BLUE MAGIC-MESSAGE FROM THE MAGIC.

dereksmusicblog ♦ May 2, 2014 ♦ 1 Comment

BLUE MAGIC-MESSAGE FROM THE MAGIC.

By 1978, when Blue Magic released Message From The Magic, their career had stalled. Much had changed since they released Mystic Dragons in 1976. Two of Blue Magic’s original members had left. Vernon and Wendell Sawyers had left after Blue Magic’s fourth album, Mystic Dragons. It was the least successful album of Blue Magic’s four album career. Maybe the Sawyers’ brothers saw that the writing was on the wall for Philly Soul. 

Disco was now King. Philly Soul which had provided the soundtrack to the early and mid seventies was no longer as popular. Its popularity had been usurped by disco, which was a worldwide phenomenon. Blue Magic’s formula of romantic ballads and slow jams was yesterday’s sound. Atco, Blue Magic’s record company realised that and decided things had to change.

Whereas Blue Magic’s four previous albums were recorded at Philly’s Sigma Sound Studios, Message From The Magic, which was recently rereleased by Funkytowngrooves, would be recorded in Los Angeles. This meant that members of The Salsoul Orchestra, wouldn’t accompany Blue Magic. They and The Sweethearts of Sigma had been part of Blue Magic’s Philly Soul sound. Another change was that Skip Scarborough would produce Message From The Magic. Looking back, this was the last roll of the dice for Atco. If Message From The Magic, failed commercially, this could be the end of Blue Magic’s time at Atco. Things had been very different in 1974.

Blue Magic’s eponymous debut album was released in January 1974, reaching number forty-five in the US Billboard 200 and number four in the US R&B Charts. This resulted in Blue Magic being certified gold. Blue Magic featured the million-selling Philly Soul classic Sideshow, written by Vinnie Barrett and Bobby “Electronic” Eli. Sadly, after their debut album, Blue Magic failed to replicate the success of Blue Magic. 

The Magic of The Blue, released in December 1974, reached number seventy-one in the US Billboard 200 and number fourteen in the US R&B Charts. Even when the Vinnie Barrett and Bobby “Electronic” Eli, penned Three Ring Circus was released as a single, it stalled at number thirty-eight in the US Billboard 100 and number five in the US R&B Charts. Blue Magic’s fortunes improve during 1975.

1975 saw Blue Magic embark on their first world tour. It lasted sixteen grueling and exhausting weeks. However, their luck was about to improve. Blue Magic won an Ebony Award for the best new group. Then in September 1975, their third album, Thirteen Blue Magic Lane reached number fifty in the US Billboard 200 and number nine in the US R&B Charts. With Blue Magic’s fortunes improving, work began on their third album Mystic Dragons. For Mystic Dragons, there would be some changes.

Unlike Blue Magic’s first three albums, Norman Harris wasn’t producing Mystic Dragons. Neither would Norman provide any of the songs on Mystic Dragons. Given Norman had co-written eleven songs on Blue Magic’s three previous albums this would be a huge void. Another void was the loss of the Baker, Harris, Young rhythm section. Unsurprisingly On the release of Mystic Dragons in 1976, it was the least successful album of Blue Magic’s career. 

Mystic Dragons stalled at number 170 in the US Billboard 200 and number forty-four in the US R&B Charts. Three singles were released from Mystic Dragons during 1976. Freak-N-Steln only reached number seventy-three in the US R&B Charts. It’s Something About Love then reached number forty-eight in the US R&B Charts. Summer Snow proved to be the most successful single, reaching number forty in the US R&B Charts. That was a small crumb of comfort for Blue Magic, who lost two of their original lineup.

Vernon and Wendell Sawyers left after Mystic Dragons. This was a huge blow. They were  huge part of Blue Magic’s sound. Their replacements were Michael Buchanan and Walter Smith. Blue Magic’s newest recruits made their debut on Blue Magic’s fifth studio album Message From The Magic, which was released in 1978.

For Message From The Magic, members of Blue Magic penned six of the nine tracks. Ted Mills contributed If You Want Me To and Sweet Woman. He wrote Can’t Get You Off My Mind, Purple Passion, Still In Love With You and Message with Keith Beaton and Richard Pratt. Producer Skip Scarborough and Raina Taylor wrote Lady In My World Of Love. Phillip Bailey  of Earth, Wind and Fire cowrote the other two tracks. This included Four Leaf Clover, which he cowrote with Carl Carlwell and Wayne Stalling. The other tracks was I Waited, which Phillip cowrote with Ernest Straughter and Luther Waters. These nine tracks became Message From The Magic.

When recording of Message From The Magic began, no expense had been spared. String, horn and woodwind sections were brought in. So were some of L.A’s top session players. The rhythm section included drummer Ralph Johnson, bassist Rober Johnson and guitarist Al McKay and Spencer Bean. Louis Russell played acoustic guitar, Gayle Levert harp, while Ted Mills and Ernest Straughter played electric piano. Earth, Wind and Fire’s Phillip Bailey played bongos, congas and tambourine and Victor Feldman played vibes, chimes, xylophone and tambourine. Saxophonist Ernie Watts was part of the horn section that accompanied Blue Magic on Message From The Magic, which was released in 1978.

I Waited was the lead single from Message From The Magic. It failed to chart. Worst was to come. On the release of Message From The Magic in 1978, it failed to chart. For Blue Magic this was the least successful album of their career. The decision to move from Philly to L.A. had been a disaster. Despite producer Skip Scarborough being on the hottest streak of his career, Message From The Magic had flopped. Since then, Message From The Magic has come to be regarded as Blue Magic’s forgotten album, which I’ll tell you about.

Can’t Get You Off My Mind opens Message From The Magic. Straight away, there’s elements of the Philly Soul sound. It’s best described as Philly Soul lite. Swathes of strings sweep and swirl, horns rasp, while piano and percussion provide a backdrop for Ted’s tender, needy vocal. Harmonies sweep in. They’re tender, and the perfect accompaniment to Ted’s vocal. Guitars chime, horns growl and the lushest of strings dance. Meanwhile, Blue Magic get the opportunity to showcase their balladry. The result is soulful and beautiful.

The rhythm section power the arrangement to If You Want Me To along, Strings dance and horns bray, setting the dramatic scene for Ted’s vocal. It’s reminiscent of his vocal on the previous track. Heartfelt and emotive, the lyrics come to life. Harmonies compliment his lead vocal, while the arrangement floats along. It’s a mass of dancing strings, rasping horns, punchy rhythm section and flourish of xylophone. They set the scene for some grandstanding from Ted. He unleashes a vocal that’s a mixture of power and passion. It’s impressive and is a reminder why Ted Mills is called The Wizard.

Lady In My World Of Love is another ballad. It’s as if Skip Scarborough was playing to Blue Magic’s strengths. That’s all very well, but wasn’t what the record buying public wanted. The arrangement is understated and reminiscent of Earth, Wind and Fire. Space is left with the arrangement as strings sweep, horns bray and the rhythm section play within themselves. The rest of Blue Magic add subtle harmonies.Ted eschews power, relying instead on a tender heartfelt vocal during this paean. Sometimes, to reinforce a lyric his vocal soars above the arrangement. This proves effective and demonstrates Ted’s ability to make a song come to life.

Four Leaf Clover sees a change in direction, as disco, funk and Philly Soul combine head on. It’s a catchy enough track, that Blue Magic try their best to make work. Ted especially, throws himself headlong into the lyrics. His falsetto soars, quivering above the arrangement. Punchy harmonies accompany him. So do a funky rhythm section, disco strings and bursts of braying horns. They do their best to help Blue Magic catch the disco bandwagon. This results in a  good, but not great track.

Purple Passion is another dance-floor friendly track. Producer Skip Scarborough picks up where he left off on the previous track. The rhythm section provide the dramatic, dance-floor friendly heartbeat. Disco strings and flourishes of piano are added. They accompany the pounding disco beat. Ted vamps his way through the track, his vocal a mixture of sass, sensuality, power and passion. Harmonies sweep in as Ted showcases his inconsiderable skills, proving there’s more to Blue Magic than romantic ballads and slow jams.

Still In Love With You sees a return to what Blue Magic do so well, ballads. They surpass everything that’s gone before. Against a string drenched arrangement, horns bray and percussion and piano are added. Ted delivers a tender, heartfelt vocal. Cooing harmonies and swathes of strings accompany him. So did bursts of horns, percussion and chiming guitars. However, it’s Ted’s vocal that steals the show. He delivers a truly impassioned lead vocal. Sometimes, he sings call and response. Either way, Ted plays a huge part in the song’s success.

Message sees the tempo rising and Blue Magic heading for the dance-floor. The rhythm section aren’t at their best. They’re slightly loose, just like on Purple Passion. It’s not helped that on both tracks the drums are panned left, sitting at quarter-to-nine. Chiming guitars, rasping horns and percussion set the scene for Ted’s airy vocal. It’s accompanied by harmonies, dancing strings and rasping horns. However, the drums spoil the arrangement. They’d have been better in the middle of the arrangement as the arrangement sounds unbalanced. Despite that, Ted unleashes a vocal powerhouse. He grabs the lyrics and is determined to make them work. Just like the lyrics say, tries to “shine” and does. It’s just a pity the drums take the edge of the song.

A piano opens Sweet Woman, another ballad. It meanders into being before strings sweep and quiver. Ted’s scatted vocal soars above the arrangement. Meanwhile, piano, vibes, chiming guitar and the rhythm section combine. This time the drums are slap bang in the middle. What a difference this makes. Especially with the bass matching the drums every step of the way. Rasping horns and tender harmonies add a wistful twist to the track, as Ted delivers a vocal that’s a fusion of power, passion and emotion. He delivers the lyrics as if his very career depends on it. That’s why this is one of Message From The Magic’s highlights.

I Waited was the only single from Message From The Magic. Sadly, it too, failed to chart. This is one of three tracks not penned by Blue Magic. That’s obvious, as it doesn’t seem to suit them. Try as they may, the song doesn’t quite work. It’s an uptempo track with a jaunty arrangement. Horns growl while the rhythm section provide the heartbeat. Percussion is sprinkled across the arrangement. So are the harmonies that accompany Ted’s vocal. It’s wistful and tinged with regret. He really tries to breath life and meaning into the lyrics. Although he manages to do so, you’re left thinking that it’s the wrong song for Blue Magic. 

Message From The Magic proved to be Blue Magic’s swan-song for Atco. After Message From The Magic failed to chart, Blue Magic decided to leave Atco. They didn’t record another album 1981s Welcome Back. Just like Message From The Magic, Welcome Back failed to chart. It wasn’t much of a Welcome Back. Sadly, Blue Magic never again enjoyed the critical acclaim or commercial success of their first three albums.

Blue Magic’s debut was released in 1974, the same year as The Magic of the Blue. A year later, Thirteen Blue Magic Lane was released in 1975. These three albums were produced by Norman Harris and featured an all-star cast of Philly’s greatest musicians, including M.F.S.B. and backing vocalists The Sweethearts of Sigma. The albums featured songs by Blue Magic and some of Philly’s top songwriters. Philly even provided the musicians who arranged the three albums. These three albums feature the best music of Blue Magic’s career. Things started to go wrong in 1976, as the disco became King. 

Another change was that Norman Harris didn’t produce Blue Magic’s fourth album Mystic Dragons. Bobby “Electronic” Eli did. Bobby took Blue Magic out of their comfort zone, combining elements of funk, rock and even psychedelia with Philly Soul. He even used synths on Mystic Dragons. That was a disappointment. Without the dreaded synths, Mystic Dragons could’ve been a better album. However, on five songs that epitomised what Philly Soul was about, Blue Magic did what they do so well. However, given the change in musical tastes, Blue Magic’s music had to change.

That’s why Skip Scarborough was brought in. With a  band made up of some of L.A. session players, Skip tried to work his magic and rejuvenate Blue Magic’s fortunes. Ironically, the result was The Magic of the Blue, the least successful album of Blue Magic’s career. For a group whose career was at a crossroads, The Magic of the Blue didn’t really offer anything new. It was a fusion of Philly Soul, disco and a smattering of funk. 

Blue Magic were at their best on the tracks they wrote. Especially the ballads Can’t Get You Off My Mind, If You Want Me To, Still In Love With You and Sweet Woman. Then there’s Purple Passion and Message, dance-floor friendly track penned by Ted Mills, Keith Beaton and Richard Pratt. It’s the best of the dance tracks. That’s despite the problem with the drums on Message. These tracks show another side to Blue Magic as they try to clamber onboard the disco bandwagon. They do this successfully. Sadly, despot this,  Message From The Blue a couple of tracks short of being a good album.

Of the other three tracks on Message From The Blue, Lady In My World Of Love was a quite beautiful, heartfelt ballad. Sadly, Phillip Bailey’s contributions let Message From The Magic down. Four Leaf Clover was a good, but not great dance track. Then there’s the disappointing I Waited, which was something of anti-climax. It was a disappointing way for Blue Magic to end their career at Atco. Even with Skip Scarborough who was enjoying hottest period of his career, producing Message From The Magic, Blue Magic’s time at Atco ground to a halt.

Blue Magic were no better of than if they’d stayed in Philly. Instead, they flew to L.A. and with a huge cast of musicians produced the least successful album of their career at Atco. Skip Scarborough failed to rejuvenate Blue Magic’s career. Rather than move away from romantic ballads and slow jams, he played to their strengths. That was balladry. There was a nod towards disco with Purple Passion, Message and the disappointing Four Leaf Clover. There was no way Message From The Magic was going to rescue Blue Magic’s ailing career. It was a very different story from 1974, when Blue Magic’s eponymous debut album was certified gold. 

However, by 1978, music had changed and disco was now the most popular musical genre. Perfectly good albums were being overlooked. The only reason for this was they didn’t have a disco beat. It’s only over thirty years later that these albums are being rediscovered. Message From The Magic is an album that’s been overlooked since its release in 1978. It’s nowhere near as good as Blue Magic, The Magic of The Blue and Thirteen Blue Magic Lane, which feature Blue Magic at their very best. However, Message From The Magic is a couple of songs short of joining that triumvirate. 

Having said that, Message From The Magic features several hidden gems and features the debut of Blue Magic MkII as they fuse Philly Soul, disco and funk. Message From The Magic is also a reminder of what Blue Magic, one of the finest purveyors of Philly Soul were capable of.

BLUE MAGIC-MESSAGE FROM THE MAGIC.