BREAKWATER-SPLASHDOWN.

dereksmusicblog ♦ October 23, 2012 ♦ 1 Comment

BREAKWATER-SPLASHDOWN.

Imagine being one of the hottest unsigned bands in Philadelphia during the seventies and not even trying to get a deal with Gamble and Huff’s Philadelphia International Records. Not even knocking on Gamble and Huff’s door might seem strange or even, somewhat remiss. After all, Gamble and Huff were at the helm of the most successful record label during this period. They enjoyed success with The O’Jays, Billy Paul, Harold Melvin and The Blue Notes, M.F.S.B. and The Three Degrees during this period. So for any unsigned band not just in Philly, but further afield, you’d have thought they would be beating a path to their hallowed doors. Not Breakwater though, whose sophomore album Splashdown, which will be released on 29th October 2012 by BBR Records. 

Having formed in 1971, Breakwater established a reputation as one of Philly’s hottest unsigned bands. Lead by multi-instrumentalist Kae Williams Jr. Breakwater’s were a seven-piece band whose fusion of soul, funk and jazz quickly won over Philly’s music fans. Despite establishing a loyal following and garnering a reputation as a band with a big future ahead of them, it wasn’t until 1978 that Breakwater signed to Clive Davis’ Arista Records. How the record contract came about was not unlike a game of Chinese Whispers.

Breakwater had recorded a demo, and understandably, were keen to get it heard by record company A&R scouts. Then their road manager happened to mentioned he’d been at school with Ray Charles son. So, a demo was passed to Ray Charles’ son, he passed it to Ray Charles, who passed it to Quincy Jones. Quincy liked what he heard and became interested in Breakwater. He’d just enjoyed success with The Brothers Johnson and had produced The Wiz soundtrack so was on a roll. When Quincy Jones got interested, so did Arista, who invited Breakwater to audition. Now two parties were interested in Breakwater, and it all came down to cold hard cash.

Quincy Jones offered Breakwater $10,000 to sign with him. The only problem was they’d have to relocate to Los Angeles. Arista offered a $75,000 advance and their choice of producer. This left them having to choose between having Quincy Jones produce their debut album and struggling financially, or signing to Arista and recording in New York and Philly. Money and reality won out, and Breakwater signed to Arista.

When discussions took place about a producer with Arista, none of Breakwater’s choices were available. Clive Davis decided to use in-house producer Rick Chertoff. Recording of what became Breakwater took place in New York and Philly. On the release of Breakwater in 1978, it reached number 173 in the US Billboard 200 and number thirty-six in the US R&B Charts. Two years later, Breakdown released their sophomore album Splashdown. Would Splashdown see Breakwater build on the success of Breakwater? 

For recording of Breakwater’s second album Splashdown, Kae Williams wrote five tracks and cowrote three others. Recording would take place in Santa Barbara, California rather than Philly and New York. Joining Breakwater would be guest musicians and vocalists. This included trumpeter Jerry Hey, Larry G. Hall and Gary Grant, trombonist Bill Reichenbach and Leonard “Dr” Gibbs Jr. on timbales. Mark Burnett added background vocals on Release the Beast, while Barbara Jean Wood’s vocal features on Let Love In. Producing Splashdown were Kae Williams Jr. and Rick Chertoff. Once Splashdown was recorded, the album was set for release in the spring of 1980.

On the release of Splashdown in April 1980, it fared slightly better than Breakwater, reaching number 141 in the US Billboard 200, number thirty-three in the US R&B Charts and number sixty-two in the Disco Charts. Splashdown Time was released in May 1980, reaching number fifty-nine in the US R&B Charts. Say You Love Me Girl was then released in July 1980, but only reached number seventy-nine in the US R&B Charts. Then when Release the Beast was released in September 1980, it failed to chart. Although Breakwater had improved on their debut album Breakwater by selling about 130,000 copies, this wasn’t enough for Arista. They dropped Breakwater and so Splashdown proved to be their finale. DId Breakwater bow out on a high with Splashdown?

Opening Splashdown is Splashdown Time, which Kae Williams Jr. cowrote with drummer and vibes player James “Gee” Jones, Vince Garnell woodwind player and producer Rick Chertoff. Sci-fi sounds open the track, grabbing your attention. Lasers blast, Dalek voices and space-age sounds collide before Breakwater blast-off. Blazing horns join the rhythm section and chiming in driving the track along as funk and jazz combine. Harmonies take charge, before Gene Robison’s vocal enters. It’s a mixture of power, sass and drama, as Breakwater fuse their unique brand of fusion. Jazz, funk and Latin music merge, creating a catchy, uplifting sound, with space used as their inspiration. Having gotten your attention, Breakwater have successfully launched Splashdown.

Love of My Life is one of five tracks penned by Kae Williams Jr, and features a much more soulful, laid-back sound. This shows a very different side of Breakwater. The track meanders elegantly into being, with the rhythm section, guitars and synths combining. They give way to tender harmonies, before Gene’s heartfelt, impassioned vocal takes charge. With the rhythm section adding a subtle, funky backdrop, Kae unleashes synths that replace the harmonies. When they return, they provide a contrast to the power and passion of Gene’s vocal. Together, they play their part in what is one of the most beautiful and soulful songs on Splashdown.

For many years, sample hunters have used Release the Beast for “inspiration.” Both Daft Punk’s Robot Punk and MURS’ Intro have sampled this track. Driving, rocky guitars, rhythm section and synths combine to create a much rockier, harder sound. Gene’s vocal takes on a harder edge, with some stunning guitars licks from Linc “Love” Gillmore at the heart of the track. As if not to be outdone, Kae unleashes an equally impressive keyboard solo. Later, the harmonies become tougher and louder, very much in keeping with the rest of the track. Although very different from the two previous tracks, this song demonstrates just how versatile and technically proficient a band Breakwater were.

The One In My Dreams shows how varied an album Splashdown is. It’s another of the Kae Williams Jr, compositions and its soulful sound has more in common with Love of My Life. Gene delivers a vocal that’s starts off heartfelt and tenderness, but grows in power and in emotion. This he does against another understated arrangement. Kae’s synths and keyboards at the heart of the arrangement, while Steve Green’s bass anchors the rhythm section. Breakwater add some of their tight, soulful harmonies and in doing so play their part in another of Splashdown’s soulful delights. However, after four songs so varied in style, you wonder who Breakwater really were?

Proving my last point is You, a track where Breakwater move from their soulful side to their uber funky side. Growling horns, percussion and a funky rhythm section join chiming guitars and Gene’s powerful vocal in driving a glorious slice of funk along. Key to the track’s success are the bursts of horns that punctuate the arrangement and some of the best guitar playing on Splashdown Linc “Love” Gillmore. When Gene’s punchy, powerful vocal is added to the mix this is just the finishing touch to a hidden, funky gem.

Lead vocalist Gene Robinson and Kae cowrote Say You Love Me Girl, which briefly, has a slight K.C. and The Sunshine Band influence at the beginning. This disappears quickly as Breakwater merge soulful harmonies and vocal with an arrangement that’s a fusion of jazz and funk. The rhythm section, percussion and keyboards provide the backdrop for the tender harmonies and impassioned vocal from Gene. Later, Kae adds a synth solo while a healthy sprinkling of percussion punctuates the arrangement. When the vocal and harmonies return, the interplay between them plays its part in making this one of the most beautiful tracks Breakwater recorded. Why it wasn’t a bigger success when released as a single seems strange, given its quality and sheer soulfulness.

Let Love In sees Barbara Jean Wood add vocals on a funky track written by Kae. Blazing horns join percussion and a dramatic rhythm section as the arrangement unfolds in waves. Harmonies are delivered with a swagger, while Linc’s guitar is at the heart of the arrangement. Gene takes charge of the vocal, adding a powerful, confident vocal, with not a little soulful assistance from Barbara. Their message is good things come to patient people. By now, the most hook-laden track on Splashdown unfolds in joyous waves, with brassy stabs and percussion aplenty. Why it wasn’t released as a single defies belief.

It’s somewhat ironic that Time is the last track on Splashdown, considering time was about to run out for them at Arista. This track bookends Splashdown nicely, with the sound of a clock chiming preceding the track revealing its secrets. Here, soul and funk unite. Gene’s emotive vocal accompanied by harmonies which provide the track’s soulful side. The rhythm section and guitars provide a funky backdrop, while warm keyboards add a jazzy feel. Rasping horns subtly punctuate the arrangement at just the right point, as Breakwater close Splashdown on a wistful high.

That Splashdown Breakwater’s sophomore album was also their final album seems very much, a case of what if? What if Breakwater had had enough material for a third album and had given them a new deal, would their third album have been the album that saw them make their commercial breakthrough? That’s mere speculation, but what I do know, is that Breakwater were a hugely talented group. Maybe part of the problem for Arista was marketing them. After all were they a soul or funk band, or were they a fusion band. During Splashdown, they veer between soul and funk, with a diversion into heavy rock on Unleash the Beast. There’s even jazz and Latin music throughout the eight tracks on Splashdown. Possibly, marketing them as a fusion band wouldn’t have worked, given how people railed against fusion in the seventies. Breakwater’s versatility was also part of their problem, as it meant categorising or pigeonholing their music wasn’t easy. Having sold 130,000 albums but not having enough material for a third album, Arista  didn’t offer Breakwater another recording contract. After this, the band split up and went their separate ways. This brought to an end another case of a hugely talented band not making the commercial breakthrough their talent and music deserved. Splashdown, which will be released on 29th October 2012 by BBR Records is not only proof of this, but also proof of why, during the seventies, Breakwater were Philly’s hottest unsigned band. Standout Tracks: Love of My Life, The One In My Dreams, Say You Love Me Girl and Time.

BREAKWATER-SPLASHDOWN.