STEPHANIE MILLS-I’VE GOT THE CURE.
STEPHANIE MILLS-I’VE GOT THE CURE.
By 1984, Stephanie Mills was about to release her ninth album, I’ve Got The Cure. This was her final album on Casablanca Records, and featured Stephanie’s number one single Medicine Song. However, success hadn’t come overnight for Stephanie. Neither Stephanie’s 1974 debut album For The First Time, nor her 1975 sophomore album Movin’ In The Right Direction were commercially successful. It wasn’t until Stephanie signed to 20th Century Fox Records that she found commercial success.
She released a trio of successful albums for 20th Century Fox Records. Between 1979s What Cha Gonna Do About My Lovin,’ 1980s Sweet Sensation and 1981s Stephanie established Stephanie’s reputation as one of disco’s stars. By now, Stephanie was Movin’ In The Right Direction For The First Time. Following her departure from 20th Century Fox Records, Stephanie signed to Casablanca Records.
Her Casablanca debut was 1982 Tantalizingly Hot. That year, Motown realizing how successful Stephanie had become, released Love Has Lifted Me. Then in 1983, Stephanie released Merciless, her second album for Casablanca. By now, Stephanie was at the height of her commercial success. Things were about to get even better for Stephanie, when she released I’ve Got The Cure, which will be rereleased by SoulMusic Records on 18th February 2013. I’ve Got The Cure would be Stephanie Mills final album for Casablanca Records, and would see her bow out on a soulful and successful high, while her sound evolved thanks to producers George Duke and David “Hawk” Wolinski.
That I’ve Got The Cure was Stephanie Mills’ ninth album, was quite remarkable. Stephanie, after all, was only twenty-seven years old. She was born in New York, in 1957, and made her stage debut aged just nine. Two years later, she won the Amateur Night at the Apollo Theater a record six times. This resulted in Stephanie making her Broadway debut in the musical Maggie Flynn. Then in 1973, Stephanie signed to Paramount records.
After Stephanie’s 1974 debut album For The First Time, and her 1975 sophomore album Movin’ In The Right Direction weren’t commercially successful. This resulted in Stephanie leaving the label. Her career received a boost when she appeared in The Wiz. Then in 1979, her career got back on track.
the success that had eluded Stephanie was now behind her. She was now signed to 20th Century Fox Records. Soon, Stephanie became a rising star of the disco scene. 1979s What Cha Gonna Do About My Lovin,’ 1980s Sweet Sensation and 1981s Stephanie saw Stephanie become a consistent hit-maker. When she signed to Casablanca Records, commerical success kept on coming Stephanie’s way, with 1982s Tantalizingly Hot and 1983s Merciless.For I’ve Got The Cure, Stephanie Mills final album Casablanca Records, she hooked up with producers George Duke and David “Hawk” Wolinski, a former member of Rufus.
For I’ve Got The Cure, nine tracks were chosen. David “Hawk” Wolinski contributed The Medicine Song and cowrote Rough Trade with Pat Leonard and Keithen Carter, who contributed three other songs. They were In My Life, You Might Just Need A Friend and Undercover. Tom Snow and Roy Freeland penned Edge of The Razor, while Kenny Loggins and Stephen Bishop cowrote Give It Half A Chance. Len Ron Hanks and John Lewis Parker contributed Outrageous, and Howard Grate and Michael Powell wrote Everlasting Love. These nine tracks became I’ve Got The Cure, Stephanie’s final album for Casablanca Records.
George Duke had been Stephanie Mills first choice when Casablanca asked her who she wanted to produce I’ve Got The Cure. He had just enjoyed produced albums for Jeffrey Osbourne and enjoyed commercial success and critical acclaim with Deniece Williams’ Let’s Here It For The Boy. Given George’s track record as a producer, record companies were desperate to get George to produce their artists. With George onboard, he decided given the type of album Stephanie wanted to make, they should bring David “Hawk” Wolinski onboard to deal with the dance tracks on I’ve Got The Cure. David was a songwriter, keyboardist and producer. Previously, he’d been a member of Rufus, so realized what it took to produce a hit single. Now all they needed, was an all-star band, containing some of the best session players of the era. They’d provide the backdrop for Stephanie on I’ve Got The Cure.
Recording of I’ve Got The Cure took place at various studios in California. This included Fantasy Records in Berkeley, plus Sound Castle, Le Gonks West and Fool On the Hill in Los Angeles. The all star band George and David put together included a rhythm section of bassist Fred Washington, drummer John Robinson and guitarist Bruce Gaitsch and David T. Walker. Joining them were percussionist Paulinho Da Costa, flautist Larry Williams and Pat Leonard on synths and keyboards. John Robinson played Simmons drums, Kevin Murphy vocoder and The Weather Girls and Walter Sisters added backing vocals. David played guitar, keyboards and synths, while George played Rhodes, Memory Moog, Mini Moog Bass, Linn Drums, CP70 and electric grand piano. Stephanie sang lead and backing vocals. Producing I’ve Got The Cure were George Duke and David “Hawk” Wolinski. Once I’ve Got The Cure was finished, it was released in 1984.
I’ve Got The Cure was released in 1984, reaching number seventy-three in the US Billboard 200 and number ten in the US R&B Charts. The Medicine Song was released as the lead single. It reached number sixty-five in the US Billboard 100, number eight in the US R&B Charts and number one in the US Dance Music/Club Play Charts. Edge of The Razor was also released as a single in 1984, reaching number forty-seven in the US R&B Charts. Then in 1985 it reached number fourteen in the US Dance Music/Club Play Charts. For Stephanie Mills, I’ve Got The Cure brought her time at Casablanca Records to a successful and soulful high, as you’ll soon realize.
The Medicine Song opens I’ve Got The Cure and sees David “Hawk” Wolinski take charge of production. Not only does it mark change in Stephanie’s music, but her voice maturing. There’s a harder eighties funky, electronic sound to the arrangement. This is obvious from the get go when the synths, sequencers and drums grab your attention. Having built the drama and power, Stephanie’s vocal is fiery, sassy, deliberate and powerful. She struts her way through the song, backing vocals cascading, while the synths, searing guitars and cracking drums provide the backdrop for Stephanie’s sassy, divaesque vocal.
Edge of The Razor was George Duke’s first production on I’ve Got The Cure. Stephanie picks up where she left off on the opening track. She mixes power, passion and confidence, from the opening bars. It’s an assured performance. Here, electro-pop and soul unite. While quite different from her early work, this was now 1984, so perfect for the times. The arrangement is filled with rocky guitars, pounding drums and synths. A blazing saxophone weaves its way across the arrangement. It gives way to Stephanie, who with searing guitars for company. During the chorus, she unleashes a series of poppy hooks, ensuring this is a memorable track.
Of the first three songs, In My Life has the most eighties sound. Straight away, you’re transported back nearly thirty year. While the arrangement has a real bold, brash eighties sound, Stephanie delivers one of her most heartfelt, needy and soulful vocals. Backing vocals from The Walter’s Sister provide the perfect accompaniment. For the rest of the arrangement, riffing guitars, buzzing, beeping synths and crispy drums combine. Stabs of deliberate keyboards help anchor the arrangement, adding to the drama and emotion of Stephanie’s vocal, which steals the show. Quite simply, her vocal is sweet, soulful and laden with emotion.
As Give It Half A Chance unfolds, it’s quite different from previous tracks. Suddenly, it’s not 1984 anymore. There’s a much more understated, subtle backdrop to Stephanie’s wistful, melancholy vocal. Just keyboards, ethereal harmonies and lush strings combine with guitars and percussion accompany her. Indeed at the bridge, the band build the drama, setting the scene for a vocal Magnus Opus from Stephanie. Indeed, not once do they overpower the beautiful, bittersweet vocal from Stephanie, ably assisted by The Walter’s Sisters equally beautiful vocals.
Outrageous reminds me of the type of music Prince was releasing during this period. The track literally explodes into life, with synths, rhythm section and searing guitars combining. A flourish of keyboards, signals the entrance of Stephanie’s powerhouse of a vocal. Adding gospel tinged backing vocals are The Walters Sisters. They’re the perfect foil for Stephanie, as the band drive the arrangement along. By then, funk, eighties electronica, rock, soul and gospel tinged harmonies are combine dramatically. This genre-sprawling fusion, results in one of the best tracks on I’ve Got The Cure.
Thunderous electronic drums open You Might Just Need A Friend. It’s as if they’re determined to grab your attention. Then synths and the rhythm section combine. Stephanie’s tender, breathy vocal cascades, with an understated combination of guitars, keyboards and percussion for company. Add to this The Walters Sisters crystalline harmonies. All this provides a contrast to the boldness and drama of the eighties drums sound, as this wistful, pensive track unfolds, revealing its subtleties and secrets.
Everlasting Love sees the tempo drop, when keyboards meander along. Then a dramatic burst of drums ensures you’re not going to miss what follows. This is one Stephanie’s most enchanting vocals. You’re captivated by its beauty, focusing solely on it. You’ve almost to pay attention to the rest of the arrangement. Just chiming guitars, strings and keyboards combine, as the arrangement veers between soulful and slightly funky. The band play their part in ensuring that what’s one Stephanie’s best vocal takes centre-stage. With cooing harmonies for company, The Weather Girls join Stephanie. They seem to drive each other to greater heights of sheer soulfulness. Stephanie’s vocal grows in power, emotion and sheer soulfulness, as she rolls back the years.
Rough Trade is the first of two tracks produced by David “Hawk” Wolinski. Straight away, you notice the change in sound. It marks a return to the fusion of eighties electronic, funk and soul. Again, there’s a tougher edge to the track, with synths, eighties drums and keyboards. During the bridge, a vocoder is added. Thankfully, it’s used sparingly. With vocoders, a little goes a long way. Later, The Walters Sisters add sweet, cascading harmonies, as Stephanie’s vocal grows in power. Soon, she’s finding her inner diva, her vocal growing in confidence, power and drama, as producer David “Hawk” Wolinski, takes I’ve Got The Cure in a dance-floor oriented direction.
Undercover, which closes I’ve Got The Cure, bookends the album perfectly. There are similarities with The Medicine Song, which opened I’ve Got The Cure. However, there’s a darker, broodier, moodier sound. Like The Medicine Song, synths, sequencers and drums are key to the track’s dance-floor friendly sound. Having set the scene, Stephanie’s vocal begins tender, but quickly grows in power, drama and emotion. Behind her, the arrangement becomes a musical juggernaut. Synths and drums propel the arrangement along. Riffing guitars and backing vocals add to the dramatic, sinister backdrop. This is perfect for the lyrics about streetwise people preying on unsuspecting, naive people. Given these lyrics, surely Stephanie could be singing about the music industry?
While Stephanie Mills’ ninth album I’ve Got The Cure may not have been nominated for a Grammy Award, like her previous album Merciless was, it featured a number single, The Medicine Song. It reached number one in the US US Dance Music/Club Play Charts. I’ve Got The Cure was also a commercial success, reaching number seventy-three in the US Billboard 200 and number ten in the US R&B Charts. Given that I’ve Got The Cure was Stephanie Mills’ final album for 20th Century Fox Records, she was leaving the label after a commercially successful album. Not only was I’ve Got The Cure, a commercial success, but saw Stephanie’s sound change.
During the nine tracks on I’ve Got The Cure, Stephanie fuses soul, funk, electro-pop and eighties electronic music. Soulful, funky and dance-floor friendly, I’ve Got The Cure is all these things and much more. I’ve Got The Cure also marks Stephanie’s voice maturing. This is quite remarkable, considering she was only just twenty-seven when she recorded I’ve Got The Cure. Indeed, her voice sounds much more mature than her then, quite tender years. While Stephanie’s vocals on I’ve Got The Cure demonstrate a vocalist at the height of her success, George Duke was at the height of his commercial success and critical acclaim as a producer. George’s decision to bring David “Hawk” Wolinski onboard, was a bold and brave one. Together, George and David ensured that Stephanie Mills’ final album for Casablanca Records, I’ve Got The Cure saw Stephanie Mills leave on a soulful, successful high. Now nearly thirty years after the release of I’ve Got The Cure, SoulMusic Records have will rerelease the album on 18th Fenruary 2013, complete with a trio of bonus tracks. Stephanie Mills’ farewell to Casablanca Records, I’ve Got The Cure is certainly an album that you’ll “play again.” Standout Tracks: The Medicine Song, Give It Half A Chance, You Might Just Need A Friend and Everlasting Love.
STEPHANIE MILLS-I’VE GOT THE CURE.
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