THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
After a series of modest hit singles, The Trammps contract with Buddah Records ended. Baker, Harris, Young decided to form their own label, Golden Fleece Records, which would release their debut album, Trammps. Released in 1975, Trammps reached number 159 in the US Billboard 200 and number thirty in the US R&B Charts. On Trammps were hit singles like Stop and Think, Trammps Disco Theme, Love Epidemic, Trusting Heart and Where Do We Go From Here. Three of these singles, Stop and Think, Trammps Disco Theme and Trusting Heart reach the top ten in the US Disco Charts.
Not to be outdone, and possibly to cash-in on the success of their former signing, Buddah Records released The Legendary Zing Album. This contained a mixture of singles remixed by Tom Moulton and previously unreleased tracks. Unfortunately, for Buddah Records, The Legendary Zing Album failed to chart. However, things were going better for The Trammps.
Over at Atlantic Records, someone realized that this was a band with a big future. Atlantic Records signed The Trammps and they set about recording what would become their third album, Where The Happy People Go. It would be released in 1976. Before that The Trammps had an album to record, which they’d do with a little help from their Philly friends.
To help The Trammps record their third album, Where The Happy People Go they decided to give some of their Philly friends a call. This meant that joining the five Trammps, Jimmy Eliis, Earl Young, Robert Upchurch and Harold and Stanley Wade would be not just some of the Philly’s best musicians, but equally talented songwriters, arrangers and producers.
They’d all worked together many times, whether with Thom Bell or Gamble and Huff. By 1975, many of the musicians who’d been part of M.F.S.B, Philadelphia International Records’ legendary house band, had quit en masse. Following a dispute with Gamble and Huff over money, they’d headed to New York to become The Salsoul Orchestra. Indeed, many of the musicians who worked on Where The Happy People Go, would help transform Salsoul into disco’s premier label.
Seven songs would become Where The Happy People Go. This included two written by Ron Baker, of the Baker, Harris, Young rhythm section. Ron wrote, That’s Where The Happy People Go and Love Is A Funky Thing. Bruce Gray and T.G. Conway cowrote Disco Party and cowrote Can We Come Together With Alan Felder. Alan also cowrote Hooked For Life with Norman Harris and Bunny Sigler. Norman Harris and Leroy Green wrote the album opener Soul Searchin’ Time. The only non Philly penned tracks was a cover of Eddie Floyd, Steve Cropper and Wilson Pickett’s Ninety-Nine and A Half, done Philly style. Recording of Where The Happy People Go took place in the familiar surroundings of Philly’s Sigma Sound Studios.
Joining The Trammps for the recording of Where The Happy People Go, were some of the best musicians in Philly. While Baker, Harris, Young rhythm section supplied the heartbeat, Stanley Wade and Michael Foreman played bass and Bobby “Electronic” Eli guitar. Larry Washington played congas, Bruce Grey grand piano and Ron “Have Mercy” Kersey and T.G. Conway keyboards. Various arrangers and producers worked on different tracks and once Where The Happy People Go was finished, released in 1976.
Hooked For Life was released as a single in 1975, reaching number seventy in the US R&B Charts, number eight in the US Disco Singles Charts and number five in the Dance Music/Club Play Singles Charts. Then in That’s Where The Happy People Go was released in 1976, reaching number twenty-seven in the US Billboard 100, number twelve in the US R&B Charts and number one in both the US Disco Singles Charts and Dance Music/Club Play Singles Charts. Soul Searchin’ Time then reached number sixty-seven in the US R&B Charts. When Where The Happy People Go was released in 1976, it reached number fifty in the US Billboard 200 and number thirteen in the US R&B Charts. Atlantic Records had found their disco group in The Trammps, who were about to enter the most successful period of their career, starting with Where The Happy People Go, which I’ll now tell you about.
Opening Where The Happy People Go is Soul Searchin’ Time, penned by Norman Harris and Leroy Green. Arranged by Ron Baker and produced by Baker, Harris, Young. Earl Young’s thunderous drums, growling horns, wah-wah guitars and the funkiest of bass combine before Jimmy Eliis rasping vocal enters. He grabs the song, injecting passion and power. Tight, punchy harmonies sweep in, soaring high and soulfully. Ron Baker’s bass matches Earl’s drums every step of the way, as Jimmy gives a vocal masterclass. Horns rasp and growl, strings quiver and shiver and Norman Harris jazz-tinged guitar drifts in and out. Waves of drama and power give way to Jimmy’s vampish vocal. He takes on the roll of a musical preacher. The rest of The Trammps become believers, in Jimmy’s sheer soulfulness and passion, sung against an arrangement that’s uber funky and laden in drama.
That’s Where The Happy People Go was written, arranged and produced by Ron Baker. It’s a track where beauty and elegance is replaced by a joyous, musical explosion. Just a piano, wistful woodwind and melancholy strings join, creating a beautiful backdrop. Then a tender flourish of piano gives way to the Baker, Harris, Young rhythm in full flight. This powerhouse produce a thunderous driving arrangement. Swathes of dancing strings join them, before Jimmy Ellis steps forward. He goes on to deliver a growling, heartfelt vocal masterclass. The rest of The Trammps contribute sweeping harmonies, as Jimmy vamps, power and passion uniting. Cascading strings replace harmonies, as handclaps and keyboards join the rhythm section. Then Jimmy unleashes a vocal tour de force. “Boogie, boogie, boogie” sing The Trammps almost appreciatively. Jimmy hollers “Lord have mercy,” as if spent and exhausted, given his energetic and exuberant performance. To me, this is one of the finest tracks The Trammps ever recorded. One listen, I’m sure you’ll be a believer too.
Can We Come Together sees Earl Young’s pounding drums joined by a wailing wah-wah guitar unite as the arrangement unfolds. Strings sweep and swirl, Ron Baker’s funky bass, keyboards and growling horns are joined by Jimmy’s impassioned vocal. Harmonies tight and soulful sweep in, joining Jimmy before the vocal changes hands. Earl dramatically pounds his drums, as if his life depends on it. Later, Norman Baker and Bobby “Electronic” Eli trade guitar licks, as delicious vocal interplay takes place. Jimmy and other Trammps a perfect match. Jimmy’s vocal is powerful, full of urgency, energy and emotion while soulful, sometimes subtle harmonies sweep in and out. This is compelling and captivating contrast, while the arrangement is a the perfect match for the drama, energy and emotion of Jimmy’s vocal.
Disco Party is a fitting description for this uptempo, joyous track. Against what sounds like a party in the studio, the Baker, Harris, Young rhythm section combine with Bobby “Electronic” Eli’s searing guitar and a pounding piano. The Trammps add urgent harmonies and handclaps, before Jimmy Ellis makes his entrance. Horns growl and Jimmy’s vocal is quick, delivered with an urgency. Meanwhile, the arrangement mixes Philly Soul, funk and disco, revealing its secrets. Baker, Harris, Young provide the funk, as do The Trammps harmonies. Later, like Jimmy’s vocal they’re soulfulness personified. Norman Harris and Bobby “Electronic” Eli guitars add contrasting styles, before a funky piano and growling horns provides the icing on this hook-laden and infectiously catchy fusion of musical genres.
Ninety-Nine and A Half an old Stax track is given a Philly makeover by Ron “Have Mercy” Kersey. He arranges and produces the track, and Jimmy Ellis injects his trademark passion, drama and enthusiasm. From the opening bars, the track almost explodes. The Baker, Harris, Young rhythm section are joined by blazing horns, searing guitars and Jimmy’s vampish vocal. Sweeping, soulful harmonies drift in and out, as The Trammps and their backing band take a slice of Southern Soul, made in Memphis and inject a much needed injection of passion, drama and sheer soulfulness.
After the power and drama of the previous track, Hooked For Life sees a change in style. It’s a dramatic ballad, arranged by Norman Harris and produced by Baker, Harris, Young. Strings dance with joy, while the Baker, Harris, Young rhythm section provide the track’s heartbeat. Melodic keyboards, lush strings and punchy horns join Jimmy’s impassioned, heartfelt vocal, as he sings about romantic obsession. His voice is tinged with emotion, as Philly Soul and funk unite. Punchy, dramatic harmonies sweep in and out, before keyboards, strings and the rhythm section mix melancholia and drama. When Jimmy’s vocal returns, he’s still smitten, still Hooked For Life on a track that’s beautiful, emotive and timeless, whilst providing a showcase for The Trammps soulful side.
Closing Where The Happy People Go is Love Is A Funky Thing, written, arranged and produced by Ron Baker. There’s a much more understated sound, when just congas and bongos open the track, before Norman Harris’ thoughtful guitar and melodic keyboards join. This gives the track a pensive, almost moody sound. Space is left in the arrangement, with Earl Young’s drumming a perfect example of this. Chiming guitars, drums and keyboards join Ron Baker’s meandering bass. Together, they provide another side to The Trammps and their music, one that’s melancholy, moody and thoughtful.
Having signed The Trammps, Atlantic Records must have thought they’d hit the jackpot. Here was a group, The Trammps that could combine the two most popular genres of the seventies, Philly Soul and disco. Not only that, but The Trammps came complete with their very own team of Philly-based songwriters, arrangers, producers and musicians. This included some of the most talented, innovative and creative musical minds of the seventies. Looking at the musicians involved in the making of Where The Happy People Go, each one is a legend. Similarly, The Trammps featured five Philly legends. Featuring the vocal prowess of Jimmy Ellis, who could inject drama, emotion, energy and passion into a song, plus tight, soulful harmonies from Earl Young, Robert Upchurch and Harold and Stanley Wade, this was a musical marriage made in heaven. Little did anyone know, that the effect their next album would have.
The followup to Where The Happy People Go was Disco Inferno, which was certified gold and the title-track featured on a soundtrack that sold twenty-five million copies. That was Saturday Night Fever and would feature Jimmy Ellis vocal Magnus Opus, where he became a preacher and dancers, his followers. All that was still to come. Where The Happy People Go was a tantalizing taste of what was still to come from The Trammps. Where The Happy People Go featured seven scintillating songs from The Trammps, where Philly Soul and disco unite. Each of these songs were made in Philly and one listen and you’re smitten, by Trammps soulful, disco sound and taken to Where The Happy People Go. Standout Tracks: Soul Searchin’ Time, That’s Where The Happy People Go, Can We Come Together and Hooked For Life.
THE TRAMMPS-WHERE THE HAPPY PEOPLE GO.
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