BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
Back in the spring of 1974, Philadelphia International Records had a busy schedule of releases. They’d three albums scheduled for release. The first of this trio was M.F.S.B’s seminal Love Is The Message and the third was The O’Jays’ classic Ship Ahoy. In between these two prestigious releases was the Philadelphia International Records’ debut of a man who’d not only play an important part in Philadelphia International Records’ success but later, the success of Salsoul Records. This was singer, songwriter, musician and producer Bunny Sigler. Bunny had just completed what was his second solo album That’s How Long I’ll Be Loving You, which will be rereleased on 29th October 2012 by BBR Records. It had been seven long years since Bunny had released his debut album Let the Good Times Roll (and Feel So Good) for Parkway Records. It had been co-produced by one of the founders of the label he was now signed to, Leon Huff.
Previously, Gamble and Huff were content for Bunny to write songs for other people, and play keyboards on other artists albums as part of M.F.S.B. Soon, Bunny was one of Philadelphia International’s top songwriters, up there with McFadden and Whitehead, Thom Bell and Alan Felder. His credits included writing Joe Simon’s Drowning In A Sea of Love, plus tracks for The O’Jays, The Three Degrees and Billy Paul. While Bunny was on roll as a songwriter, all he wanted to do was sing. Granted he enjoyed writing songs, but singing was his real love. Over the past two years, Bunny released singles like Tossin’ and Turnin,’ Heaven Knows I’ve Changed, Theme For “Five Fingers of Death” and Shake Your Booty, to little commercial success. Would his Philadelphia International Records’ debut That’s How Long I’ll Be Loving You see Bunny Sigler make a commercial breakthrough, and see him enjoy the success the artists he wrote songs for enjoyed?
With Philadelphia International Records at the height of their commercial success, the label was a hive of creativity. It seemed that the greatest songwriters, arrangers, producers and musicians of the seventies were based in Philly and working at Philadelphia International Records. It also seemed that they would play a part in Bunny Sigler’s Philadelphia International Records’ debut album That’s How Long I’ll Be Loving You. This included the songwriters who cowrote songs with Bunny.
Bunny wrote the title-tracks That’s How Long I’ll Be Loving You, and cowrote seven other tracks. This included Marianne and Somebody Freee with Joseph B. Jefferson. Things Are Gonna Get Better saw Bunny collaborate with Alan Felder and Ron Kersey and the trio cowrote I Lied with Norman Harris. The two tracks Bunny Sigler didn’t write or cowrite were cover versions of Gamble and Huff’s Love Train and Ray Charles’ What’d I Say. These ten tracks would be recorded at Sigma Sound Studio in Philadelphia, with the classic lineup of M.F.S.B. accompanying Bunny on the ten tracks that comprise That’s How Long I’ll Be Loving You.
At Sigma Sound Studios, the classic lineup of M.F.S.B. included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli and T.J. Tindall, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and keyboardist Ron “Have Mercy” Kersey. Adding backing vocals were , Carla Benson, Barbara Ingram and Evette Benton. On one track, My Other Love, Bunny showed that he was a true multi-instrumentalist, playing guitar, piano, bass, organ, sitar and added backing vocals. Bunny produced seven tracks himself, and three with Norman Harris. Arrangers included Bunny, Ron Baker, Norman Harris and Richard Rome. With such multitalented personnel involved in the making of That’s How Long I’ll Be Loving You, surely the album must be a huge hit?
On the release of That’s How Long I’ll Be Loving You in April 1974, the album reached number twenty-seven in the US R&B Charts. The Gamble and Huff penned Love Train, previously a huge hit for The O’Jays was chosen as the lead single, reaching number twenty-eight in the US R&B Charts in May 1974. That’s How Long I’ll Be Loving You was then released as a single in July 1974, but failed to chart. While That’s How Long I’ll Be Loving You fared better than Bunny’s debut album Let the Good Times Roll (and Feel So Good), which failed to chart, Bunny must have been left feeling disappointed. He felt his previous singles for Philadelphia International had been promoted well enough. Whether the same thing happened with That’s How Long I’ll Be Loving You is mere speculation? After all, Philadelphia International were currently promoting albums by two of their biggest groups, M.F.S.B’s Love Is The Message and The O’Jays’ Ship Ahoy? Since it’s release, Bunny Sigler’s That’s How Long I’ll Be Loving You had remained a hidden gem in the Philadelphia International Records’ back-catalogue, as you’ll realize when I tell you about it.
Things Are Gonna Get Better written by Bunny with Ron “Have Mercy” Kersey and Alan Felder opens That’s How Long I’ll Be Loving You. Arranged by Norman Harris who co-produced the track with Bunny, the track bursts into life. The unmistakable sound of the Baker, Harris, Young rhythm section combine with M.F.S.B.’s blazing horns and lush, swirling strings. They’re joined by Bunny’s heartfelt, impassioned vocals, as tight, soaring harmonies from the Sweethearts of Sigma accompany him. Bursts of Earl Young’s drums add drama, while the strings, horns and harmonies create an uplifting, joyous sound filled with hope and positivity. Given it’s plentiful supply of hooks, this is the perfect track to open any album.
That’s How Long I’ll Be Loving You was the only song Bunny wrote himself. Growling horns add a moody backdrop as they combine with strings. They give way to Bunny’s slow, emotive vocal, with Norman Harris’ sparse, thoughtful, jazzy guitar accompanying him. Earl Young provides the track’s heartbeat, while strings and horns add to the arrangement’s emotive, wistful and beautiful sound. During the track, Bunny lays bare his soul, delivering a vocal that’s not just heartfelt and full of sincerity, but incredibly soulful too.
I Lied is the second Norman Harris and Bunny Sigler production, with Ron Baker arranging the track. Earl’s pounding drums drive the arrangement along, while Bunny vamps alongside the sound of a motorcycle taking off. After that, Ron’s arrangement takes off. Strings dance, horns rasp and Baker, Harris, Young produce a pounding, sometimes funky beat. Bunny’s vocal is power personified, with Earl’s drums competing with it. Testifying harmonies from the Sweethearts of Sigma add the finishing touch to the track, as horns rasp, strings cascade and drums pound. On top of that Bunny unleashes literally, a breathtaking vamp, to a track that could only have been made in one place, Philly.
Picture Us has a real doo wop influence as it opens. Bunny’s accompanied by backing vocalists including the Sweethearts of Sigma, while the arrangement veers between understated and bursts of drama. Soon, he unleashed a vocal that’s a fusion of power, passion and emotion. Stabs of organ, a sprinkling of Vince Montana Jr’s vibes, piano and an understated Baker, Harris, Young rhythm section all play their part in creating a vintage-sounding arrangement, that’s perfect for the fifties doo wop harmonies that accompany Bunny’s heartfelt vocal.
Gamble and Huff were somewhat protective of Bunny covering Love Train, when he approached them about doing so. They felt The O’Jays had released the definitive version, but eventually agreed to let Bunny cover Love Train. His version is very different, much slower, dramatic and giving it a real gospel feel. Earl Young’s drums add bursts of drama, while tight, soulful harmonies answer Bunny’s impassioned call. Just the rhythm section, piano, Hammond organ and Norman Harris’ jazzy guitar accompany Bunny during what’s a gorgeous, seven minute gospel-tinged take an old classic.
Marianne was one of two tracks Bunny penned with Jospeh B. Jefferson. A Spanish sounding guitar, flourish of strings, percussion and vibes accompany Bunny’s vocal. Soon you realize this is a very different track, in sound and style, Gone is the soul, replaced by pop fused with Latin music and Spanish guitars. Rasping horns, sweeping strings and the rhythm section create a Latin flavored backdrop as the track takes on a sing-a-long sound. Although very different from other tracks, it’s still catchy, with a poppy quality.
My Other Love sees Bunny almost become a one-man-band, playing many of the instruments himself. A dramatic, moody backdrop sees growling horns, searing guitars and thunderous drums accompany Bunny’s vocal. It’s full of hurt and sadness, with backing vocals he contributes accompanying him. His vocal matches the drama created by the arrangement, as strings add to the sadness and regret in Bunny’s vocal. So convincing and moving is Bunny’s vocal, that you feel he’s lived the lyrics and felt the pain he’s singing about.
Your Love Is Good was penned by Bunny with Norman Harris and Alan Felder, with Ron Baker arranging the track. It doesn’t take long to realize that this is one of the highlights of That’s How Long I’ll Be Loving You. It’s typical of the songs Norman and Alan cowrote. Blazing horns, cascading strings, the Baker, Harris, Young rhythm section and Vince Montana’s vibes combine before Bunny’s joyous, heartfelt vocal enters. Cooing harmonies from the Sweethearts of Sigma, are the perfect accompaniment to Bunny’s vocal. With horns and strings serenading Bunny and the Sweethearts of Sigmas, the track takes on an irresistibly catchy and joyous sound. Not only that, but hooks are in plentiful supply thanks to the songwriting talents of Norman Harris and Alan Felder, two truly great songwriters.
Having covered The O’Jays’ Love Train, Bunny Sigler decides to give himself another challenge by covering Ray Charles’ What’d I Say. This isn’t an easy task, given Ray Charles recorded the definitive version. Maybe Bunny will reinterpret the song? That’s what he does, building up the drama with a frantic combination of percussion, wailing Hammond organ and Earl Young’s thunderous drums. Then, it’s all change and Bunny slows things down, mixing blues, soul, jazz and heaps of drama. Remembering Miles Davis’ maxim about “the space between the notes being just as important as the notes,” Bunny leaves numerous dramatic pauses as he powers and vamps his way through the track, mixing the original with his take on the song. The result is a compelling fusion of genres that result in new life being breathed into an old classic.
Closing That’s How Long I’ll Be Loving You is Somebody Free, the second of Bunny’s collaborations with Joseph B. Jefferson. A burst of Earl Young’s drums gives way to Norman Harris guitar, a wailing Hammond organ and the Baker, Harris, Young rhythm section. They usher in Bunny’s tender, heartfelt vocal, that’s full of regret and emotion. Harmonies accompany Bunny’s vocal, while the guitar and Hammond weave their way across the arrangement, as Bunny lays bare his soul and hurt. Earl’s dramatic bursts of drums reinforce the sadness and drama of a track that features one of Bunny’s best vocals on That’s How Long I’ll Be Loving You.
Earlier I referred to Bunny Sigler’s That’s How Long I’ll Be Loving You as a hidden gem in Philadelphia International Records’ back-catalogue. After listening to it several times, I haven’t changed my mind about that. It’s one of these albums that despite the quality of music, wasn’t the commercial success it deserved to be. Whether this was a case of lack of promotion? After all Philadelphia International Records were busy promoting albums by M.F.S.B. and The O’Jays. Another possibility is the wrong singles were chosen, we’ll never know. Maybe Love Train wasn’t a good choice for the lead single. Things Are Gonna Get Better seemed a more obvious choice, while Your Love Is Good seems a much better sophomore single than the title-track. What I can say, is that That’s How Long I’ll Be Loving You deserved to reach higher than just number twenty-seven in the US R&B Charts. After the disappointing performance of That’s How Long I’ll Be Loving You, Bunny Sigler only released two more albums for Philadelphia International, Keep Smilin’ and My Music. He never did find the commercial success and critical acclaim other artists enjoyed with his songs or production. Sadly, Bunny Sigler joins the likes of Dee Dee Sharp, The Futures, Jean Carn and Jerry Butler, who all released some great music for Philadelphia International, but sadly neither received the kudos nor commercial success their music deserved. Of the three albums he released for Philadelphia International, That’s How Long I’ll Be Loving You which will be rereleased on 29th October 2012 by BBR Records is easily the best. One small crumb of comfort for Bunny Sigler was that he was able to enjoy other artists enjoy critical acclaim, commercial success and kudos with songs he penned. Despite that, and just like Bunny’s 1979 album says “I’ve Always Wanted To Sing..Not Just Write Songs. Standout Tracks: Things Are Gonna Get Better, I Lied, Picture Us and Your Love Is Good.
BUNNY SIGLER-THAT’S HOW LONG I’LL BE LOVING YOU.
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