustrated and angry vocal enters. Quickly, the lead vocal changes hands, with each member sounding equally dismayed and disgusted. Behind them, one of the best arrangements on the album is unfolding. It’s an infectious combination of dramatic, yet beautiful music, thanks to the combination of lush, sweeping strings, chiming, shimmery guitars, piano and drums, while the horns and rhythm section deliver punchy, brief bursts of drama. When combined with The O’Jays’ vocal with veers between gentle and considered, to a frustrated and cynical sound. Quite simply both their vocal and the arrangement are masterful, resulting in one of The O’Jays best ever tracks.

Who Am I starts with a gentle and subtle piano, percussion and slow, considered bass accompanying the gentle, melodic lead vocal, and tight harmonies from the rest of the group. After that, a brief burst of horns and drums, gives ways to grand, sad sounding strings, percussion and occasional chiming guitars, while one of the most moving vocals on the albums unfolds. The rest of the group sing some beautiful, subtle close harmonies, totally sympathetic to a hugely emotive and deeply sad vocal. There’s a subtlety to the arrangement that meanders slowly and sadly along, only interrupted by brief, sharp bursts of drama courtesy of the drums. However, what makes this such a beautiful, moving song is the vocals, made all the better by a sympathetic and subtle arrangement from Norman Harris.

The style and tempo changes with the uplifting and joyous (They Call Me) Mr Lucky, another track that features some brilliant vocals from The O’Jays. A lead vocal that’s a combination of power, emotion and joy is accompanied by close, joyous backing vocals and an arrangement that has a real uplifting, feel-good sound. This is thanks to an arrangement that has a somewhat old fashioned sound, with lush strings, chiming guitars, punchy drums, stabs of piano and percussion contributing to an arrangement that just swings along. This is an infectious, joyous combination, featuring some lovely lyrics from Gamble and Huff about how you feel lucky when you’re in love with someone special. 

Closing side one of the album is yet another uptempo and joyful sounding track penned by Gamble and Huff, Time To Get Down. Here, the tempo is quicker, the arrangement fuller, and from the opening bars to close notes, just three and a half magical, magnificent minutes. This begins when the trademark Gamble and Huff drums enter, accompanied by keyboards, guitars and bass, before a quick burst of horns signals the arrival of another joyous lead vocal. It’s accompanied by equally joyful, backing vocals which soar beautifully above the lead vocal. Behind them, the arrangement has filled out, the faster tempo incorporating bursts of subtle horns, rhythm section, keyboards and guitar. Together, they provide the perfect, joyous backdrop for one of The O’Jays best vocals on the album. However, why the single didn’t fare better than number thirty-three in the US Billboard 100 and number two in the US R&B Charts puzzles me.

Side two of the album opens with 992 Arguments, which was the second single released from the album, and the follow-up to Back Stabbers. Unlike it’s brilliant predecessor, it only reached number fifty-seven in the US Billboard 100 and seventeen in the US R&B Charts. That, however, doesn’t mean it’s a bad song, quite the opposite, it’s a very good song. It’s quite different from the three previous tracks, and is a song that’s laden with drama, and quite emotionally charged, about a turbulent relationship. Straight away, bursts of dramatic drums, stabs of piano, braying horns and bass combine before the passionate, frustrated lead vocal enters. Strings sweep and swirl, while a wailing Hammond organ and percussion adds to the already dramatic arrangement. As the song progresses, the tempo quickens and gets fuller, with the rest of The O’Jays contributing punchy, angry backing vocals. This is an epic tale of woe, lasting over six emotionally charged and frustrated minutes, and the longer the track progresses, the more the drama builds and builds, climaxing in a dynamic crescendo. It’s an excellent track, very different to tracks like Back Stabbers and Love Train, featuring great vocals and an outstanding drama drenched arrangement.

Listen To the Clock On the Wall is a song about adultery and the guilt that comes hand in hand with forbidden, stolen moments of love and passion. Arranged by Leonard Pakula the track is a compelling description of secret assignations and stolen love, in the same vein as Candi Staton’s Mr and Mrs Untrue. When the track opens the repetitive nature of part of the arrangement is a masterstroke, the percussion getting across time slipping away quickly, while the sweeping strings, chiming guitars and braying horns combine to produce an atmospheric and dramatic backdrop for the vocal. It’s laden with frustration and emotion, as it’s accompanied by brief bursts of dramatic drums, while the rest of The O’Jays contribute soulful, tight harmonies and backing vocals. Together with the arrangement, it’s a dramatic and compelling track, full of emotion, sadness and betrayal.

Following on from the drama and emotion of the previous track Shifty, Shady, Jealous Kind of People is a song with a strong narrative, that describes perfectly, the jealous, interfering and mean-spirited people who can’t stand to see people get on and improve their lives. They always want to know people’s business and do them down. Jealousy and bitterness runs through their veins in equal parts to their blood. As the song opens, keyboards, rhythm section and angry, braying horns combine with grand, disdainful strings to combine the perfect backdrop for the frustrated and angry vocal that enters. It’s powerful, full of disgust, while tight harmonies almost mock them, with their sweet, united voices. This works beautifully, when combined with the arrangement that gets across the anger, frustration and disgust of the lyrics. In three and a half minutes, this mini-drama penned by Gamble and Huff with McFadden and Whitehead gets across the emotion, frustration and anger felt by anyone who has had the misfortune to meet Shifty, Shady, Jealous Kind of People. Quite simply, a mocking, mini-masterpiece aimed squarely at these people.

Sunshine is a slow ballad, a love song, featuring some great vocals and a slow arrangement laden with emotion and drama. Drums, chiming guitars, piano and percussion combine before a thankful, joyous and powerful vocal enters, accompanied by tight, harmonies and backing vocals. Meanwhile, the arrangement meanders beautifully along, with strings, lush and sweet, sweeping in, while the arrangement veers between dramatic and melodic. Thom Bell’s arrangement is stunning, full of emotion and beauty, with his ability to combine just the right choice of instruments at the right time, to achieve maximum effect. The combination of the slow tempo, melodic, moving and dramatic arrangement and one of the most beautiful vocals on the album result, in another stunning track.

Back Stabbers closes with Love Train, the second million selling single from the album. It was The O’Jays only number one in the US and is best described as three minutes of brilliant, joyful, hook laden, feel-good music, that demonstrates just what made The O’Jays and The Philly Sound so massively, popular. When we board the “train,” the speed is quick, the sound joyous thanks to the most infectious arrangement and vocal. Chiming guitars, driving rhythm sections, lush, sweeping and swirling strings keyboards and blazing horns combine with a hugely, joyous and passionate vocal. It’s accompanied by the rest of The O’Jays who give a similarly uplifting performance against a backdrop of some fast-paced strings, blazing horns, punchy drums and one of the best bass lines on the album. For three minutes you’ve to resist the temptation to rejoice at the brilliance and beauty of the track. You want to give thanks and rejoice to The O’Jays, arranger Thom Bell and producers Gamble and Huff for achieving three minutes of musical perfection, which are the perfect way to end the album. After all, anything else would be a let down.

Over the last few months, I’ve reviewed three of The O’Jays studio albums on Philadelphia International Records, Ship Ahoy, Family Reunion and Back Stabbers. These album had been unavailable for some time, and many people longed to either buy a copy to replace their cherished vinyl copy or hear these albums for the first time. Thankfully, they’re now able to do so, as all three albums have been remastered and rereleased. This allows a new generation of music fans to share what those of us who were around back then, to love and enjoy. Along with Harold Melvin and The Blue Notes, The O’Jays have always been one of my favorite groups on Philadelphia International. During their time on the label, they released some of the best soul music of the early seventies. This includes Back Stabbers, the album that made The O’Jays stars. On the album were two classic Philadelphia International tracks Back Stabbers and Love Train, both million selling albums. However, this album is more than just two brilliant singles. It features ten songs, each of which see The O’Jays at the top of their game. They were ably assisted by the masterminds behind The Sound of Philadelphia, Gamble and Huff, along with arrangers like Thom Bell, Bobby Martin and Norman Harris, and songwriters like McFadden and Whitehead and Bunny Sigler. Together, this creative team helped The O’Jays make a hugely successful album, which is one of the most important and influential seventies soul albums. If you’ve never heard it, now is your chance to hear some brilliant music by one of the best soul groups of the seventies, The O’Jays. Go on, get on the train. Standout Tracks: Back Stabbers, Time To Get Down, Sunshine and Love Train,

THE O’JAYS-BACK STABBERS.