M.F.S.B.-SUMMERTIME.

dereksmusicblog ♦ June 4, 2012 ♦ Leave a comment

M.F.S.B.-SUMMERTIME.

Recently, when reviewing The O’Jays’ Message In the Music, I mentioned how that 1976 was a pivotal year for Philadelphia International Records and their legendary house-band M.F.S.B. From the very first album Philadelphia International Records released, M.F.S.B. provided the album’s heartbeat. These musicians included bassist Ron Baker, guitarist Norman Harris and drummer Earl Young. They became known as the Baker, Harris, Young rhythm section. There was also guitarist Bobby Eli, percussionist Larry Washington, keyboard player Lenny Pakula, Vincent Montana on vibes and Don Renaldo’s strings and horns. Together, they were part of M.F.S.B., a group of musicians that number around thirty of Philly’s finest players. However, by 1976, M.F.S.B. were in dispute with Gamble and Huff over payments. Sadly, the dispute couldn’t be resolved. This resulted in M.F.S.B. leaving Philadelphia International Records and becoming the Salsoul Orchestra. Before their departure, M.F.S.B. would release their fifth album Summertime, which I’ll tell you about, after I’ve told you the background to the album. 

With M.F.S.B. about to leave Philadelphia International Records, the label wasn’t just losing their house-band, but a highly successful group. Before the release of Summertime, they’d released four albums between 1972 and 1975. Starting with M.F.S.B. released in 1973, which reached number 131 in the US Billboard 200 and number twenty in US R&B Charts, their popularity quickly grew. Next came Love Is the Message later in 1973, their most popular album. It reached number four in the US Billboard 200 and number one in US R&B Charts. Universal Love, released in 1974, reached number forty-four in the US Billboard 200 and number two in US R&B Charts. Following Universal Love was 1975s Philadelphia Freedom, which reached number thirty-nine in the US Billboard 200 and number fourteen in US R&B Charts. After this run of commercially successful albums, would Summertime see M.F.S.B. Mk 1 leaving Philadelphia International Records on a high?

For their fifth album, Summertime, Gamble and Huff wrote four songs plus the successful songwriting team of Gene McFadden, John Whitehead and Victor Castarphen cowrote three tracks. The album’s other track was a cover of George Gershwin’s Summertime. These eight tracks would be recorded at Philly’s Sigma Sound Studios, where all the Philadelphia International Records albums were recorded.

Producing the album were Gamble and Huff who produced five tracks, while Gene McFadden, John Whitehead and Victor Castarphen produced three tracks. Arranging the eight tracks on Summertime would be Jack Faith, Bobby Martin and Tony Bell, Thom’s brother. Adding vocals to Summertime were the Sweethearts of Sigma. They’re vocal accompanied M.F.S.B. as they bid farewell to Philadelphia International Records? Would they do so with another successful album in Summertime?

On the release of Summertime, the album reached number 106 in the US Billboard 200 and number eighteen in the US R&B Charts. Two singles were released from Summertime. Picnic In the Chart reached number one in the US Dance Charts. The title-track Summertime reached number sixty-five in the US R&B Charts, also reaching number one in the US Dance Charts. However, why was Summertime not as successful as M.F.S.B’s previous albums? That’s what I’ll tell you after I’ve told you about the music on Summertime.

Opening Summertime is Picnic In the Park, one of the five Gamble and Huff penned and produced tracks. It opens with a crashing cymbal, before Ron Baker’s pounding bass stabs of keyboards and swathes of lush strings enter. The arrangement veers between a lush sound and bursts of drama, with the Baker, Harris, Young rhythm section providing the track’s heartbeat. Then the Sweethearts of Sigma add bursts of dramatic, soaring harmonies, before blazing horns punctuate the arrangement. Gradually, the track reveals its many subtleties and charms. Quivering strings, vibes, flourishes of keyboards and stabs of horns are just some of these subtleties and charms. Taken together, they’re proof positive that M.F.S.B. were still the hottest band of the seventies, providing a perfect soundtrack to any Picnic In the Park.

Mention Summertime, and everyone will mention George Gershwin. However, he cowrote the song with Ira Gershwin, DuBose and Dorothy Heyward. Since then, the track has been considered a true classic, covered by many, but never like the way M.F.S.B. do. A sultry saxophone solo drifts seductively above gentle stabs of keyboards, while lush, wistful strings enter. Suddenly, you think M.F.S.B. have been transformed into an old-time jazz band. Then…the track explodes. Funky wah-wah guitars, blazing horns, sweeping, swirling strings and the Baker, Harris, Young rhythm section driving the track along. It’s veritable fusion of jazz, funk and soul. For five minutes, M.F.S.B. produce a stunning cover version of a jazz classic, but with a sublime, funky twist.

On Plenty Good Lovin’ M.F.S.B are again joined by the Sweethearts of Sigma, whose soulful vocals augment M.F.S.B’s fusion of jazz and funk. When the track opens, the rhythm section, flute, flourishes of harp and punchy, rasping horns take the track in the direction of funk. Then when the Sweethearts of Sigma enter, their tender, understated vocals add soul to a now jazz-tinged arrangement from Bobby Martin. Still the funky side of the track emerges, but Norman Harris’ jazzy guitar has a funky counterpoint in Bobby Eli’s playing. Braying horns provide a contrast to flourishes of harp and later, Vince Montana’s vibes. This is what M.F.S.B. did so well, take a variety of different instruments and styles of music, fusing them seamlessly to make a timeless track. That’s what they do here, with the help of Gamble and Huff, plus arranger Bobby Martin.

Sunnin’ And Funnin’ is one of a trio of tracks penned and produced by Gene McFadden, John Whitehead and Victor Castarphen. It’s very different to the previous tracks, with a much more understated, mellow sound. Swathes of strings are at the track’s heart, while the rest of M.F.S.B. play subtly, as if within themselves. Gradually, their playing becomes more powerful. They never quite kick loose, but bursts of rasping horns, keyboards, rocky guitars and the rhythm section combine perfectly. Quivering, shimmering strings and the gentle, tender vocals from the Sweethearts of Sigma are the finishing touch to the track’s laid-back, mellow sound.

Summertime And I’m Feelin’ Mellow has one of the most recognizable sounds. From the opening bars, it’s familiar strains is akin to meeting a long lost friend. Swathes of strings sweep and swirl, before blazing horns enter. Along with the rhythm section, they add bursts of drama. Backing vocalists, drift in and out of the track, their subtle, soulful strains then replaced by percussion, shivering strings and growling horns. When the backing vocalists reenter, the drama and power is gone. It’s like the calm after the storm, but unlike a storm, M.F.S.B. in full flow is a thing of beauty, where grace and elegance, plus drama and power unite majestically, like they do here.

I’m On Your Side sees Gamble and Huff launch a curveball that would deceive even the smartest batsman. When the track opens, it’s like a calm sea, with the Sweethearts of Sigma’s tender harmonies floating along the calm sea. They’re accompanied by keyboards, guitar and rhythm section that create a flowing backdrop. Then suddenly, M.F.S.B. decide to unleash their funky side. Punchy blazing horns, wah-wah guitars, hissing hi-hats and the rhythm section add power and drama. However, then calm is resumed. This doesn’t last, with M.F.S.B. deciding to unleash their funky side again. From there, they tease and tantalize the listener, with the listener anticipating the arrival of fabulously, funky side of M.F.S.B. When it arrives, the anticipation and expectation are matched by the delivery, then some.

Earl Young’s drums open Hot Summer Nights as he makes his way round his kit. This signals the arrival of keyboards, rhythm section, gentle rasping horns and the lushest of strings. The arrival of the lush strings signal the arrival of the Sweethearts of Sigma’s beautiful, seductive sounding vocals. From there, M.F.S.B. decided to tease and tantalize the listener again. You never quite can guess the direction of the track. Will it head in the direction of funk or jazz? It gives indications of doing both, but makes brief, welcome excursions into jazz and funk, accompanied by the lushest of strings and the Sweethearts of Sigma. Key to the track’s success is arranger Bobby Martin, who in helping M.F.S.B. tease and tantalize, serves up a veritable feast, where jazz, funk and soul are fused brilliantly.

Closing Summertime, and the original M.F.S.B’s time on Philadelphia International Records is We Got The Time written and produced by Gene McFadden, John Whitehead and Victor Castarphen. The track almost bounces, joyously into being, with keyboards, the rhythm section, wah-wah guitars and percussion combining. It’s like each member of M.F.S.B. are saying this is what we can do, we’re the best. Don Renaldo’s strings sweep and swirl while his horns rasp, as the Sweethearts of Sigma deliver punchy backing vocals. Again, M.F.S.B. fuse soul, funk and jazz seamlessly, as they bid their farewell to Philadelphia International Records. Their next stop was one hundred miles away, in New York where they become the Salsoul Orchestra. This joyful, uplifting track is a fitting farewell to Philadelphia International Records, from M.F.S.B. who played such an important part in the making of the Philly Sound.

Looking back at M.F.S.B’s departure from Philadelphia International Records, it seems quite incredible that musicians of that calibre were allowed to leave the label, given the important part they’d played in the label’s sound and success. Of course, I’m not privy to what exactly the financial dispute was about, but nowadays, companies would fight tooth and nail to keep key employees like M.F.S.B. They were vital to the company’s future success. However, maybe the fact that there were so many talented musicians who were part of the pool of musicians that made up M.F.S.B. was why they were allowed to leave. However, there was only one Baker, Harris, Young rhythm section. They were irreplaceable. There was also guitarist Bobby Eli, percussionist Larry Washington. Similarly, vibes player Vincent Montana and Don Renaldo’s strings and horns were almost irreplaceable. M.F.S.B. continued their successful musical journey, flourishing after leaving Philadelphia International Records. Baker, Harris, Young became a successful songwriting and production team, so did Bobby Eli and Vince Montana. Don Renaldo’s strings and horns were just as in demand in New York at Salsoul Records. Together, M.F.S.B. settled into life at Salsoul seamlessly, flourishing and becoming even more successful. While Summertime wasn’t the same commercial success as their four previous albums, the music was just as good. Summertime is the hidden gem in the M.F.S.B. back-catalogue. Thankfully, it’s available as part of a double-album released by Edsel Records in 2010, which contains both Philadelphia Freedom and Summertime. This gives you the perfect soundtrack for Summertime as M.F.S.B. having found Philadelphia Freedom, head to New York and Salsoul Records, to start the next chapter in their career. Standout Tracks: Picnic In the Park, Summertime, Summertime And I’m Feelin’ Mellow and Hot Summer Nights. 

M.F.S.B.-SUMMERTIME.