M.F.S.B.-PHILADELPHIA FREEDOM.
M.F.S.B.-PHILADELPHIA FREEDOM.
Often, when I’m either writing about Philadelphia International Records or Salsoul Records, I mention M.F.S.B. Philadelphia International Records’ legendary house-band. M.F.S.B.’s role in the Philly Sound can’t be underestimated. They played on literally every album the influenced and shaped what became known as the Philly Sound. Whether it was working with Thom Bell on albums by The Delfonics or The Detroit Spinners, or with Gamble and Huff’s on albums by The O’Jays, Billy Paul, Harold Melvin and The Blue Notes and The Three Degrees, M.F.S.B. played on each of these albums. By 1975, many of the original members of M.F.S.B. were locked in a dispute with Gamble and Huff over money. When no agreement could be reached M.F.S.B. headed to New York, taking their considerable talents to Salsoul Records, where they became The Salsoul Orchestra. As a result, Gamble and Huff lost some of the most talented musicians of the seventies. This included the Baker, Harris, Young rhythm section, who provided M.F.S.B.’s heartbeat, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, violinist Don Renaldo, percussionist Larry Washington and keyboard player Ron “Have Mercy” Kersey. There’s no doubt that Philadelphia International Records were affected by the loss of such hugely talented musicians. Granted, a number of talented musicians filled their shoes, but really, some of these talented musicians were irreplaceable. Ironically, many of the musicians that became The Salsoul Orchestra flourished. It was as if their talents were unleashed. Baker, Harris, Young, Bobby “Electronic” Eli, Ron “Have Mercy” Kersey and Vince Montana Jr. all went on to become songwriters, arrangers and producers at Salsoul. Gamble and Huff’s loss was Salsoul’s gain. However, before many of M.F.S.B. headed to the Big Apple, they played on one last M.F.S.B. album, Philadelphia Freedom. Would M.F.S.B. leave Philadelphia International Records on a high?
For M.F.S.B.’ last hurrah for Philadelphia International Records Philadelphia Freedom Gamble and Huff only contributed three tracks, South Philly, Brothers and Sisters and The Zip. Leon Huff contributed one further track, Ferry Avenue cowrote he cowrote with McFadden and Whitehead. The title-track Philadelphia Freedom, was a cover of a track Elton John and Bernie Taupin cowrote. Roland Chambers penned, arranged and produced the unmistakable Get Down With the Philly Sound, while Dexter Wansel wrote When Your Love Is Gone and Morning Tears. These tracks and three others, would be recorded at Philly’s Sigma Sound Studios, familiar territory for M.F.S.B., as they’d recorded not just the Gamble and Huff sessions there, but Thom Bell’s sessions as well. When many of M.F.S.B. left Philadelphia International Records to become The Salsoul Orchestra, they’d return to Sigma Sound Studios to record many of Salsoul’s classic albums. Before that, they’d record the eleven tracks that would become Philadelphia Freedom.
The recording sessions for Philadelphia Freedom proved to be the last appearance of the original and best lineup of M.F.S.B. Playing on Philadelphia Freedom were all the M.F.S.B. greats. Providing the album’s heartbeat were the Baker, Harris, Young rhythm section, along with guitarists Bobby “Electronic” Eli and Roland Chambers. Ron “Have Mercy” Kersey and Leon Huff played keyboards, Larry Washington percussion and Vince Montana Jr. vibes. Violinist Don Renaldo was part of the string section, while alto saxophonist Zach Zachery plays an important part in Philadelphia Freedom’s sound. McFadden and Whitehead added backing vocals along with the Sweethearts of Sigma, Barbara Ingram, Evette Benton and Carla Benson.
Like many Philadelphia International Records albums, a variety of arrangers and producers worked on Philadelphia Freedom. Of the eleven tracks on Philadelphia Freedom, Gamble and Huff only produced three of the tracks, and co-produced The Zip with Jack Faith. Jack Faith, along with Bobby Martin were two of Philadelphia International best arrangers. Jack Faith only arranged and produced Smile Happy and co-produced The Zip with Gamble and Huff. Bobby Martin arranged and produced Brothers and Sisters, while arranging Ferry Avenue. Dexter Wansel, another of Philadelphia International’s most talented arranged and produced two tracks and produced one other track. With Philadelphia Freedom the last album to feature the original lineup of M.F.S.B. recorded, the album would be released in June 1976. By then, many of the original lineup of M.F.S.B. would’ve signed for Salsoul Records and become The Salsoul Orchestra. Would their last hurrah for Philadelphia International Records, Philadelphia Freedom prove to be a commercial success?
Before Philadelphia Freedom was released in June 1976, The Zip was released as a single in 1975. It reached number ninety-one in the US Billboard 100, number seventy-two in the US R&B Charts and number three in the US Disco Singles charts. Get Down With the Philly Sound was then released as a single, reaching number ten in the US Disco Singles charts and number eleven in the US Club Play Singles charts. Ferry Avenue then reached number five in the US Disco Singles charts. When Philadelphia Freedom was released in June 1976, it reached number thirty-nine in the US Billboard 200, number fourteen in the US R&B Charts. The original lineup of M.F.S.B.’s album for Philadelphia International Records, Philadelphia Freedom had had a resounding success. From their new home in New York, where they were now The Salsoul Orchestra, the former members of M.F.S.B. must have smiled with satisfaction. Even more satisfying was the success The Salsoul Orchestra was now enjoying. However, why was Philadelphia Freedom such a success? That’s what I’ll now tell you when, I tell you about the music on Philadelphia Freedom.
Opening Philadelphia Freedom is Zac’s Fanfare No 2, where a roll of Earl Young’s drums, bursts of blazing horns and dramatically and enthusiastically, a musical equivalent of a fairground barker announces “ladies and gentlemen Gamble and Huff proudly present M.F.S.B.” With that the horn and rhythm section build and build the drama, leaving you anticipating the ten tracks still to come.
Straight away, M.F.S.B. set the bar high with Get Down With The Philly Sound, written, arranged and produced by M.F.S.B. guitarist Roland Chambers. Here you get the chance to witness M.F.S.B. in full flight. It’s a joy to behold. With the Baker, Harris, Young rhythm section providing the track’s heartbeat, searing funky guitar, growling, braying horns and percussion combine. While Zach Zachary lays down a peerless, scintillating alto-saxophone solo, Earl Young’s pounding drums drive the track along, while Ron Baker’s bass matches him note for note. They play their part in the track big, bold and hugely impressive sound, fusing elements of soul, funk and jazz with a disco beat. So impressive are M.F.S.B. in full flow, you wonder why Gamble and Huff allowed such talented musicians to walk away from Philadelphia International Records?
Philadelphia Freedom was written by Elton John and Bernie Taupin and was a hit for Elton John in 1975. It was recorded in Philly with members of M.F.S.B. playing on the track. Here, M.F.S.B. reinterpret the track, with Gamble and Huff producing it and Dexter Wansel arranging the track. Flourishes of sweeping, swirling strings, the rhythm section and rasping horns combine. While Zach Zachary lays down a subtle alto-saxophone solo, Norman Harris’ guitar chimes, while backing vocalists including the Sweethearts of Sigma’s harmonies drift in and out. While the alto-saxophone is central to the track’s sound and success, Baker, Harris, Young produce a funky, backdrop. Later, Norman Harris takes centre-stage, adding a jazz-tinged solo accompanied by beautiful harmonies from the Sweethearts of Sigma. This is just the finishing touch to the track, which brings new life and meaning to track, adding soul and a disco beat.
South Philly was penned and produced by Gamble and Huff and arranged by Tony Bell. It’s a slower track, with a beautiful wistful sound. Again, the Zach Zachary’s tender, emotive alto-saxophone solo is accompanied by the lushest of strings, melodic keyboards and beautiful harmonies from the Sweethearts of Sigma. As the track progresses, M.F.S.B. kick loose, the mass of horns and strings play a bigger role in track, while the Baker, Harris, Young rhythm section produce the track’s melancholy, heartbeat. Although very different from the previous tracks, it’s a very beautiful track, one with a wistful, thoughtful sound.
Often, I think McFadden and Whitehead don’t get the credit they deserve for their part in the Philadelphia International Records’ success story. The cowrote Ferry Avenue with Leon Huff. There’s another change in style, with the track taking as its reference points, jazz and soul. Keyboards, rasping horns and lush strings, while the rhythm section drive the track along. Zach Zachary’s alto-saxophone is key to the sound, while flourishes of piano, punchy horns and the lushest of sweeping string combine. The result is a track that’s flamboyant and dramatic, and could’ve only been produced by two men Gamble and Huff, in one city, Philadelphia with one band…M.F.S.B.
For just under a minute, Interlude sees M.F.S.B. enter a time-machine and are transported back in time, becoming an old style big band. They carry this of with aplomb and ease, as comfortable playing as a big band, as they are playing soul, funk or disco.
When Your Love Is Gone is one of two tracks Dexter Wansel wrote, arranged and produced. From the opening bars, it could only have been Dexter that wrote, arranged and produced the track. It has his name written large all over it. The reason for this is the synths that open the track, and are used throughout the track. However, Dexter uses them well and they work within the arrangement. A pounding rhythm section, percussion, blazing horns and cascading strings accompany his banks of synths. This results in what’s best describes as a space-age funky sound. Dexter uses them to build and add to the drama of the track.
Morning Tears is the second of the Dexter Wansel tracks. Again, he wrote, arranged and produced the track. This is very different, and a much better track. He sacrifices the synths, allowing Zach Zachary’s alto-saxophone to sit centre-stage while swathes of lush strings envelop his saxophone. The Baker, Harris, Young rhythm section fuse soul and funk, while keyboards, bursts of rasping horns and flourishes of strings combine. After Zach Zachary takes the track in the direction of jazz, the rest of M.F.S.B. take charge of the track, as they fuse soul, funk and jazz. When Zach reenters, he and M.F.S.B. drive this epic track along to its impressive and dramatic crescendo.
When Brothers And Sisters begins, straight away, you can tell this is a Bobby Martin arrangement and production. Bobby was a hugely talented arranger and producer, who later, would forge a successful production career, working with groups like L.T.D. Keyboards, the Baker, Harris, Young rhythm section and percussion combine before dancing strings and growling horns enter. They’re joined by the Sweethearts of Sigma who add punchy harmonies. As their harmonies drop out, M.F.S.B. kick loose, with strings sweeping and swirling, while horns rasp and blaze. Providing the track’s pulsating heartbeat are Earl Young’s drums, Ron Baker’s bass and Norman Harris’ chiming guitar. By now, M.F.S.B. with a little help from the Sweethearts of Sigma are in full flow, spreading hooks and joy in equal measures.
Ron Baker’s moody, broody bas is joined by an acoustic guitar and percussion as Smile Happy begins to share its secrets. Keyboards and rasping horns are then joined by lush strings as a thoughtful, melancholy sounding track reveals its hidden charms and inner beauty. It’s a gradual process, one that can’t be rushed and must be savored. Jack Faith, another of Philadelphia International Records best arrangers, arranged and produced the track, and does a masterful job. The result a thoughtful, melancholy and sometimes moody sounding soundscape, where drama and beauty are also present.
Closing Philadelphia Freedom are The Zip written by Gamble and Huff, who produced the track with Jack Faith. Bursts of blazing horns, sweeping swirling and shimmering strings are combined with a funky, driving Baker, Harris, Young rhythm section. The Sweethearts of Sigma add tight sweet and soulful harmonies. Chiming guitars, pounding drums, quivering cascading strings and growling horns combine with flourishes of flamboyant piano as M.F.S.B. end Philadelphia Freedom on a funky and soulful high, before waving goodbye to Philadelphia International Records and saying hello Salsoul. What a way to go.
The original and best lineup of M.F.S.B.’s final hurrah for Philadelphia International Records Philadelphia Freedom saw them leaving on a majestic, musical high. During the eleven tracks that comprise Philadelphia Freedom, M.F.S.B are in full flight, fusing funk, soul, jazz and disco seamlessly. They never missed a beat during the eleven tracks, with the Baker, Harris, Young rhythm section providing Philadelphia Freedom’s heartbeat. Along with musicians of the standard of guitarist Bobby “Electronic” Eli, keyboard player Ron “Have Mercy” Kersey, percussionist Larry Washington, vibes virtuoso Vince Montana Jr. vibes and violinist Don Renaldo M.F.S.B. demonstrated just why they were the greatest house-band of the seventies. By the time Philadelphia Freedom was released in June 1976, many of the original lineup of M.F.S.B. had left Philadelphia International Records after a dispute with Gamble and Huff over money. Their destination was New York and Salsoul Records, where they became The Salsoul Orchestra, and went on to releases numerous albums as The Salsoul Orchestra, while accompanying Loleatta Holloway, First Choice, Double Exposure and many more. These musicians went on to make Salsoul the greatest label in disco’s era. They played their part of the success story of two of the greatest labels in music, Philadelphia International Records and Salsoul Records. When M.F.S.B. released their next album Summertime, it was a very different lineup of M.F.S.B. Although M.F.S.B. Mk 2 went on to release further albums and accompany the label’s roster of artists, the original lineup of M.F.S.B. was the best and most successful, releasing classic albums like Love Is the Message, M.F.S.B. and Philadelphia Freedom, where you’ll hear M.F.S.B. in full flight, a sound that truly, is a majestic experience and a joy to behold. Standout Tracks: Get Down With The Philly Sound, South Philly, Ferry Avenue and Brothers And Sisters.
M.F.S.B.-PHILADELPHIA FREEDOM.
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