RONNIE DYSON-ONE MAN BAND.

dereksmusicblog ♦ October 10, 2012 ♦ 1 Comment

RONNIE DYSON-ONE MAN BAND.

Three years after the release of his debut album (If You Let Me Make Love To You Then) Why Can’t I Touch You  in 1970, Ronnie Dyson released his sophomore album One Man Band on Columbia Records. This would be the second of five albums Ronnie would release for Columbia between 1970 and 1979. Sadly, Ronnie Dyson’s career was cut tragically short, when he died in 1990, aged just aged just forty. Ronnie had first  come to the public’s attention when he appeared in Hair, along with future stars like Diane Keaton, Melba Moore and Paul Jabara who wrote Last Dance and It’s Raining Men. It was with the single (If You Let Me Make Love To You Then) Why Can’t I Touch You that launched Ronnie Dyson’s career. Four of the tracks on Ronnie’s debut album had been produced by legendary Philadelphia producer Thom Bell, while Billy Jackson and Stan Vincent produced the other tracks. Three years later, the same production team would join Ronnie for the recording of One Man Band, which has been rereleased and remastered by Purpose Music Vaults, along with five bonus tracks. Would One Man Band replicate the success of Ronnie’s debut album? That’s what I’ll tell you, after I’ve told you about Ronnie Dyson.

Ronnie Dyson was born in 1950, in Washington D.C, but was brought up in Brooklyn, New York. Like so many soul singers, Ronnie’s singing career started in church. Indeed, it was as a teenager in Washington Temple Church where Ronnie’s voice was first heard. However, it was the result of Ronnie’s mother overhearing a telephone conversation that he got his first break.

While Ronnie was a teenager, his mother worked for a telephone answering service. One day, she was fortunate enough to hear a customer saying how young people were being cast for a production a musical. Quickly, Ronnie’s mother decided to put his name forward. Ronnie auditioned and joined the cast of Hair, where he joined future stars like Melba Moore, Paul Jarbara and Diane Keaton. This was just the break Ronnie needed. So good was Ronnie, that Jerome Ragni and John McDermott wrote Aquarius especially for Ronnie. Soon Ronnie’s performance, that he came to the attention of record companies and one in particular, Columbia.

Billy Jackson at Columbia spotted Ronnie’s potential and signed him in 1969. His debut single was God Bless the Children, which was released as Ron Dyson. Although it wasn’t a commercial success, his second single (If You Let Me Make Love To You Then) Why Can’t I Touch You was. This gave Ronnie a hit in the US Billboard 100 and US R&B Charts and so did his debut album (If You Let Me Make Love To You Then) Why Can’t I Touch You. While the album was a moderate success, the third single I Don’t Want To Cry made the US R&B top ten. After recording three more songs, Ronnie’s nascent career was over, temporarily, when he was dropped by Columbia.

By 1971, Ronnie was on his way back to Columbia. Clive Davis had asked Stan Vincent to work with Ronnie as his producer. Their first collaboration was a cover of The Delfonics’ When You Get Right Down To It. It reached the top forty in the US R&B Charts. Chosen as the followup was A Wednesday In Your Garden, which was followed by a cover of The Stylistics’ A Point Of No Return. That was the track that set Columbia’s executives thinking. Even though the sessions went well, still, something was lacking. So using a some lateral thinking, they came up with the name of Thom Bell. After all, he’d produced The Delfonics and The Stylistics, whose songs Ronnie had covered. 

It just so happened Thom Bell was at CBS on business, so the subject of Thom producing Ronnie was broached. Ronnie was all for it. To him, Thom Bell was a star-maker. Everything Thom touched turned to gold or even, platinum. So with Thom onboard and set to produced what would become One Man Band. In Philly, work began on what would eventually become Ronnie Dyson’s sophomore album One Man Band.

Thom Bell and his songwriting partner Linda Creed composed three songs, One Man Band (Plays All Alone), I Think I’ll Tell Her and Give In To Love. Through Thom, Ronnie had access to the Bobby “Electronic” Eli, Vinnie Barrett and Joe Freeman songwriting team. They penned Just Don’t Want To Be Lonely, eventually. Every time Vinnie thought the song was complete, Thom Bell turned it down. Many rewrites later, the song was ready. At last, Thom loved the song, and he told Ronnie this was his hit single. These four tracks would become part of One Man Band. They were combined with the three cuts from the sessions with Stan Vincent, plus the three tracks Ronnie recorded during his first time at Columbia. One Man Band was set for release in 1973.

On the release of One Man Band in 1973, it reached number 142 in the US Billboard 200 and number thirty-four in the US R&B Charts. Just Don’t Want To Be Lonely did indeed give Ronnie the hit single Thom Bell promised, reaching number sixty in the US Billboard 100 and number twenty-nine in the US R&B Charts. The Thom Bell and Linda Creed penned One Man Band (Plays All Alone) was the most successful single from One Man Band. It reached number twenty-eight in the US Billboard 100 and number fifteen in the US R&B Charts. While One Man Band hadn’t been a huge commercial success, it had charted and produced two hit singles. What must be considered is that three producers worked on One Man Band. How did that affect One Man Band? That’s what I’ll tell you, when I tell you about the music on One Man Band.

Opening One Man Band is One Man Band (Plays All Alone) penned by Thom Bell and Linda Creed. Searing guitars, stabs of keyboards and the rhythm section combine before the lushest of strings sweep in. They usher in Ronnie’s wistful vocal, which has an air of vulnerability. Tight, heartfelt harmonies accompany Ronnie as the arrangement builds the drama, interspersing hope and beauty throughout. Bursts of rasping horns and swathes of cascading strings add to the drama, while Ronnie produces a vocal that’s full of emotion and passion. Thom Bell produces one of his trademark tight, arrangements with its drama, hope and beauty complimenting Ronnie’s vocal and proving the perfect accompaniment.

I Think I’ll Tell Her is the second of four Thom Ball produced tracks. Like the previous track, Thom and Linda Creed cowrote it. There’s a slow, sultry sound to the arrangement. Just percussion, rhythm section and bursts of melancholy horns give way to Ronnie’s vocal. He’s about to break his partner’s heart, by telling her, there’s someone else. Strings sweep in, their lush sound proving a contrast to the growling horns and complimenting the percussion. They also add to the emotion and sadness of the track. It has a real Thom Bell “sound,” especially the horns and strings. Ronnie brings the lyrics to life, his delivery full of pain and hurt, while the arrangement’s jazz-tinged sound has a melancholy, wistful sound that works so well. Not only is this one of the best vocals from Ronnie, but one of the best arrangements, and demonstrates why Thom Bell was such a successful producer.

Just Don’t Want To Be Lonely was the track Thom Bell told Ronnie was his next hit single. He was right. Written by Bobby “Electronic” Eli, Vinnie Barrett and Joe Freeman songwriting team, you realize something special from the song’s opening bars. Horns blaze dramatically, before become more subtle, and combining with the rhythm section and percussion. Another burst of growling horns is almost a signal to pay attention. When you do it’s worth it. Ronnie’s tender, heartfelt vocal is perfect for the song, bringing out its subtleties and nuances. Equally heartfelt harmonies accompany him, while strings add to the beauty and emotion. Horns rasp gently, while the arrangement meanders along beautifully, it’s somewhat understated sound allowing Ronnie’s vocal to take centre-stage. Considering this is one of his best vocals on One Man Band that’s where it deserves to be, helped no end by Thom Bell’s considerable skills.

Give In To Love is the last Thom Bell produced track. Again, it has an understated and emotive sound. Just piano, wistful horns and percussion combining. Ronnie’s vocal is emotive and needy, almost pleading. Strings and keyboards are joined by tender harmonies as Ronnie’s vocal grows in emotion and passion. Still the arrangement is understated, allowing Ronnie’s vocal to grow in power, emotion and sincerity. Adding to the emotion and beauty are the harmonies, while the slow drums add to the drama and beauty of this very beautiful, moving track.

Barry Mann wrote When You Get Right Down To It , which was produced Stan Vincent. Straight away, you can hear the difference in production style. Strings sweep in, joining keyboards, a pounding bass and the dramatic bursts of drums that  accompany Ronnie’s vocal. His vocal is a combination of power and passion, while the arrangement is bolder and much more dramatic. Horns blaze, flourishes of strings and keyboards and drums all play their part in the arrangement as Ronnie delivers a powerful vocal tour de force. While it’s different from Thom Bell’s style, the drama and power suits the song and Ronnie delivery. It also brings out another side of Ronnie Dyson.

A Wednesday In Your Garden is another of the songs recorded by Stan Vincent. Written by Randy Bachman, it sees another change in style. Think along the lines of Rex Harrison’s Windmills of Your Mind and you’re getting there. Harpsichord, woodwind and subtle rasping horns combine to take the song away from its soulful sound. This is much more of a seventies singer-songwriter style of track. Ronnie’s delivery is melodramatic, which suits the song. He accentuates words and notes, highlighting subtleties and nuances, while flourishes of strings and woodwind add a tender, understated sound. Then when Ronnie’s vocal grows, the rhythm and horn sections combine powerfully, adding to the drama. Although very different from previous tracks, Ronnie rises to the challenge, demonstrating his versatility as he combines raw emotion and power.

Ronnie recorded his cover of George Harrison’s Something just before he left Columbia the first time. From the get-go Ronnie decides not to try to reinvent the song. The arrangement has a sixties sound, with bursts of braying horns and string drifting in and out the track, while the piano and rhythm section combine. Later, the track speeds up, taking on a punchy, choppy style. This adds drama to Ronnie’s powerful, impassioned delivery. After hearing so many versions of Something, this one worked because it didn’t stray far from the original and wasn’t transformed into an overblown ballad. 

Girl Don’t Come was another of the songs from Ronnie’s first time at Columbia. Produced by Billy Jackson, the production is different again. It has a much more late-sixties, early-seventies style. Think Bacharach and David with Dusty Springfield. It has a similar style, with bursts of drama throughout the track. Flourishes of strings, rhythm section, Thom Bell style rasping horns and piano combine before Ronnie’s heartfelt, punchy vocal enters. The arrangement veers between a punchy and flowing style. Impassioned harmonies enter, while the strings are harsher than on the Thom Bell produced tracks. This works though, as sixties pop and soul are combined, giving us a snapshot of Ronnie’s early work.

Point Of No Return was a track written by Thom Bell and Linda Creed that was recorded by The Stylistics. A wah-wah guitar is joined by the rhythm section and guitars as Ronnie delivers a vocal that’s full of raw emotion. The punchy, choppy arrangement would make this popular with Northern Soul fans. Especially, when the rasping horns and strings join the rhythm section. While quite different from The Stylistics’ version Ronnie’s version breathes new life into a familiar song.

Closing One Man Band is The Love Of A Woman which Neil Sedaka cowrote with Howard Greenfield. It’s the best of the three tracks produced by Billy Jackson. Braying horns, the rhythm section and woodwind combine as Ronnie unleashes a powerful, passionate vocal. Lush strings and blazing horns combine as the rhythm section drive the track along. Ronnie seems to have reserved an outstanding vocal for last, as if determined to close One Man Band on a high. This he does, with a dramatic, powerful and joyous flourish.

Of the seven albums Ronnie Dyson recorded during his tragically short career, One Man Band is without doubt, his finest. It gets off to an outstanding start, with the four Thom Bell produced tracks. Thom seems to be able to bring the very best out of Ronnie. He seems able to wring every last ounce of effort and talent out of him. His production seems to compliment Ronnie’s vocal prowess. Sometimes this means using an understated arrangement, other times he uses drama to compliment Ronnie’s deliver. These four sings feature some of the best arrangements on One Man Band and it would’ve been fascinating to see what difference Thom producing the whole album would’ve made? Having said that, Stan Vincent and Billy Jackson’s production styles both have their merits and result in some compelling, emotive and impassioned performances from Ronnie. 

When You Get Right Down To It and Point Of No Return are the best of the Stan Vincent produced tracks, where drama and power of the arrangement matches Ronnie’s delivery. A Wednesday In Your Garden sees Stan bring out another side of Ronnie Dyson, allowing Ronnie to show just how versatile a singer he really was. Of the Billy Jackson produced tracks, The Love of A Woman is the standout track, with Ronnie saving one of his best performances for it.

The ten tracks on One Man Band feature Ronnie Dyson at his best. One Man Band was Ronnie Dyson’s best album. What makes it and it’s compelling and indeed, fascinating album is the differences in production styles. These three styles are very different. So too are the production styles of the five bonus tracks that feature on Purpose Music Vaults’ recent release of One Man Band. It contains tracks two tracks produced by Henry Cosby and two by John Florez. The best of the bonus tracks is the Norman Harris and Alan Felder produced Lady In Red. It’s a stunning track, and the perfect way to close this lovingly remastered rerelease of One Man Band, which was the finest hour of Ronnie Dyson’s tragically short career. Standout Tracks: One Man Band (Plays All Alone), I Think I’ll Tell Her, Just Don’t Want To Be Lonely and Give In To Love.

RONNIE DYSON-ONE MAN BAND.