LOVE COMMITTEE-LAW AND ORDER.
LOVE COMMITTEE-LAW AND ORDER.
Gold Mind Records was subsidiary of Salsoul Records, run by legendary Philadelphia guitarist, songwriter, arranger and producer, Norman Harris. Norman was responsible for running the label, discovering the talent and with some of his Philly friends, writing, recording and producing these acts. Loleatta Holloway, First Choice and Double Exposure are just a trio of the acts that Norman brought to Gold Mind. In 1978, Norman’s new signing were Love Committee, who back in the sixties, were called The Ethics. Twelve years after The Ethics released their debut single for Vent Records, Think About Tomorrow, The Ethics had a new name and new lineup. Love Committee was their new name and Love Committee would release their debut album Law and Order on Norman Harris’ Gold Mind Records. Before I tell you about the music on Law and Order, I’ll tell you about Love Committee’s musical journey.
Love Committee were one of many Philadelphia soul groups formed in the sixties. Their original lineup featured Larry Richardson, Joe Freeman, Norman Frazier and future-Temptation Ron Tyson. Later, Michael Bell replaced Larry Richardson. Having released their debut single Think About Tomorrow on Vent Records, The Ethics released further singles on Vent. This includes 1969s Standing In the Darkness and Farewell. After leaving Vent, The Ethics signed to Baker, Harris, Young’s newly formed label Golden Fleece Records, releasing Good Luck in 1974. Later, The Ethics changed their name to Love Committee and signed to Norman Harris’ Gold Mind Records.
For Love Committee’s debut album Law and Order, Norman Harris would play a huge part in the album. He put together some of Philly’s best songwriters, musicians, arrangers and producers to work on what became Law and Order. Similarly, Ron Tyson cowrote each of the eight tracks, with a variety of collaborators
Norman Harris cowrote four tracks with Allan Felder and Love Committee lead singer, Ron Tyson. They were the title-track Law and Order, If You Change Your Mind, Pass the Buck and Give Her Love. Ron Tyson cowrote Tired of Being Your Fool with Eddie Moore, and Cheaters Never Win with Allan Felder and T.G. Conway. T.G. Conway, Bruce Gray and Ron cowrote Just As Long As I Got You, while Bruce Gray, Bruce Hawkes and Ron cowrote Put It In the Back of Your Mind. These tracks would become Law and Order, which was recorded at Philly’s Sigma Sound Studios.
When Love Committee set about recording Law and Order, they were accompanied by some of Philly’s finest musicians and backing vocalists. The Salsoul Orchestra’s rhythm section came courtesy of Baker, Harris, Young, helped along by bassist Jimmy Williams and drummer Keith Benson. Guitarists included Bobby “Electronic” Eli, Eddie Moore, T.J. Tindall and Roland Chambers. Keyboardists included Ron “Have Mercy” Kersey, Cotton Kent, Bruce Hawkes, Bruce Grey and T.G. Conway. They were joined by Larry Washington on congas and percussionists Allan Felder and Ron Tyson. Don Renaldo supplied the strings and horns, while the Sweethearts of Sigma, Evette Benton, Carla Benson and Barbara Ingram added backing vocalists. Ex-Temptation Ron Tyson sang lead vocals, but like his former group, The Temptations, the lead vocal changed hands. Eight tracks were recorded, with a variety of production teams, including Baker, Harris, Young, Allan Felder, Ron Tyson and Norman Harris producing Law and Order. Once Law and Order was recorded, it was ready for release in 1978.
When Law and Order was released in 1978, the album failed to chart. Only Tom Moulton’s remix of the title-track Law and Order charted, reaching number twenty-one in the US Dance Music/Club Play Charts. Considering the quality of music and personnel involved in Law and Order, this must have come as a crushing blow to Love Committee, as you’ll realize when I tell you about the music on Law and Order.
Opening Law and Order is the title-track Law and Order, penned and produced by Allan Felder, Ron Tyson and Norman Harris. Bobby “Electronic” Eli’s searing guitar, lush, dancing strings and a pounding, powerful and sometimes, funky Baker, Harris, Young rhythm section create a dramatic backdrop. Blazing horns, percussion and keyboards combine before the tightest, soulful harmonies give way to Ron’s powerful, vampish lead vocal. He delivers lyrics filled with cutting, social comment with sheer passion. Soon, the lead switches hands, a soaring falsetto the perfect replacement, responding to Ron’s call. Harmonies, frantic strings and Baker, Harris, Young ensuring the song swings along. Ron Baker gives a masterclass on bass. His pounding bass and Earl Young’s drums, help drive an arrangement that’s a mass of cascading strings, sizzling guitars, and the soulful, soaring harmonies along. It’s a perfect way to open Law and Order. Uptempo, full of hooks and bursting with energy and social comment. You’re left wanting to hear more, much, much more.
The tempo drops on the Ron Tyson and Eddie Moore penned Tired of Being Your Fool. Produced by Ron Tyson and arranged by Ron “Have Mercy” Kersey, it’s a beautiful, soulful track, where Ron lays bare his weary soul. Quivering strings, burst of a wistful horns and Norman Harris’ pensive, jazz-tinged guitar combine with Ron emotive, soaring vocal. Soon, the drama and emotion increases. Baker, Harris, Young, swathes of strings and broody horns provide a backdrop that reflects this. Ron’s vocal is filled with sadness and regret, while the Sweethearts of Sigma and the rest of Love Committee add soulful, truly heartfelt harmonies. They’re the perfect accompaniment to Ron’s impassioned pleas, as he lays bare his soul for all to hear.
If You Change Your Mind is the second of the tracks written and produced by Allan Felder, Ron Tyson and Norman Harris. Jack Faith arranges what is a string laden ballad, with cooing harmonies from the Sweethearts of Sigma. Ron’s half-spoked, heartbroken vocal is answered by a falsetto that brings to life the sadness and heartache in the vocal. Slow, sad strings, a thoughtful Baker, Harris, Young, complete with Ron Baker’s pensive bass and Norman Harris’ pensive guitar. Layers of strings cascade, joining the cooing Sweethearts of Sigma while horns rasp as the vocal sees optimism and hope mixed with heartache and hurt. The result is one of the most beautiful tracks on Law and Order.
Cheaters Never Win see Baker, Harris, Young produce a track, that from the opening bars has Baker, Harris, Young’s name all over it. Shimmering strings, wistful, rasping horns and Norman Harris’ chiming guitar open the track, before it reveals its secrets. At the heart of the action are the Baker, Harris, Young rhythm section providing a pulsating, sometimes, pounding, dramatic heartbeat. Ron’s vocal is full of despair and frustration, with the Sweethearts of Sigma and the rest of Love Committee adding heartfelt, soulful harmonies. Add in the swathes of swirling strings, chiming guitars and Ron’s despair filled vocal and this bring Side One of Law and Order to emotive, uptempo and dramatic high.
Pass the Buck opens Law and Order and is another Baker, Harris, Young production, arranged by Ron “Have Mercy” Kersey. The track bursts into life, Ron’s powerful, vampish vocal accompanied by sweeping, swirling strings, a funky Baker, Harris, Young rhythm section and growling horns. With a burst of Earl Young’s drums and flourishes of piano, Ron delivers a vocal filled with searing social comment, about unfairness, poverty and injustice. Dramatic harmonies from the other members of Love Committee and the Sweethearts of Sigma prove the perfect foil for Ron’s angry, frustrated vampish vocal, Baker, Harris, Young join frantic strings and grizzled horns in providing the backdrop for one of Ron’s best vocals on Law and Order, where his vocal mixes anger, frustration and social comment, but with a real swing.
Put It In the Back of Your Mind was produced by Ron Tyson and arranged by Jack Faith. Swathes of strings, rasping horns, piano and a jazzy Baker, Harris, Young rhythm section build up the drama and emotion for an impassioned falsetto. Soon, Ron takes over the vocal, mixing power and passion. Harmonies from the Sweethearts of Sigma and Love Committee sweep in, and are delivered with a jazzy swing. The interplay between the lead vocal and harmonies are filled emotion and drama, while the big band style arrangement complete with rasping horns, swirling strings and punchy harmonies are just the finishing touch to this uptempo slice of old time jazzy music.
Give Her Love is the third and final track written and produced by Allan Felder, Ron Tyson and Norman Harris, who arranges the track. The tempo drops way down, as Ron delivers one of his most moving vocal. Just a slow, considerate Baker, Harris, Young rhythm section, cooing harmonies from the Sweethearts of Sigma and Love Committee and lush strings build the drama, beauty and emotion. So when Ron’s vocal enters, he’s the perfect backdrop to lay bare his soul and feelings. Norman Harris’ chiming guitar, lush strings and wistful horns join harmonies, as Ron delivers a heartfelt, impassioned vocal. As the emotion in his voice grows, so does the drama in the arrangement. Ron emotively vamps his way through the track, resulting in a heartbreakingly beautiful song.
Closing Law and Order is Just As Long As I Got You, produced by Baker, Harris, Young. Written by Bruce Hawkes, Ron Tyson and T.G. Conway, this allows Love Committee to close Law and Order on a real high. The tempo increases and hooks are plentiful. Larry Washington’s congas, a pounding Baker, Harris, Young rhythm section, blazing horns, sweeping strings and a flourish of keyboards give way to tight, soulful harmonies. Ron’s vocal is a mixture of tenderness, power and passion. Soon, the vocal changes hands, with the falsetto taking charge. Norman Harris’ guitar, bursts of horns, swirling strings and dramatic flourishes of Earl Young’s drums combine, setting Love Committee up for a big finish. With the baton passed, they do their part Ron’s lead and the harmonies pushing the other to greater heights of hook, laden soulfulness.
That Love Committee’s debut album Law and Order wasn’t a much bigger commercial success, almost seems unjust. It’s one of these albums where you’re spellbound from the opening bars right through to the closing notes. Law and Order includes just eight songs, lasting forty minutes, where lead singer Ron Tyson, Michael Bell, Joe Freeman and Norman Frazier showcase their considerable vocal, and harmonic talents. Heartachingly beautiful, soul-baring ballads and hook-laden, uptempo tracks sit comfortably side by side. Mind you, given the personnel that played on Law and Order, this is no surprise.
On Law and Order, Love Committee were accompanied by some of Philly’s greatest musicians. This included Baker, Harris, Young, Bobby “Electronic” Eli, Larry Washington and the legendary backing vocalists the Sweethearts of Sigma. Law and Order truly, featured a musical all-star cast. Arrangers like Ron “Have Mercy” Kersey, Bruce Hawkes and Jack Faith, plus producers like Baker, Harris, Young and the trio of Allan Felder, Ron Tyson and Norman Harris all played their part. That’s why Love Committee’s debut album Law and Order is such an accomplished album. Indeed, Law and Order is yet another of Philly Sou’s hidden gems. Not only that, but it’s one of the few albums released on Norman Harris’ Gold Mind Records not to be a commercial success.
Maybe part of the problem with Law and Order’s lack of commercial success was Gold Mind Records were experiencing financial problems. Just a year later, Gold Mind had to be rescued by Salsoul Records and absorbed into Salsoul. Sadly, all Norman Harris’ hard work and genius was for nothing. Love Committee’s debut album Law and Order way not have been one of the most successful albums Norman Harris was involved in, but it shows just how talented Norman was as a musician, songwriter and producer. Similarly, Law and Order demonstrates just how talented Love Committee were. Given the quality of music on Law and Order, the album deserved to be a much bigger commercial success. Standout Tracks: Law and Order, If You Change Your Mind, Cheaters Never Win and Give Her Love.
LOVE COMMITTEE-LAW AND ORDER.
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
Ever since Teddy Pendergrass left Harold Melvin and The Blue Notes, the success he’d enjoyed with his former group kept on coming. By 1981, Teddy had released five albums since his solo career started in 1977. From his 1977 debut album Teddy Pendergrass was certified platinum, Teddy cemented his reputation as Philadelphia International Records’ most successful solo artists. Then in 1978, not only was Life Is A Song Worth Singing certified platinum, but gave Teddy his first number one album in the US R&B Charts. Teddy released in 1979 proved his most successful album, reaching number five in the US Billboard 200, number one in the US R&B Charts and was certified platinum. Proving Teddy could do no wrong, his 1979 live album Live! Coast To Coast was certified gold.
TP, released in 1980, saw the success continue into a new decade, giving Teddy his fourth and final platinum disc. Although 1981s It’s Time For Love was a commercial success, being certified platinum, it failed to match the success of his four previous albums. Then just before Teddy released his sixth album, 1982s This One’s For You, Teddy’s life was transformed. Suddenly, music was the least of Teddy’s concerns. After being involved in an automobile accident, Teddy was paralyzed from the waist down. It was against this life changing event that Teddy released This One’s For You. However, Teddy Pendergrass proved to be one of the most determined and courageous men ever, as you’ll realize, after I’ve told you about This One’s For You.
This One’s For You was Teddy’s sixth album for Philadelphia International Records. His previous album It’s Time For Love was Teddy’s first album not to be certified platinum. However, Teddy was still the most successful artist one Philadelphia International Records. So, for This One’s For You the label’s best songwriters provided songs.
Given how important to Philadelphia International Records Teddy Pendergrass was, This One’s For You saw the label’s best songwriters and producers get to work. Gamble and Huff contributed This Gift of Life, Now Tell Me That You Love Me and It’s Up To You (What You Do With Your Life). I Can’t Win For Losing was penned by McFadden and Whitehead with Victor Carstarphen. The title-track This One’s For You was a song written by Barry Manilow and Marty Penzer. Ashford and Simpson, who’d long enjoyed success as songwriters, producers and artists cowrote Only To You. Another successful songwriting partnership wereLeRoy Bell and Casey Bell, who cowrote Loving You Was Good. Together with Richard Roebuck’s Don’t Leave Me Out Along the Road, these eight tracks became This One’s For You.
Recording of This One’s For You took place at Philly’s Sigma Sound Studios. Accompanying Teddy were M.F.S.B. while the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram add backing vocals. Jack Faith and Bobby Martin were two of the arrangers on This One’s For You. Gamble and Huff produced three tracks, while McFadden and Whitehead with Victor Carstarphen and Ashford and Simpson produced a track. Once This One’s For You was recorded, tragedy intervened and Teddy Pendergrass’ life was never the same again.
Before This One’s For You was released, Teddy was involved in an automobile accident. Tragically, his spine was damaged, resulted in him being paralyzed from the waist down. Set against such a tragic backdrop, the commercial success of This One’s For You must have seemed irrelevant to everyone involved. Teddy was just thirty-two, and at the height of his career. When This One’s For You was released, it reached number fifty-nine and number six in the US R&B Charts. This was Teddy’s least successful album and his only album so far, not to be certified gold or platinum. However, that would change in years to come. Two singles were released from This One’s For You. The Gift of Life reached number thirty-one in the US R&B Charts in April 1982 and I Can’t Win For Losing reached number thirty-two in the US R&B Charts in September 1982. Although This One’s For You wasn’t Teddy’s most successful album, the circumstances surrounding its release, and Teddy’s accident make it a quite poignant album, which I’ll now tell you about.
Opening This One’s For You is a song McFadden and Whitehead cowrote and co-produced with Victor Castarphen, I Can’t Win For Losing. synths and cascading strings join the rhythm section before Teddy’s vocal enters. The first thing you notice is the eighties sounding production. It’s quite unlike early Philadelphia International Records’ productions. A meandering bass line, stabs of space-age synths and cascading strings join the rhythm section, before Teddy’s vocal enters. One thing that’s the same is Teddy’s powerful, impassioned pleas. Still, Teddy can breathe life and meaning into lyrics. Soaring harmonies courtesy of the Sweethearts of Sigma, sweep in. Meanwhile, strings swirl and the bass helps drive the arrangement along, as Funk and Philly Soul combine. Here, the Philly Sound is given an eighties makeover, but Teddy Pendergrass’ vocal prowess stays the same.
This One’s For You is a cover of Barry Manilow and Marty Penzer penned track. It’s transformed, with plenty of soulfulness added. Teddy’s tender, half-spoken, hesitant vocal is accompanied by the lushest of strings, ethereal harmonies from the Sweethearts of Sigma and wistful woodwind. This very beautiful, understated combination is perfect, with Teddy delivering one of his most heartfelt vocals. Power and passion combine, with just keyboards, woodwind and the rhythm section accompanying him. Bursts of drums add drama and reflect the growing power of Teddy’s vocal, as he delivers a vocal that’s heartfelt and like unburdening of his soul. Quite simply, it’s a beautiful song.
Loving You Was Good sees the tempo increase on a track written LeRoy Bell and Casey James. It’s as if they’ve written the track with Teddy in mind. Chiming guitars, a pounding rhythm section and growling, moody horns join shimmering strings. They provide the perfect backdrop for Teddy’s emotive vocal, tinged with sadness and regret. The Sweethearts of Sigma add tender, soaring harmonies as the arrangement is much more like what you’d expect on an album released by Philadelphia International Records. Strings cascade, rasping horns and stabs of keyboards join the rhythm section to drive the arrangement along, mixing drama and emotion. Teddy with the help of the Sweethearts of Sigma’s soulful harmonies delivers a vocal filled with emotion, regret and heartache. This is Teddy doing what he was so good at, bringing a song to life, as if he’d lived the lyrics and survived to tell the tale.
Closing Side One of This One’s For You is The Gift of Life, which given the lyrics is extremely poignant. Especially when Teddy sings “This Gift of Life which you can’t buy with money.” It brings home the reality of Teddy’s situation. Just a slow, careful rhythm section, swathes of lush strings and piano accompany Teddy’s vocal. It veers between pensive and when it grows in power, becomes celebratory. The Sweethearts of Sigma accompany him, as the arrangement grows in power and drama, as Teddy gives thanks for The Gift of Life, one of the most poignant songs Teddy Pendergrass ever recorded.
Now Tell Me That You Love Me opens Side Two of This One’s For You. It’s the second Gamble and Huff song. Swathes of slow, lush strings, guitars and keyboards combine with Teddy’s half-spoken vocal. His vocal is full of emotion and heartfelt. The Sweethearts of Sigma accompany Teddy, adding punchy harmonies that answer Teddy’s call. Strings quicken, while the piano and guitar are at the heart of the arrangement. What makes the song, is Teddy’s impassioned pleas, matched all the way for emotion by urgent harmonies from the Sweethearts of Sigma. With Teddy and the Sweethearts of Sigma at their very best, singing a song penned by Gamble and Huff, things don’t get much better than this. Take it from me.
The last Gamble and Huff song on This One’s For You is It’s Up To You (What You Do With Your Life). Bursts of growling horns and the rhythm section join the lushest of strings to dramatically open the track. Soon, the tempo slows and Teddy steps up to deliver one of his trademark vocals. He mixes power, passion and raw emotion. His vocal grows in power, taking command of the song, while a piano, guitar, woodwind and the rhythm section provide a backdrop that grows in power and drama. Once Teddy’s vocal rejoins, the Sweethearts of Sigma join him. Their harmonies are just the finishing touch to the song, as Teddy unleashes a vocal where power, raw emotion and drama unite brilliantly.
Don’t Leave Me Out Along the Road opens with just stabs of keyboards, a thoughtful rhythm section and emotive strings. When Teddy’s vocal enters, it’s filled with hurt and heartache, the piano answering Teddy’s tender call. Strings add to the sadness and emotion, as do the Sweethearts of Sigma’s cooing, heartfelt and soaring harmonies. As the arrangement progresses, it reveals its beauty, sadness and emotion, as it heads to its dramatic ending.
Closing This One’s For You is Only To You penned and produced by Ashford and Simpson. This is a much more uptempo track, allowing Teddy to close the album on a high. Bursts of blazing horns, a pounding rhythm section and swathes of strings unite, before giving way to a piano lead arrangement. Teddy’s vocal is filled with feeling, as he heads into bedroom ballad mode. This is something Teddy is so good at, some might say the best. His vocal grows in power and drama, becoming a vamp, with the Sweethearts of Sigma’s soulful, punchy harmonies for company. They play their part in an arrangement that matches Teddy for power, drama and emotion every step of the way, resulting in Teddy closing This One’s For You with a bedroom ballad par excellence.
Every time I listen to This One’s For You, I find it an extremely poignant album, given what happened to Teddy Pendergrass just before its release. What makes This One’s For You even more poignant is the celebratory The Gift of Life, given its lyrics and their celebration of life and its sacred nature. Then there’s the album cover to This One’s For You, with Teddy standing strident and proud. It’s a heartbreaking image, given just what happened.
Even though This One’s For You didn’t match the success of his five previous albums, this isn’t a reflection of the music. By 1982, soul music was no longer as popular. Musical tastes were changing and soul singers like Teddy Pendergrass were no longer as popular. However, despite changing fashions in music and Teddy having suffered a horrific, tragic accident, resulting in him being paralyzed from the waist down, he continued to enjoy commercial success.
Through sheer determination, grit and courage, Teddy Pendergrass’ career continued, and the success he’d enjoyed returned. While he only released one more album for Philadelphia International Records, 1983s Heaven Only Knows. It was Teddy’s least successful album, but when he signed to Asylum, his first album for his new label, 1984s Love Language was certified gold. Four years later, after releasing 1985s Workin’ It Back on Asylum, 1988s Joy released on Elektra was also certified gold. After that, Teddy released three further albums for Elektra. They were 1990s Truly Blessed and 1993s A Little More Magic. You and I was Teddy’s final secular album, released in 1997.
Despite the tragedy that befell Teddy Pendergrass, his career continued. That’s testament to his courage and bravery. 1982s This One’s For You was released just after Teddy’s life changed for evermore. This One’s For You is a poignant album, from one of the greatest soul singers of his generation, Teddy Pendergrass. Although This One’s For You wasn’t Teddy Pendergrass’ most successful album, it features Teddy at his very best. Standout Tracks: Loving You Was Good, The Gift of Life, Now Tell Me That You Love Me and It’s Up To You (What You Do With Your Life).
TEDDY PENDERGRASS-THIS ONE’S FOR YOU.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
Back in 1958, Frankie Vali walked into a nightclub in Newark, New Jersey and immediately, was bowled over by the band that were playing. Straight away, Frankie knew this band were special and knew why. The secret to their success was the man who wrote and arranged their music. When he asked who this songwriter and arranger was, he discovered it was Charlie Calello. Soon, Frankie Vali and Charlie Calello started working together, and Frankie Vail and The Four Seasons were about to enjoy the most successful period of his career. So was Charlie Calello.
By 1966, needing a change, Charlie spent two years at Columbia as an arranger and producer. It was in 1966 that The Charlie Calello Orchestra’s debut album Direct Hits was released. Two years later, Charlie decided it was time for another change. He became an independent songwriter, arranger and producer. What followed, was a career that spanned a further five decades. Charlie Calello went on to work with some of the names in music, working on over two-hundred albums. This includes everyone from Bruce Springsteen through Barbara Streisand, Odyssey, Frank SInatra and Laura Nyro. Eventually, Charlie became the most prolific arranger in musical history. Read Charlie’s extensive discography, and you’ll discover he’s worked on over one-hundred hits, sixteen of which sold over one-million copies, while fifteen were Grammy nominated. It seems that Charlie Calello has worked with an eclectic variety of artists and is capable of arranging and producing every musical genre, including disco, The Charlie Calello Orchestra’s 1979 sophomore album Calello Serendade, which I’ll now tell you about.
During the disco era, disco orchestra’s became big business. Obviously, The Salsoul Orchestra were the first and greatest disco orchestra. Soon other orchestras were formed, with the personnel often interchangeable. Many members of The Salsoul Orchestra also played on albums by John Davis Monster Orchestra. Often, classical musicians were drafted in, given the preference for lush strings and growling horns. Just about any type of track could be given the disco orchestra treatment. Whether it was new songs or old songs, they could be draped in strings, with horns and a pounding disco beat added. On The Charlie Calello Orchestra’s 1979 album Calello Serendade, Charlie chose seven classic track to give the disco treatment.
For Calello Serendade, Charlie chose to cover classics that included Stardust, penned by Hoagy Carmichael and Mitchell Parish, who cowrote Moonlight Sernenade with Glenn Miller. Another track made famous by Glenn Miller was In the Mood, written by Joe Garland. These three tracks and four other tracks, including covers of Sy Oliver’s Opus One and Louis Prima’s Sing, Sing, Sing made up The Charlie Calello Orchestra’s 1979 debut album Calello Serendade, which was recorded at two studios, House of Music and the Hit Factory, with Charlie producing the album.
When recording of The Charlie Calello Orchestra’s 1979 album Calello Serendade began, it was with a lineup that included a full string and horn section. The Charlie Calello Orchestra’s lineup included a number of well known names. Michael Brecker played tenor saxophone, Barry Miles piano, David Spinozza guitar, Jimmy Maelen percussion and Steve Jones drums. Among the backing vocalists were four some huge names. Jocelyn Brown of Inner Life, Chic’s Alfonso Anderson and Luther Vandross, who knew Alfonso from singing backing vocals on Chic. This was one of several projects Luther Vandross was involved in, before he became a worldwide star. Then there was the legendary Cissy Houston. Such a talented quartet of backing vocals were literally the icing on this musical cake. Calello Serendade was released in 1979, which wasn’t exactly a good year for disco.
Disco by 1979, was waning in popularity. The Disco Sucks movement were at the forefront of the anti-disco movement. On 12th July 1979, at Comiskey Park, Chicago disco almost died at Disco Derby Demolition Night. Following that night, disco headed underground and no longer enjoyed the same commercial success. So it’s no surprise that when Calello Serendade was released, it wasn’t a commercial success. Since then, Calello Serendade has remained a favorite among connoisseurs of disco and is played by DJs in the know. Now thirty-three years later, disco is enjoying yet another Indian Summer and albums like Calello Serendade are being rediscovered. So, this seems like a good time to tell you about The Charlie Calello Orchestra’s 1979 album Calello Serendade.
Opening The Charlie Calello Orchestra’s Calello Serendade is a cover of Moonlight Serenade. The tempo is slow, but only temporarily. Horns that sound as if they’re from an old big band session, join a rhythm section and piano that provide a dramatic backdrop. Then just as you’re enjoying Charlie’s homage to Glenn Miller, when bang, it’s all change. Tight, elegant and soulful harmonies are almost an announcement that the tempo is about to increase. In comes the pounding disco beat. Now The Charlie Calello Orchestra take Moonlight Serenade to 127 Disco Heaven. This means lush strings, floaty, punchy harmonies, percussion and stabs of horns. What follows, is a compelling, captivating makeover of an old classic, with bags of style and panache.
Rolls of pounding drums open Sing, Sing, Sing, while chiming guitars, booming bass and percussion combine. Soon, this familiar track is deconstructed and reconstructed disco style. Punchy, jazzy horns join lush, dancing strings and the drama and power provided by the rhythm section. Together, they dance joyously across the arrangement. Hooks are certainly not rationed and keeping still isn’t an option. You want, and indeed long to throw yourself headlong into this track and celebrate the genius of Louis Prima who penned this track and of course, Charlie Calello who produced it.
From the get-go, power and drama combine on Temptation. Thunderous drums, flourishes of string, growling horns, percussion aplenty and a funky bass unite, mixing disco, jazz, funk and classical music. In some ways, it’s quite different in sound from other tracks, given the dramatic classical stylings and its occasional funky side. There’s a grandiose sound, with layers of strings and bursts of energetic horns uniting. The thunderous drums are ever-present and play their part in the track’s disco sound. Together, genres unite as Side One of Calello Serendade reaches a dramatic high.
Stadust opens Side Two of Calello Serendade. Just a flourish of guitar and piano give way to a rasping alto-saxophone before the lushest of strings sweep in. Then, a burst of the rhythm section signals the arrangement to reveal its secrets. Light harmonies, growling horns, dancing strings and a pounding disco beat combine. Punchy, dramatic harmonies drift in and out, while a piano adds flamboyant touch. Soon, the heartfelt harmonies grown in power and drama. They unite adding a soulful, elegant sound while horns kick, strings sweep and swirl as pounding drums provide a pulsating heartbeat to this joyous, hook-laden take on an old classic.
Percussion, hissing hi-hats and finger clicks join doo-wop style harmonies and pounding bass as In the Mood is given a makeover. Soon, horns recreate the Glenn Miller sound, but with a thunderous, disco beat. Tight, cascading harmonies join the bass line as The Charlie Calello Orchestra lick loose. Horns rasp and growl, staying true to the original, while the harmonies are given a twist. They veer between tender, breathy and sassy. Always, they’re delivered with a swing. Where things get very different is the backbeat. It’s fast, pounding and dance-floor friendly, mixing jazz, disco and soul seamlessly
Opus One explodes into life. A powerhouse of a driving rhythm section are joined by punchy, high-kicking horns. Breathy backing vocals are like the starter in musical race at breakneck speed. With a standup bass helping power the arrangement along, horns bray and blaze, string sweep and swirl frantically. Throughout the track, the rhythm section provide the a pounding, pulsating beat. Resistance is impossible. Michael Brecker unleashes a peerless saxophone solo that. Even after that, things get better. The drama builds and builds, with grizzled horns, searing guitars, dancing strings and that constant pounding disco beat playing their part in one of the real highlights of Calello Serenade.
Calello Serenade closes with Skyliner, which has a real jazzy sound, albeit set to a disco beat. Hissing hi-hats, thunderous drums, blazing horns and jazzy piano combine to make the arrangement swings. Horns with vintage, muted sound are added, giving the arrangement a sound that’s reminiscent of the big band era. Piano, chiming guitars and standup bass add to the authentic sound, as do the rasping horns and swathes of lush strings. Where things differ, is the drums, which are disco through and through. When they unite, with jazz and disco becoming one, the result is a delicious reminder of another era, but with a disco twist.
The Charlie Calello Orchestra sophomore album Calello Serenade was released thirteen long years after their debut album Direct Hits in 1966. This was the second of a trio of albums The Charlie Calello Orchestra released between 1966 and 1980. Their final release was 1980s Sing, Sing, Sing, which like Calello Serenade, was released on Midsong International Records. Sadly, Calello Serenade was released too late in the disco era. 1979 saw disco’s popularity wane and if Calello Serenade had been released earlier, say in 1977 or 1978, might have been a much bigger success. Commercial success didn’t come The Charlie Calello Orchestra’s way when Calello Serenade was released. There was nothing whatsoever wrong with music on Calello Serenade, Instead, musical fashions had changed. Now thirty-three years later, looking back at Calello Serenade, the fusion of disco, jazz, soul, funk and classic music has stood the test of time. New life and meaning was breathed into seven classic tracks, by The Charlie Calello Orchestra on Calello Serenade. The result is another example of disco orchestra’s at their very best. Standout Tracks: Moonlight Serenade, Sing, Sing, Sing, Stadust and In the Mood.
THE CHARLIE CALELLO ORCHESTRA-CALELLO SERENADE.
THE EBONYS-THE EBONYS.
THE EBONYS-THE EBONYS.
During the seventies, Philadelphia International Records was one of the most successful record labels in America. Without a doubt, it was one of Philly Soul’s greatest label. Between 1972 and 1975, it seemed Philadelphia International Records could do no wrong. Artists like The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees, Billy Paul and M.F.S.B. transformed Gamble and Huff’s label into one of soul’s greatest ever labels. However, Gamble and Huff weren’t invincible. Like other successful producers, they released albums that weren’t a commercial success. Often, many of these albums deserved to been much bigger commercial successes. Sometimes, looking back, it’s hard to believe that an album wasn’t a much bigger success. A case in point is The Ebonys, a New Jersey group, founded in 1968 and discovered by Leon Huff. The Ebonys were a quartet, comprising Jenny Holmes, David Beasley, James Tuten and Clarence Vaughan. They released their debut album The Ebonys in 1973, five years after The Ebonys were formed in New Jersey. Great things were expected of The Ebonys, but sadly, that wasn’t to be.
The Ebonys were formed back in 1968, in New Jersey, when Jenny Holmes, David Beasley, James Tuten and Clarence Vaughan decided to form a group. They spent time honing their sound, which many people have compared to The Dells. Their styles are similar, David Beasley’s lead baritone and the soaring falsetto that’s an answering second lead. By 1969, The Ebonys were ready to record a single. They released Can’t Get Enough, arranged by Art Freeman and produced by Ron Carson. Can’t Get Enough was released on the Soul Clock label. Although that was The Ebonys debut single, two years later, they’d released their first single for Philadelphia International Records. Success it seemed was heading their way.
Leon Huff discovered The Ebonys, and realizing the group’s potential, signed them to Philadelphia International Records. Their first single for Philadelphia International Records was You’re the Reason Why, released in 1971. This was just the year before Philadelphia International Records started its run of releasing commercially successful and critically acclaimed albums. You’re the Reason Why reached number fifty-one in the US Billboard 100 and number ten in the US R&B Charts.Determination didn’t fare as well in 1971, reaching number forty-six in the US R&B Charts. Despite this, given the early success that The Ebonys enjoyed, Gamble and Huff must have thought that here was a group that could help their nascent label make the next step. By the time The Ebonys released their debut album, The Ebonys Philadelphia International Records was a very different label.
By the time work started on The Ebonys debut album, Philadelphia International Records was now beginning its journey to becoming one of the most successful labels of the seventies. Two of Philadelphia International Records’ 1972 releases, Billy Paul’s 360 Degrees of Billy Paul and The O’Jays’ Back Stabbers had proved game-changers. Commercial success and critical acclaim had come their way. Maybe some of this would rub off on The Ebonys?
For The Ebony’s debut album The Ebonys, Gamble and Huff cowrote four tracks, Hook Up and Get Down, I’m So Glad I’m Me, Nation Time and You’re the Reason Why. They also cowrote Sexy Ways with Carl Gilbert. Leon Huff wrote It’s Forever and cowrote I’ll Try with McFadden and Whitehead. Phil Terry, T.G. Conway and Theodore Life cowrote Life In the Country. Together with a cover of I Believe, this became The Ebonys debut album, The Ebonys, which was recorded at Sigma Sound Studios.
Recording of The Ebonys took place at Joe Tarsia’s Sigma Sound Studios, with M.F.S.B. accompanying The Ebonys. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli and T.J. Tindall, They were joined by Lenny Pakula on Hammond organ, percussionist Larry Washington, vibes virtuoso Vince Montana Jr and strings and horns courtesy of Don Renaldo. Arrangers included Bobby Martin, Ron Baker, Lenny Pakula, Thom Bell and T.G. Conway. Producers included Gamble and Huff plus the songwriting and production team of Phil Terry, T.G. Conway and Theodore Life. Once The Ebonys was recorded, the album was released in 1973.
It’s Forever was chosen as the lead single, reaching number sixty-eight in the US Billboard 100 and number fourteen in the US R&B Charts in 1973. The Ebonys reached a respectable number thirty-three in the US R&B Charts. What was disappointing was The Ebonys never entered the US Billboard 200. I Believe was the final single released from The Ebonys. It was released in 1974, reaching number thirty-four in the US R&B Charts. Sadly, that was the extent of the success The Ebonys enjoyed at Philadelphia International Records. After the early promise of 1971s You’re the Reason Why, The Ebonys was their only album released Philadelphia International Records. However, is The Ebonys another of the hidden gems of Philadelphia International Records’ back catalogue? That’s what I’ll tell you, when I tell you about the music on The Ebonys.
Opening The Ebonys is the Gamble and Huff penned Hook Up and Get Down, arranged by Lenny Pakula. Bursts of a thunderous Baker, Harris, Young rhythm section and growling horns add drama, reminding me of Edwin Starr’s War. They’re joined by stabs of Lenny Pakula’s Hammond organ, that give way to James’ urgent, powerful lead vocal. It’s delivered with drama and has a real presence. Horns growl, strings swirl, the rhythm section provide a powerful backdrop and Vince Montana Jr’s vibes provide a subtle contrast. When the vocal changes hands, the other Ebonys demonstrate their talents and vocal prowess. Later, Norman Harris lays down one of his trademark guitar lines, as the arrangement grows in power, drama and urgency. It’s the perfect opener to The Ebonys, grabbing you’re attention, resulting in you hungrily wanting to hear more, much more.
It’s Forever sees Bobby Martin one of Philadelphia International Records’ best arrangers produce this Leon Huff song. The tempo drops, the style changes and immediately you take notice. Just a piano, Vince Montana Jr’s vibes and lush strings combine, before bursts of rasping horns add drama to the beauty. Tender harmonies sweep in, adding to the beauty and emotion. They’re accompanied by Ron Baker’s moody, pensive bass. Then James “Bootie” Tutenlead vocal enters. He has a similar style and presence to Teddy Pendergrass. His baritone takes command of the song, growing power and raw emotion. This is no one man band. Each member plays their part, their contrasting vocal styles complimenting the other, especially the answering falsetto second lead. Together, their styles unite, becoming one, playing their part in what is one of the most beautiful, moving songs on The Ebonys. No wonder it was chosen as the lead single.
Life In the Country was penned and produced by Phil Terry, T.G. Conway and Theodore Life. It has a much more understated, thoughtful sound. Sound effects including running water and birds whistling join a subtle guitar as cinematic strings the arrangement unfolds. The tender, heartfelt vocal ponders the problems of country and city life. He’s joined by harmonies that compliment and magnify the beauty of his lead vocal. Strings and the rhythm section play their part in creating an arrangement that’s pensive, melancholy and quite beautiful, and is the perfect backdrop for The Ebonys to showcase their vocal talents.
Sexy Ways closes Side One Of The Ebonys. This was a collaboration between Gamble and Huff and Carl Gilbert. Again, Bobby Martin arranges a track which sees The Ebonys change tack. This is a real fusion of genres. Soul, funk, jazz and even gospel and doo-wop harmonies are revealed. James dynamic baritone soars, with elegant, gospel harmonies. A burst of Earl Young’s drums and M.F.S.B. kick loose. Horns, blaze, a powerful, Baker, Harris, Young rhythm section, Hammond organ and percussion combine. Flourishes of piano and doo-wop harmonies are added, as James ensures the song swings, as he mixes sensuality, power and hooks aplenty, bookending Side One perfectly.
I’m So Glad I’m Me opens Side Two of The Ebonys, with Gamble and Huff writing and producing a track arranged by Thom Bell. This Philly Soul dream team don’t disappoint. Norman Harris’ jazzy guitar, percussion, cascading strings and braying horns are joined by punchy harmonies and then James’ impassioned please. His vocal grows in power and passion, while punchy, soaring harmonies with a sixties sound accompany him. M.F.S.B. play their part, ensuring this celebratory, uplifting slice of soul opens Side Two of The Ebonys in style, with the help of three Philly Soul legends.
McFadden and Whitehead cowrote I’ll Try with Leon Huff, with Lenny Pakula arranging the song. From the opening bars, you realize a beautiful song is unfolding. Layers of slow, lush strings, a sprinkling of soaring harmonies, piano and the Baker, Harris, Young rhythm section combine. You await James’ heartfelt pleas. His vocal is reminiscent of Teddy Pendergrass, combining power and emotion, sometimes becoming a vamp. Tight, elegant and soulful harmonies join rasping horns, lush strings and the drama supplied by Baker, Harris, Young. When the soaring falsetto enters, that’s the clincher. The interplay between it and James’ lead is sheer emotion and beauty, becoming one, with the harmonies a beautiful added bonus. Why this song wasn’t released as a single seems a missed opportunity.
Nation Time is third of four Gamble and Huff songs on The Ebonys, and sees the tempo increase. There’s a real joyous sound, when the song bursts into life. Rasping horns, lush strings, keyboards and a powerful heartbeat courtesy Baker, Harris, Young rhythm section are responsible for this. Harmonies are tight, soaring soulfully and providing the perfect foil to James’ urgent, vampish delivery of Gamble and Huff’s message of unity. The longer the track progresses, the more impassioned The Ebonys’ message becomes, while M.F.S.B. provide a dramatic backdrop that reinforces this.
Ron Baker of the legendary Baker, Harris, Young rhythm section, arranged I Believe, giving this much covered song an emotive makeover. Waves of drama courtesy of Lenny Pakula’s Hammond organ, weeping strings, percussion and the Baker, Harris, Young rhythm section, join by Zach Zachary’s alto-saxophone. They provide the perfect backdrop for James’ inspired, impassioned reading of the lyrics. He combines emotion, drama and power, matched all the way by the other Ebonys. Their harmonies compliment his lead perfectly, as does M.F.S.B. It combines power and drama with beauty and a melancholy sound. Later, Ron uses Zach Zachary’s alto-saxophoneto good effect, using it to bring together the song together perfectly. The result is a transformation of an old song, becoming one that’s not celebratory and inspirational, but deeply moving.
Closing The Ebonys is You’re the Reason Why, where The Ebonys close the album on a high. Written and produced by Gamble and Huff, Thom Bell arranged a song that bursts dramatically and soon, joyously into life. Quivering strings, dramatic bursts of Earl Young’s drums, braying horns and soaring harmonies introduce David’s powerful, emotive vocal. Strings and harmonies reflect the emotion and happiness in his vocal. Vince Montana Jr, adds vibes, before the drama builds and builds. At the heart of the drama are the Baker, Harris, Young rhythm section, strings some stunning harmonies. Together, they provide the fitting accompaniment to James’ soul-baring vocal Magnus Opus, that brings The Ebonys to a dramatic, emotive crescendo.
While The Ebonys style was similar to The Dells, sadly, their music never enjoyed the same success. The combination of James “Bootie” Tuten’s powerful baritone, that’s reminiscent of Teddy Pendergrass and the answering falsetto second lead was a deliciously soulful, potent and effective combination, mainstream commercial success eluded The Ebonys. Their debut album The Ebonys is one of these albums that, despite there being nothing whatsoever wrong with the quality of the music, commercial success eluded them. Although The Ebonys reached number thirty-three in the US R&B Charts, and that they enjoyed several successful singles, they didn’t release another album on Philadelphia International Records.
Instead, their 1976 sophomore album, Sing About Life, was released on Buddah Records. Sadly, it didn’t even match the success of their debut album. Sing About Life was the last album The Ebonys would release. Their recording career was tragically short and it’s a case of what might have been. If commercial success was all about talent alone, then The Ebonys would have enjoyed a longer, more successful career and their 1973 debut album The Ebonys would’ve been critically acclaimed and commercially successful. That wasn’t to be the case, and in many ways, shows just how cruel a place the music industry can be. Like so many other albums, The Ebonys remains loved by a few, rather than by many, remains a cruel and ironic twist of fate. Standout Tracks: Hook Up and Get Down, It’s Forever, I’m So Glad I’m Me and I’ll Try.
THE EBONYS-THE EBONYS.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
Three years before Billy Billy Paul released Got My Head On Straight in 1975, he’d released his fourth album 360 Degrees of Billy Paul. Not only had 360 Degrees of Billy Paul made Billy Paul a worldwide star, but had played its part in launching Philadelphia International Records as one of soul’s premier labels. Since the success of 360 Degrees of Billy Paul, Billy’s life had been transformed. No longer was he just one of soul music’s rising stars, now he was known worldwide, helped no end by the success of Me and Mrs Jones. Now, Billy Paul was Philadelphia International Records’ first male superstar.
During the three years since the release of 360 Degrees of Billy Paul, Billy had only released one studio album, 1973s War of The Gods, which reached number 110 in the US Billboard 200 and number twelve in the US R&B Charts. It only featured one hit sings, Thanks For Saving My Life which gave Biily a top ten US R&B hit single. The following year, 1974, Billy released Live In Europe, which reached number 187 in the US Billboard 200 and number ten in the US R&B Charts. By 1975, it was two years since Billy’s last album. So he headed to Sigma Sound Studios with Philadelphia International Records’ legendary house-band M.F.S.B. to record the followup to War of The Gods. This would be Got My Head On Straight, which I’ll now tell you about.
For Got My Head On Straight, Philadelphia International Records’ best songwriters got to work. Gamble and Huff wrote five of the tracks and with other songwriting partners, cowrote two other tracks. This included penning Be Truthful To Me with McFadden and Whitehead. Together, Gamble and Huff wrote five of the tracks and with other songwriting partners, cowrote two other tracks. This included penning Be Truthful To Me with McFadden and Whitehead. The Gamble and Huff and McFadden and Whitehead partnership joined Billy Paul to cowrite Black Wonders of the World. Dexter Wansel wrote Billy’s Back Home and Bernard Ighner wrote Everything Must Change. These nine tracks were recorded where all of Philadelphia International Records’ recordings were recorded, Joe Tarsia’s Sigma Sound Studios.
For the recording of Got My Head On Straight, M.F.S.B. would accompany Billy Paul. This would prove to the last time Billy would be accompanied by the classic lineup of M.F.S.B. They were locked in a financial dispute with Gamble and Huff, which when it couldn’t be resolved, saw many of M.F.S.B. leave the label and become The Salsoul Orchestra. Among those that headed to New York, becoming The Salsoul Orchestra were the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli, percussionist Larry Washington and keyboardist Bunny Sigler. Even the legendary backing vocalists the Sweethearts of Sigma decided Salsoul Records was the place to go. They all played on Got My Head On Straight, and were some of architects of the Philly Sound. Arranging the nine tracks were Bobby Martin and Lenny Pakula. Gamble and Huff produced Got My Head On Straight, which was released in 1975.
Before the release of Got My Head On Straight in 1975, Be Truthful To Me was released in 1974. It reached number thirty-seven in the US R&B Charts. When Got My Head On Straight was released, it reached number 140 in the US Billboard 200 and number twenty in the US R&B Charts. Billy’s Back Home was then released as a single, but stalled at number fifty-two. While War of The Gods hadn’t matched the success of 360 Degrees of Billy Paul, neither did Got My Head On Straight. However, did Got My Head On Straight deserve to fare better?
Opening Got My Head On Straight is July, July, July, July, penned by Gamble and Huff. Stabs of piano create a wistful backdrop before M.F.S.B. kick loose. Horns blaze, the Baker, Harris, Young rhythm section inject power and drama. Ron Baker’s bass and Earl Young’s drums provide the heartbeat, as Billy’s hopeful, joyous vocal enters. Vince Montana Jr, sprinkles vibes, as percussion, punchy horns and cascading strings enter. Billy’s vocal grows in power and emotion with the Sweethearts of Sigma adding heartfelt, soulful harmonies. They prove the perfect accompaniment for Billy. So do M.F.S.B, who demonstrate just why they were such an important part of the Philadelphia International Records’ success story. A mass of blazing horns, frantic strings and thunderous rhythm section accompany Billy as he delivers vocal that like the arrangement, is passion and power personified. Billy’s back, and back with a bang.
Billy’s Back Home was the second single released from Got My Head On Straight, and deserved to fare much better. Just keyboards and synths combine to create a melancholy backdrop for Billy’s tender vocal. The arrangement has an understated sound, with a synth proving a contrast for the keyboards and Vince Montana Jr’s vibes. Soon, shimmering lush strings and the Baker, Harris, Young enter, while the Sweethearts of Sigma add the tenderest of harmonies. Billy’s vocal grows in power and emotion, becoming melancholy. It’s as if “Billy’s Back Home” but has anyone noticed? This must have rung true for many American veterans returning home from fighting in another pointless war. There’s emotion, melancholia and even a touch or irony in his vocal, as he breathes life and meaning into some pensive, but beautiful lyrics.
I’ve Got So Much To Live For has Caribbean sound, as the arrangement explodes joyously into life. Percussion, Vince Montana Jr’s vibes, swirling strings, growling horns and a dramatic Baker, Harris, Young rhythm section combine. Tender, gentle and punchy harmonies from the Sweethearts of Sigma provide a contrast to the power and drama supplied by the horns and the rhythm section. Billy matches the power and drama, add joyfulness as he gives thanks. Similarly, Vince’s vibes provide a contrast and give the track an authentic Caribbean sound and feel, as Billy proves how versatile a singer he truly is.
Black Wonders of the World closes Side One of Got My Head On Straight. From the get-go, you realize something special is unfolding. Bobby “Electronic” Eli’s wah-wah guitar joins Ron Baker’s moody bass and percussion from Larry Washington. Slowly, the arrangement begins as this Gamble and Huff, McFadden and Whitehead Magnus Opus reveal its secrets. Strings add to broody backdrop as Billy delivers the lyrics with feeling and sincerity. Earl Young’s drums and Ron Baker’s bass provide a pulsating heartbeat, before waves of Hammond organ, wash-wah guitars and urgent harmonies from the Sweethearts of Sigma add to the drama and emotion. Meanwhile, Billy pays homage to some of the legends of the civil rights’ movement. As Billy mentions their name, it’s with a reverence and respect that’s fitting, given the sacrifices they made for equality and justice. Of all the songs on Got My Head On Straight, this is without doubt the most moving and touching.
Enlightenment opens Side Two of Got My Head On Straight and is the first of two Gamble and Huff penned tracks. Just a pensive, meandering arrangement with synths, Ron Baker’s thoughtful bass and strings combine. They’re joined by serene harmonies, before Billy’s tender, questioning vocal enters. The Sweethearts of Sigma accompany him, matching Billy for tenderness and soulfulness. Their contribution proves the perfect accompaniment, adding swirling, punchy harmonies as Billy voice grows in power and feeling. Billy brings meaning and emotion into the lyrics. His power, and the Sweethearts of Sigma’s elegance and serenity, prove a potent, and indeed soulful and emotive meeting of musical minds.
When It’s Your Time To Go is very different from the previous arrangement, and deals with the subject of death, but with an uptempo twist. A buzzy, bouncy combination of synths, Vince Montana Jr’s vibes and the Baker, Harris, Young rhythm section combine with Billy’s punchy vocal. Soaring harmonies from the Sweethearts of Sigma, swathes of lush strings and washes of Lenny Pakula’s Hammond organ combine with Norman Harris’ jazzy guitar, as Billy’s vocal becomes celebratory and even joyous. Sadness isn’t option. Remember the good times is his message, as Philly Soul and funk are fused while Billy scats his way to the track’s close reminding you “no tears.”
Be Truthful To Me is another of the uptempo tracks, where Philly Soul and jazz unite. Growling horns, swirling strings and a swinging Baker, Harris, Young give the arrangement a jazzy twist. Billy joins the fun, delivering his vocal with a similar swing, but with a sting, warning; “Be Truthful To Me.” The Sweethearts of Sigma surpass themselves, adding the sweetest of punchy harmonies. By now M.F.S.B. have been transformed into a big band, and Billy’s becomes an old crooner. It’s a glorious transformation, with M.F.S.B, the Sweethearts of Sigma and Billy, at his best, revisiting, and paying homage to the sounds of the big band era.
Everything Must Change is a song that’s been covered by many people, but Billy’s version is a combination of beauty, emotion and soulfulness. Just an understated combination of piano, percussion and guitar combine as Billy delivers a vocal where he lays bare his soul for all to see. He explores the subtleties and nuances of the lyrics, bringing previously unheard meaning and beauty into an old song. So sincere is Billy’s delivery, you feel he means every word. He leaves space within the lyrics. That’s the signal for the Sweethearts of Sigma to enter, delivering heartfelt harmonies. After that, Billy delivers a heartachingly beautiful vocal, before with the Sweethearts of Sigma’s help, the song reaches a dramatic, moving conclusion.
Closing Got My Head On Straight is My Head’s On Straight, which bursts joyously into life. Instantly, you realize Billy’s determined to close the album on a high. This he does, with M.F.S.B. and the Sweethearts of Sigma. This means swathes of dancing strings, growling horns and the Baker, Harris, Young rhythm section adding a sometimes, dramatic heartbeat. For his part, Billy’s vocal is power, passion and positivity. He’s “a man with a plan” and his head’s on straight. There’s a joyous, celebratory sound to his vocal and the arrangement, as he ensures Got My Head On Straight ends on an uplifting high.
Two years after the release of his previous album, War of The Gods, Billy’s Back Home at Philadelphia International Records, and back with a bang. From the opening bars of July, July, July, July you realize Got My Head On Straight is going to be a musical journey to savor. After that, the songs vary in style, but the quality remains never drops. Throughout Got My Head On Straight, there’s a message in the music. The most moving and potent is Black Wonders of the World, where Billy pays homage the courage and bravery of the heroes of the civil rights movement. Another message song is When It’s Your Time To Go, where Billy’s message is “no tears,” celebrate someone’s passing. Everything Must Change is similarly moving, with Billy transforming the track into an emotive, epic. Then there’s the wistful sound of Billy’s Back Home, which must have rung true to many a returning Vietnam veteran. They too must have thought, I’m home but has anyone noticed? Other songs are much more joyous and uplifting.
This includes the celebration that is I’ve Got So Much To Live For. Be Truthful To Me is a gloriously uplifting and hook laden trip back to the big band era. Two celebratory songs open and close Got My Head On Straight. July, July, July, July, opens My Head’s On Straight and in between, Billy never misses a beat. There’s neither a bad track, nor any filler, just one great track after another. This is no wonder, given the personnel who played on Got My Head’s On Straight,
The classic lineup of M.F.S.B. and the Sweethearts of Sigma joined Billy on Got My Head On Straight. So it’s no surprise that this is such a good album. The only surprise is that Got My Head On Straight wasn’t a much bigger commercial success. It only reached number 140 in the US Billboard 200 and number twenty in the US R&B Charts. Given how good the music on Got My Head On Straight is, it should’ve been a much bigger commercial success. While it was more of a commercial success than 1973s War of The Gods, Got My Head On Straight never matched the success of 360 Degrees of Billy Paul. Instead, the powerful, moving music on Got My Head On Straight remains one of the hidden gems of Billy Paul’s illustrious back catalogue, awaiting rediscovery for Philly Soul fans old and new. Standout Tracks: Black Wonders of the World, Enlightenment, When It’s Your Time and Be Truthful To Me.
BILLY PAUL-GOT MY HEAD ON STRAIGHT.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
Between 1972 and 1975, Harold Melvin and The Blue Notes released a quartet of albums that saw one of the most successful artists in the history of Philly Soul. During that period, commercial success and critical acclaim were constant companions for Harold Melvin and The Blue Notes. They were no overnight success story, having struggled for success on the supper club circuit. Then when they added former drummer, and charismatic baritone, Teddy Pendergrass as lead singer. Soon, their fortunes changed and by their third album To Be True, they were about to enter the most successful year of their career. However, not all was well behind the scenes of Harold Melvin and The Blue Notes, even when To Be True was recorded.
Suddenly, after adding Teddy Pendergrass as their lead singer, Harold Melvin and The Blue Notes were one of Philadelphia International Records most successful acts. This started with their 1972 debut album I Miss You, which was originally released as Harold Melvin and The Blue Notes. It reached number fifty-three in the US Billboard 200 and number four in the US R&B Charts. I Miss You featured three singles, If You Don’t Know Me By Now, I Miss You and Yesterday I Had the Blues. If You Don’t Know Me By Now gave Harold Melvin and The Blue Notes their first number one US R&B number one single and proved to be a timeless Philly Soul classic. After the success and critical acclaim of I Miss You, the success kept coming for Harold Melvin and The Blue Notes.
The followup album to I Miss You was Black and Blue, released in 1973, which saw the commercial success and critical acclaim continue. Black and Blue reached number fifty-seven in the US Billboard 200 and number five in the US R&B Charts. Three singles were released from Black and Blue, including two stonewall classics The Love I Lost (Part 1) and Satisfaction Guaranteed (Or Take Your Money Back). I’m Weak For You was the third single, but failed to replicate the success of the two previous singles. Like I Miss You, Black and Blue featured a number one single in the US R&B Charts, The Love I Lost (Part 1) and had reached number seven in the US Billboard 100. With the critical acclaim and commercial success continuing, surely things couldn’t get better for Harold Melvin and The Blue Notes?
After all, two critically acclaimed and commercially successful album and two number one singles in the US R&B Charts meant that Harold Melvin and The Blue Notes were now going toe-to-toe with The O’Jays to be crowned Philadelphia International Records most successful group. Sadly, after just two albums cracks were appearing within Harold Melvin and The Blue Notes. They threatened to derail the success Harold Melvin and The Blue Notes were enjoying.
Teddy Pendergrass was the lead singer, and the man who’d done so much to bring success to the previously struggling Harold Melvin and The Blue Notes. He wanted equal billing with Harold Melvin, or even better, to be recognized as the star of the group. Frantically, behind the scenes a compromise was sought? What about Teddy Pendergrass and Harold Melvin’s Blue Notes? That wasn’t going to happen. Harold Melvin was a proud man and had founded the group. As a temporary compromise, their third album, To Be True, this would see the group billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. At least this solved the problem, albeit temporarily. Thankfully, the warring factions put aside their differences. Having done so, they released what would prove to be Harold Melvin and The Blue Notes most successful album, To Be True. Success it seemed kept on coming Harold Melvin and The Blue Notes’ way.
With Philadelphia International Records’ finest songwriters working on Harold Melvin and The Blue Notes’ third album, there was every chance that the success would keep on coming. Gamble and Huff cowrote four tracks, including To Be True, Hope That We Can Be Together Soon, Nobody Could Take Your Place and Somewhere Down the Line. McFadden and Whitehead also contributed four tracks. They cowrote Where Are All My Friends, Pretty Flower and Bad Luck With Victor Carsterphen. Their other composition was It’s All Because of A Woman, which they penned with Leon Huff. Bobby Martin arranged the eight tracks and Gamble and Huff produced To Be True.
Recording of To Be True took place at Philly’s Sigma Sound Studios, owned by Joe Tarsia. Accompanying Harold Melvin and The Blue Notes were the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section and guitarists guitarists Bobby “Electronic” Eli, Roland Chambers T.J. and Tindall. Vince Montana Jr, played vibes, Larry Washington congas and bongos, Lenny Pakula played organ, Leon Huff electric piano and alto-saxophonist Zach Zachary. Strings and horns came courtesy of Don Renaldo and His String and Horn Section, while the Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton added backing vocals. Once To Be True was completed, it was ready for release in 1975.
Where Are All My Friends was chosen as the lead single, and released in 1974, reaching number eighty in the US Billboard 100 and number eight in the US R&B Charts. Bad Luck (Part 1) fared even better, reaching number fifteen in the US Billboard 100 and number four in the US R&B Charts. On the release of the third and final single, Hope That We Can Be Together Soon, it reached number forty-two in the US Billboard 100 and number one in the US R&B Charts. This gave Harold Melvin and The Blue Notes their third US R&B number one single in three albums. When To Be True was released in 1974, it surpassed the success of both I Miss You and Black and Blue. Not only did it reach number twenty-six in the US Billboard 200 and number one in the US R&B Charts, but saw Harold Melvin and The Blue Notes receive their first gold disc. Harold Melvin and The Blue Notes had now reached the most successful period of their career, as you’ll realize when I tell you about To Be True.
Opening To Be True is Where Are All My Friends, penned by McFadden and Whitehead with Victor Castarphen. It’s an uptempo opener, layers of lush strings, punchy growling horns and the Baker, Harris, Young rhythm section, who provide a powerful heartbeat as The Blue Notes add tender harmonies. When Teddy’s troubled vocal enters, his vocal is full of loneliness and hurt. He grabs the song, injecting emotion and passion into the lyrics, laying bare his soul. Cascading, heartfelt harmonies from The Blue Notes and the Sweethearts of Sigma sweep in and out. They join swirling strings as Teddy delivers one of his most impassioned vamps. It’s classic Teddy Pendergrass, helped no end by The Blue Notes and M.F.S.B. at their very best. Ironically, a year later, neither The Blue Notes, nor the original lineup of M.F.S.B. would be on Philadelphia International. Their fortunes would vary drastically.
Even after a few bars of the Gamble and Huff penned To Be True, you realise something special is about to unfold. A dramatic burst of Earl Young’s drums, washes of Lenny Pakula’s Hammond organ and Norman Harris’ jazzy guitar join the lushest of strings. Then when Teddy’s vocal enters, it’s a combination of tenderness, emotion and sadness. Elegant harmonies from The Blue Notes and the Sweethearts of Sigma soar above the arrangement. Horns rasp, strings sweep and Norman Harris’ sparse guitar playing are key to the beautiful arrangement. So are bursts of drums that add drama. Teddy’s vocal is delivered with feeling, and later, his half-spoken vocal is the clincher. That’s the icing on this deliciously, beautiful bedroom ballad, with the tender harmonies the cherry on the top.
Pretty Flower sees Larry Washington’s bongos open the understated arrangement. A piano adds to the melancholy sound of Teddy’s vocal. Slowly, the arrangement builds. Norman Harris’ subtle guitar, tight harmonies and strings that add to the wistful sound join the arrangement. In many ways, this is not unlike a Teddy Pendergrass solo. Later, horns growl, before the Baker, Harris, Young rhythm section and piano build up the drama. The harmonies remain wistful, as Teddy’s vocal grows in power and passion, as this slow burner of a song heads to its dramatic conclusion.
On Hope We Can Be Together Soon, which close Side One of To Be True, Sharon Paige’s vocal features. The arrangement has an understated sound, with Bobby “Electronic” Eli’s wah-wah guitar, Vince Montana Jr’s vibes, Larry Washington’s bongos and Norman Harris’ guitar in creating a pensive arrangement. Eventually, Sharon’s needy vocal enters, providing the perfect foil for Teddy. It’s tenderness personified. So to is M.F.S.B’s jazzy backdrop. They mix subtlety with occasional bursts of drama. Wistful woodwind, wah-wah guitars, Vince’s vibes and percussion provide an understated backdrop. Meanwhile, Ron Baker’s confident bass and bursts of growling horns provide a contrast. In Sharon Paige, Teddy has the perfect foil. Her vocal seems to spur Teddy to greater heights of heartfelt soulfulness, as he delivers one of his tenderest vocals on To Be True.
Side Two of To Be True Nobody Could Take Your Place, which sees dramatic waves of strings and moody horns combine with Earl Young’s urgent, driving drums.They’re joined by Lenny Pakula pensive keyboards and provide the perfect backdrop for Teddy’s vocal. It’s tinged with emotion and heartache. Soon, its grows in power and drama, as Teddy vamps, complete with harmonies from The Blue Notes and the Sweethearts of Sigma. As the drama grows, strings sweep and swirl frantically, horns blaze. They join Baker, Harris, Young in providing a dramatic, powerful backdrop that reflects and magnifies the sheer heartache and regret in Teddy’s desperate vocal. This is Teddy at his best, helped no end by The Blue Notes, the Sweethearts of Sigma and M.F.S.B. at their very best.
Somewhere Down the Line sees the tempo slow, but the emotion and heartache continues. Swathes of slow strings, rasping horns and a wistful, pensive Baker, Harris, Young rhythm section set the scene for Teddy’s vocal. It’s filled with regret and resignation, at the realisation that at last, his relationship is over. Still, there’s hope he believes, but you sense he’s not fooling himself. The tenderest harmonies from The Blue Notes sweep in, before Vince Montana Jr’s vibes, a piano and strings that reflect Teddy’s heartache join. This is a classic Gamble and Huff song that tells a story, something that they were so good at. In Teddy, they’ve a singer that can bring meaning and emotion into the lyrics. Of all the songs on To Be True, this is one of Teddy’s most emotive, heartfelt deliveries and is a vocal tour de force.
Of all the singles Harold Melvin and The Blue Notes released, Bad Luck is one of the best. It’s a Philly classic, with Teddy vamping his way through the song, with swooning harmonies from The Blue Notes. M.F.S.B. play their part, from the opening notes. Baker, Harris, Young provide a pulsating heartbeat, a driving piano, rasping horns and cascading strings provide the backdrop for Teddy’s sassy, feisty masterclass. Vince Montana Jr. sprinkles vibes as the harmonies soar. Then Teddy and M.F.S.B. join forces. They drive each other to previously unreached heights. What follows is an explosion of powerful, hook-laden, dance-floor friendly Philly soul. This would prove to be one of the high-points of Harold Melvin and The Blue Notes and is a totally timeless track.
Closing To Be True is It’s All Because of A Woman. Just Ron Baker’s bass and Earl Young’s drums combine with a lone piano to create a slow, moody and bluesy backdrop. Teddy’s vocal is filled with pain and sadness, as a wailing Hammond organ and Norman Harris’ sparse piano enter. Soon, the arrangement grows in power and emotion. Horns growl, strings cascade furiously and a powerhouse of rhythm section courtesy of Baker, Harris, Young join forces. The Blue Notes add soaring, emotive vocals. Then, as if spent, Teddy’s vocal becomes thoughtful, introspective and heartfelt. With each bar, the emotion and drama builds, as Teddy lays bare his weary soul, questioning, thinking aloud and wondering what’s become of his. For over five music, it’s like a Philly Soul opera, with Teddy Pendergrass as the star. What a way to close To Be True.
To Be True was the third of four albums to feature the classic lineup of Harold Melvin and The Blue Notes. Much was going on behind the scenes at Philadelphia International Records. Given how successful Harold Melvin and The Blue Notes’ first two album had been, Teddy Pendergrass felt he deserved at least equal billing. By To Be True the group were now billed as Harold Melvin and The Blue Notes featuring Theodore Pendergrass. Given how good To Be True is, it’s no wonder Teddy wanted equal billing. Quite simply, he was the star of Harold Melvin and The Blue Notes. While the Blue Notes harmonies played an important part, Teddy was irreplaceable. He could take a song by the scruff of the neck, breathing life, meaning and emotion into lyrics. Sadly, the rest of the group, including founder Harold Melvin didn’t see or realise how important Teddy was.
Later in 1975, Harold Melvin and The Blue Notes released their fourth album Wake Up Everybody. Still Teddy and Harold Melvin couldn’t come to a compromise. When the dispute between Teddy and Harold Melvin couldn’t be resolved, Teddy left the Harold Melvin and The Blue Notes after the fourth album Wake Up Everybody, which ironically, proved to be their most successful album, being certified platinum. Teddy signed a solo deal with Philadelphia International Records. He went on to become one of the label’s biggest stars. Out of the seven albums Teddy released on Philadelphia International Records, four were certified platinum and one gold. Life was never the same for Harold Melvin and The Blue Notes after Teddy Pendergrass.
Teddy’s shoes proved too big to fill. Replacement lead singers joined and left. Never again did Harold Melvin and The Blue Notes enjoy the commercial success and critical acclaim they’d enjoyed between 1972 and 1975. During this period, they released four albums, including To Be True, which is a masterclass in Philly Soul starring Teddy Pendergrass at his finest. He struts his way through To Be True, stopping only to deliver some heartachingly beautiful vocals. In doing so, he proved to be the star of Harold Melvin and The Blue Notes. It’s just a pity other people didn’t realize this, then maybe we could’ve enjoyed more than just four albums from Harold Melvin and The Blue Notes, more of the success that proved to good To Be True. Standout Tracks: Where Are All My Friends, Somewhere Down the Line, Bad Luck and It’s All Because of A Woman.
HAROLD MELVIN AND THE BLUE NOTES-TO BE TRUE.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
Anyone familiar with the history of Philly Soul, will realize that some of the best music was written or produced by musical partnerships. Obviously the best known is Gamble and Huff, but there are many more. The Baker, Harris, Young rhythm section were also a successful production partnership, while Norman Harris forged successful songwriting partnerships with Allan Felder and Bunny Sigler. Guitarist and producer Bobby “Electronic” Eli, enjoyed a successful songwriting partnership with Vinnie Barrett, writing classics like Sideshow, recorded by Blue Magic. Dexter Wansel and Linda Creed proved a potent songwriting partnership, penning a classic tracks aplenty. Another of Philly Soul’s successful partnerships was McFadden and Whitehead.
Gene McFadden and John Whitehead had formed their partnership in Philly back in the seventies and went on to become one of the most successful songwriting and production partnerships. Apart from writing and producing other artists, McFadden and Whitehead enjoyed a successful recording career. Their 1979 eponymous debut album McFadden and Whitehead featured a stonewall, seminal Philly Soul classic, Ain’t No Stopping Us Now. Not only did Ain’t No Stopping Us Now give McFadden and Whitehead a gold disc, but their debut album McFadden and Whitehead proved to be their most successful album. Before I tell you about McFadden and Whitehead, I’ll tell you about McFadden and Whitehead’s career.
When Gene McFadden and John Whitehead were just teenagers, they formed The Epsilons, which also included future member of Harold Melvin and The Blue Notes, Lloyd Parks. Soon, they were discovered by Otis Redding and toured with Otis until his tragic death in 1967. Just five years later, in 1972, McFadden and Whitehead cowrote their first Philly Soul classic.
After Gamble and Huff formed Philadelphia International Records, McFadden and Whitehead joined the nascent label as songwriters. Their first success was Back Stabbers, which they cowrote with Leon Huff. This launched McFadden and Whitehead as songwriters. Soon, they would become one of Philadelphia International Records’ most successful songwriting partnerships. Later, they add production to their talents. At Philadelphia International they worked with artists like The O’Jays, Harold Melvin and The Blue Notes, Teddy Pendergrass, M.F.S.B, Archie Bell and The Drells, Patti La Belle and The Jones Girls. Soon, their songwriting and production skills were noticed further afield, and saw McFadden and Whitehead work with some of the biggest names in music.
Given their track record as songwriters and producers, McFadden and Whitehead’s talents were in demand away from Philadelphia International Records. Soon, McFadden and Whitehead were working with some of soul music’s royalty. This included writing and producing for Stevie Wonder, Gladys Knight, James Brown, Gloria Gaynor, The Jackson 5 and Melba Moore. By 1979, McFadden and Whitehead decided to add another string to their bow, becoming recording artists.
For McFadden and Whitehead’s 1979 debut album for Philadelphia International Records, entitled McFadden and Whitehead, they cowrote eight tracks with Jerry Cohen. This included one track that would become synonymous with McFadden and Whitehead, Ain’t No Stopping Us Now. Recording of Ain’t No Stoppin’ Us Now and the other seven tracks took place at Philly’s legendary studio, Sigma Sound Studios.
Accompanying McFadden and Whitehead on their debut album McFadden and Whitehead a rhythm section of drummer Keith Benson, bassist James Williams and guitarists Dennis Harris and Bobby “Electronic” Eil guitar. They were joined by keyboardist Jerry Cohen, percussionists Don Renaldo, Bobby Cupid and David Cruse. Adding backing vocals were The Sweethearts of Sigma, Barbara Ingram, Carla Benson and Evette Benton, The Futures and McFadden and Whitehead. McFadden and Whitehead produced McFadden and Whitehead, which was released in 1979.
Ain’t No Stoppin’ Us Now was the lead single from McFadden and Whitehead, released in 1979. It was a huge success, reaching number thirteen in the US Billboard 100, number one in the US R&B Charts and number ten in the Dance Music/Club Play Charts. This gave McFadden and Whitehead their first gold disc. When McFadden and Whitehead was released, it reached number twenty-three in the US Billboard 200 and number five in the US R&B Charts. I’ve Been Pushed Aside was released as the followup to Ain’t No Stoppin’ Us Now in 1980, but stalled at number seventy-three in the US R&B Charts. McFadden and Whitehead proved that there was no end to McFadden and Whitehead’s talents. Not only were they successful songwriters, arrangers and producers, but after the release of McFadden and Whitehead.
Opening McFadden and Whitehead is the classic single Ain’t No Stoppin’ Us Now. As the song bursts into life, James Williams’ pounding, meandering bass line plays a vital part in arrangement. It provides the pulsating heartbeat. Drums and guitars join lush sweeping, swirling strings, before the Sweethearts of Sigma’s tight, joyous harmonies sweep in. Burst of rasping horns signal the arrival of John Whitehead’s lead. His delivers is like a paean to positivity. John becomes a preacher, preaching belief and positivity. Nothing is insurmountable. Anything is possible. The Sweethearts of Sigma add soulful, impassioned harmonies, as if convinced by John’s message. By then, swathes of strings, bursts of growling horns, keyboards and the rhythm section provide the perfect, joyful, catchy backdrop. Disco, soul and funk unite. Gene adds backing vocals, joining the Sweethearts of Sigma. Later, as this seven minute Magnus Opus goes through the gears, John and Gene with the Sweethearts of Sigma take the track to its hook laden, uplifting and joyous conclusion. After seven majestic minutes, you realize just why this is a timeless, seminal Philly Soul classic, that sold over eight-million copies.
I’ve Pushed Aside was the followup to Ain’t No Stoppin’ Us Now. Following such a classic wasn’t easy, but McFadden and Whitehead give it their best. Growling horns, cascading horns and punchy harmonies from the Sweethearts of Sigma give way to the hearfelt vocal. Drama and emotion unite, both in the arrangement and vocal. Bursts of swirling strings add to the drama, while John and Gene vamp and plea their way through the arrangement, with cascading harmonies from Sweethearts of Sigma for company. Swirling strings, rasping horns, dramatic drums and soaring harmonies provide the perfect backdrop for John’s vocal. He lays bare his soul, while Gene and the Sweethearts of Sigma reflect and highlight his heartache. The result is a deeply soulful, emotive roller coaster of a track, that’s also heartachingly beautiful.
Mr. Music sees McFadden and Whitehead change style, taking the album in the direction of funk. Gone is the Philly Soul of I’ve Pushed Aside and the fusion of disco, Philly Soul and funk of the classic Ain’t No Stoppin’ Us Now. Replacing this is a slice of funk that reveals its secrets at breakneck speed. John’s sassy vocal is accompanied by the funkiest of bass lines from James Williams, handclaps and growling horns. Gene adds vampy backing vocals, as John’s vocal becomes a feisty, sassy snarl. Like Ain’t No Stoppin’ Us Now, there’s no short of hooks and James Williams’ funky bass plays a starring role.
I Just Wanna Love You Baby sees the funk and sass of the previous track continue. Chiming guitars, punchy tender harmonies from the Sweethearts of Sigma give way to John’s powerful, sassy and confident vocal. He’s accompanied by growling horns and an uber funky rhythm section. They sound like they belong on a P-funk album. The Sweethearts of Sigma’s soaring, soulful harmonies remind you this is an album released on Philadelphia International Records. Having said that, John’s vocal is power and passion personified, as he vamps his way through the track, complete with a gloriously funky arrangement, that brings Side One of McFadden and Whitehead to a close.
Got To Change opens Side Two of McFadden and Whitehead. Again, James Williams bass plays an important part, as do the soaring, swooping and soulful harmonies from the Sweethearts of Sigma. John’s vocal soars, filling the space between the harmonies. The layers of the lushest string sweep and swirl as the drama builds and builds. Only then does John’s pleading vocal enter, as he sings how things have “Got To Change.” It’s a song with a message, just like their first hit single Back Stabbers. He delivers a truly heartfelt vocal against the pounding, pulsating bass, lush, sweeping strings and soaring harmonies. Drama and anger join sadness and emotion as guitars chime, strings swirl and horns growl as John, with Gene adding backing vocals delivers one of his most impassioned, heartfelt vocal. He pleads and begs for things to change as one of the highlights of McFadden and Whitehead reveals its secrets.
You’re My Someone To Love sees the tempo slow, with the arrangement revealing a sound that has made in Philly written all over it. The arrangement, with the lush strings, guitars drenched in reverb and slow rhythm section remind me of Thom Bell’s work with The Delfonics and The Stylistics. James Williams’ meandering bass proves the only difference. When John’s vocal enters, it’s one of his emotive, impassioned deliveries. His vocal grows in power and soulfulness, as the Sweethearts of Sigma’s harmonies sweep in. They add to the song’s emotion and beauty as John delivers what’s one of his best vocals. It’s a vocal Magnus Opus from John Whitehead on what is a hidden gem of a bedroom ballad.
Like other songs on McFadden and Whitehead, James Williams’ powerful, funky bass opens I Got the Love. It doesn’t take long to realize this songs roots are in Memphis circa 1966. A driving, funky rhythm section, piano, growling horns and gospel tinged harmonies from the Sweethearts of Sigma join John’s vocal. His delivery reminds me of Otis Redding, as he vamps his way through the song, feeding off the Sweethearts of Sigma’s tight, soaring harmonies. Blazing horns, a bluesy piano and the driving rhythm section combine soul and gospel. Again, John is like a preacher, testifying, as he makes you a believer in McFadden and Whitehead’s vintage sounding fusion of sixties soul and gospel.
Closing McFadden and Whitehead is Do You Want To Dance? Lush strings, sweep and swirl while a thunderous, funky rhythm section and John’s vocal teases you. The arrangement slowly unfolds, revealing the lushest of strings, tough keyboards and a funky rhythm section, lead by James Williams’ bass. They’re joined by cascading harmonies courtesy of the Sweethearts of Sigma. Then at last, John’s whispery, breathy vocal enters. Soon it grows in power, with the Sweethearts of Sigma adding joyful harmonies, horns rasping and strings sweeping and swirling. John’s vocal become a foxy, sassy drawl as he teases, before unleashing a powerful vamp, matched all the way by the Sweethearts of Sigma. They match him for soulfulness and joyousness as this anthemic, hook-laden dance-floor friendly closes McFadden and Whitehead on a high.
By the time McFadden and Whitehead released their debut album McFadden and Whitehead in 1979, they were ready to make their return as recording artists. For too long, they written, arranged and produced other artists. In their hearts, they knew that they could match or surpass the success these artists enjoyed. So they set about writing eight tracks with bassist Jerry Cohen. These songs became McFadden and Whitehead, which gave them the most successful album of their career. McFadden and Whitehead was helped no end by the success of the seminal classic Ain’t No Stoppin’ Us Now, which sold eight million copies worldwide. Since then, it’s become a Philly Soul classic, as popular now, as it was in 1979. However, there was much more to McFadden and Whitehead than just one song.
Heartfelt, soul-baring ballads like Got To Change and You’re My Someone To Love are among the album’s highlights, joining the two singles Ain’t No Stoppin’ Us Now and I’ve Been Pushed Aside. Do You Want To Dance brings McFadden and Whitehead to a hook-laded, dance-floor friendly close. The success of McFadden and Whitehead couldn’t have come at a better time for Philadelphia International Records. No longer were Philadelphia International Records enjoying hit after hit like the label’s early years. Teddy Pendergrass and The O’Jays were Philadelphia International Records’ biggest stars. So the success of McFadden and Whitehead helped prove that Philadelphia International Records was still a major force in soul music.
Following McFadden and Whitehead, McFadden and Whitehead only released one further album for Philadelphia International Records, I Heard It In A Love Song in 1980. Three years later, in 1983 their third and final album, the aptly titled Movin’ On was released on Capitol Records. However, neither of these albums matched the success and quality of McFadden and Whitehead, who proved that they were much more than songwriters, arrangers and producers, but also successful artists in their own right. McFadden and Whitehead, featuring the eight-million selling Philly Soul classic Ain’t No Stoppin’ Us Now is proof of this. Standout Tracks: Ain’t No Stoppin’ Us Now, I’ve Been Pushed Aside, Got To Change and You’re My Someone To Love.
MCFADDEN AND WHITEHEAD-MCFADDEN AND WHITEHEAD.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
One of the phenomenon’s of the disco era, was the arrival of the disco orchestra. Obviously, the best known and without doubt, best, and most successful was The Salsoul Orchestra. They played their part in making Salsoul Records disco’s most successful and classic label. Other record companies, having seen the success Salsoul was enjoying, decided to climb onboard the disco bandwagon. Soon record companies were releasing singles and albums from other, newly formed disco orchestras. This included the THP Orchestra, the Mike Theodore Orchestra and the Charlie Calello Orchestra. For Sam Weiss, a veteran of the music industry, his newly founded record label SAM Records’ would have their very own disco orchestras, the John Davis Monster Orchestra, who’d release their debut album Night and Day in 1976. There would be many similarities between The Salsoul Orchestra and the John Davis Monster Orchestra.
Sam Weiss founded SAM Records in Long Island City, New York in 1976. He was something of a veteran of the music industry. He’d been involved in the music industry since the late forties, when he and his brother Hy founded Parody Records. Although the company wasn’t a commercial success, and soon folded, the Weiss brothers persevered. Eight years later, in 1954, they founded Madison Records, which was primarily a vehicle for releasing R&B records. Soon, Madison was releasing soul, doo wop, pop, rock, soul and gospel. Madison continued right through until the late seventies. By then, Sam Weiss had founded Sam Records, which he specifically setup to cash in on disco’s popularity. Having founded SAM Records in 1976, the nascent label released it’s first release, Doris Troy’s Woman and The Ghetto. 1976 would also see the John Davis and The Monster Orchestra’s release their debut album Night and Day.
John Davis and The Monster Orchestra’s debut album Night and Day was a mixture of six cover versions of Cole Porter songs and two original tracks. Tell Me How You Like It was written by John Davis who cowrote I Can’t Stop with guitarist Craig Snyder. These two tracks joined covers of I Get A Kick, Night and Day, I’ve Got You Under My Skin, In the Still of the Night, You Do Something To Me and It’s D’lovely. This was Cole Porter, but given a disco twist by John Davis and The Monster Orchestra on Night and Day. Helping John Davis do this, were some legendary Philly musicians.
Some of the musicians that played on albums by The Salsoul Orchestra also were members of John Davis’ Monster Orchestra. This includes the rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarists Bobby “Electronic” Eli and Roland Chambers. Larry Washington played percussion, strings and horns came courtesy of Don Renaldo and backing vocals from the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. Only guitarist Craig Snyder and John Davis, who played keyboards, flute and saxophone. He conducted the orchestra and produced Night and Day, which was released in 1976.
It was John Davis and The Monster Orchestra’s first single I Can’t Stop which was SAM Records’ first ever twelve inch single. It reached the top five in the US Charts. Night and Day was released to just minor success. However, by the time John Davis and The Monster Orchestra released their sophomore album
Opening John Davis and The Monster Orchestra’s debut album Night and Day, is the John Davis penned Tell Me How You Like It. Charles Collins drums and Michael “Sugar Bear” Foreman bass open the track, driving the arrangement along. They’re joined by Bobby “Electronic” Eli’s searing, guitar, layers of strings, percussion and punchy horns. This combination provides a funky, musical powerhouse. The Sweethearts of Sigma’s light, tender harmonies float in and out. They grow punchy, taking on an urgency. Soon, the arrangement becomes a musical juggernaut, driven along by Charles’ drums, Michael’s bass and Bobby’s guitar. Having got your attention, the Sweethearts of Sigma’s delicious harmonies continue to hold it as, their soulfulness proves the perfect foil to the orchestra’s fusion of disco and funk.
When Cole Porter wrote I Get A Kick Out of You, he would never expect it to be given a disco twist. Cascading strings, a pounding rhythm section and high kicking horns unite before The Sweethearts of Sigma ensure the song swings. Their harmonies are tender and soulful, but grow in power and funkiness. Swathes of the lushest strings join their harmonies, which grow punchy, lick the horns. Bobby “Electronic” Eli adds a funky wah-wah guitar as the rhythm section provide a relentless and furiously, funky heartbeat. When this is combined with the Sweethearts of Sigma’s harmonies, the result is Cole Porter, but not as we know it. Instead, his music is given a delicious makeover, where funk, Philly soulful and disco unite.
The title-track Night and Day is the second of six Cole Porter songs. Percussion, wah-wah guitars and the rhythm section unite, before dancing strings and blazing horns enter, mixing funk and disco. Then, with a holler, the soulfulness arrives. It comes courtesy of the Sweethearts of Sigma. They add tight, impassioned harmonies, which grow punchy and powerful. With a whoop they take their leave, but you hope it’s not for long. Soon, they’re back, proving the perfect contrast the power and majesty of the orchestra. Like other disco orchestras, the sound is grand, laden in strings and horns, with a pounding, dance-floor friendly heartbeat. For me, the Sweethearts of Sigma provide a contrast and what is the finishing touch. This is the icing on a very moreish cake, one that’s delicious, one you long to eat at once, but instead, decide to savor its delights and subtleties slowly. After each listen, some subtlety or secret reveals itself and only then, do you discover just how rich a musical cake this truly is.
I’ve Got You Under My Skin is given a similar treatment to I Got A Kick Out of You. Layers of lush strings sweep and swirl, horns rasp and the rhythm section add a pounding, funky beat complete with Bobby “Electronic” Eli’s wah-wah guitar. At breakneck speed the arrangement unfolds, revealing elements of soul and jazz, plus plenty of funk and disco. When the Sweethearts of Sigma’s harmonies enter, they’re soulfulness personified. Their tight, impassioned harmonies are joined by percussion aplenty, braying horns, cascading strings and a funky Philly rhythm section. Sometimes, the harmonies become punchy and dramatic, highlighting and accentuating Cole Porter’s lyrics, It’s like the Sweethearts of Sigma are paying homage to Cole Porter’s genius, their delivery soulful and jazzy. Indeed, without their contribution this wouldn’t be anything like as good. So good is this track, that’s one of the real highlights of Night and Day.
I Can’t Stop opens Side Two of Night and Day. John Davis cowrote the track with guitarist Craig Snyder. The song almost explodes into life. A thunderous, funky rhythm section, searing guitar, growling horns and the lushest strings combine. With a flourish of strings, Philly songbirds the Sweethearts of Sigma add soulful and heartfelt, then sassy and breathy harmonies. Their harmonies are replaced by washes of wailing Hammond organ, punchy grizzled horns and dancing strings. Later, the Sweethearts of Sigma add soaring, dramatic and punchy harmonies, before the rhythm section give a musical masterclass, fusing funk and disco. Bassist Michael “Sugar Bear” Foreman and drummer Charles Collins add a pounding, funky backbeat, while guitarist Bobby “Electronic” Eli’s playing is funky, flashy and confident. He uses his trademark effects well, as John Davis and The Monster Orchestra get Side Two of Night and Day off to an explosive, funky and electric start.
Bursts of dramatic horns open In the Still of the Night, before percussion, keyboards and luscious strings float in. Although still funky, thanks to horns and rhythm section, there’s a slightly more understated sound. The Sweethearts of Sigma’s harmonies are heartfelt and tender, floating in and out. Later, Bobby “Electronic” Eli shows how he got his nickname. He puts his effects and trickery to good use, before Sweethearts of Sigma float back in atop swirling strings. Then Bobby’s guitar, keyboards and the rhythm section give another musical masterclass, against a sensual, backdrop, complete with moans and groans. From there, the track heads to its dramatic climax.
Like other Cole Porter songs on Night and Day, You Do Something To Me is given a complete makeover. Staying true to the song’s heritage are layers of the lushest strings. They’re joined by growling horns, a pounding, thunderous rhythm section that provides the funk quotient. When the Sweethearts of Sigma harmonies enter, they’re light, tight, tender and timeless. You can imagine them singing the song in a jazzy style just as well. These harmonies float amidst the strings, taken on a journey where musical genres unite. Later, the harmonies become sassy and feisty, as funk, disco, Philly Soul and jazz unite. This seamless fusion of genres results in a track that’s dance-floor friendly, beautiful and laden with hooks. Thirty-six years later, the song still has a truly timeless sound.
Closing Night and Day is It’s D’lovely, which open with a Charleston sound, courtesy of the Sweethearts of Sigma’s harmonies. Woodwind, muted horns, lush strings and the rhythm section roll back the years, mixing delicious old time jazz sound with a dance-floor friendly sound. Rather than disco dancers, you think of flappers dancing in art deco dance-halls to an orchestra of musicians wearing dinner suits. It’s a musical trip down memory lane, complete with sound effects and the Sweethearts of Sigma’s harmonies give a thirties makeover. It allows the John Davis Monster Orchestra to close their debut album Night and Day with a vintage sound, that pays homage to Cole Porter, but with a subtle twist. In doing so, they paint vivid pictures of yesteryear, when Cole Porter was in his pomp. This seems a fitting tribute to one of America’s great composers.
Given the similarities with the personnel involved in both The Salsoul Orchestra and the John Davis Monster Orchestra, it’s no surprise that there are many similarities in the sound, style and quality of music on Night and Day. This was very similar to what was going on with The Salsoul Orchestra. All that John Davis was missing was the Baker, Harris, Young rhythm section and vibes virtuoso Vince Montana Jr. Instead, John Davis had a rhythm section of bassist Michael “Sugar Bear” Foreman, drummer Charles Collins and guitarist Roland Chambers. They all played in The Salsoul Orchestra, alongside Bobby “Electronic” Eli, percussionist Larry Washington, Don Renaldo’s Strings and Horns and the Sweethearts of Sigma, Carla Benson, Evette Benton and Barbara Ingram. With so many of the same personnel, involved in The Salsoul Orchestra and the John Davis Monster Orchestra, what was needed was someone who was a visionary and innovator like Norman Harris or Vince Montana Jr. That’s where John Davis came in. He brought everything together, resulting in an innovative combination of two new songs and six cover versions Cole Porter songs. This became Night and Day, which marked the debut of the John Davis Monster Orchestra.
Following Night and Day, the John Davis Monster Orchestra went on to release three further albums between 1977 and 1979. Up Jumped the Devil followed in 1977, with 1978s Ain’t That Enough For You and then The Monster Strikes Back in 1979. By then, disco was no longer as popular, having almost died on the 12th July 1979, at Comiskey Park, Chicago. However, the album that launched one of the great disco orchestras was Night and Day. Its success was down to John Davis bringing together some of the most talented, creative and versatile musicians and backing vocals. Most of them came from one city, that provided the soundtrack to the seventies…Philly.
Of all the Philly musical legends, three vocalists played a huge part in Night and Day’s success. They were the Sweethearts of Sigma. Their harmonies were key to the sound and success of Night and Day. Without their harmonies, Night and Day wouldn’t have been as good an album. Add to musical equation Don Renaldo’s Strings and Horns, plus the combined talents of musicians like Bobby “Electronic” Eli, Roland Chambers and Larry Washington, then Night and Day proved to be a majestic fusion of disco, funk, Philly Soul and jazz. Thirty-six years later, and Night and Day, the debut album from the John Davis Monster Orchestra is one of the best albums released by a disco orchestra, which is blessed with a truly, timeless sound. Standout Tracks: I Get A Kick Out of You, Night and Day, I’ve Got You Under My Skin and You Do Something To Me.
JOHN DAVIS MONSTER ORCHESTRA-NIGHT AND DAY.
THE O’JAYS-SURVIVAL.
THE O’JAYS-SURVIVAL.
That The O’Jays released an album in 1975 entitled Survival, is almost ironic. 1975 would prove to be a traumatic year for The O’Jays’ label Philadelphia International Records. During 1975 Gamble and Huff were locked in a dispute with many of the members of their legendary house-band M.F.S.B. over money. Eventually, after the dispute couldn’t be resolved, many of M.F.S.B. left the label, heading to New York, becoming The Salsoul Orchestra. In one fell swoop, Philadelphia International Records lost some of its most important personnel. Gone were the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli and the legendary backing vocalists the Sweethearts of Sigma. These were no ordinary musicians, they were also arrangers, songwriters and producers. M.F.S.B. realizing they were worth much more, decided that Salsoul Records was the place to go. Disco was the future and The Salsoul Orchestra transformed Salsoul into disco’s premier label. During the long-running negotiations about money, Gamble and Huff still had a record label to run. Undoubtably, Philadelphia International Records’ biggest group were The O’Jays, who’d release two albums during 1975. These were Survival and Family Reunion. Survival was the followup to 1973s platinum certified Ship Ahoy, which gave The O’Jays their first US R&B number one album, which I’ll now tell you about.
Survival was The O’Jays third album for Philadelphia International Records. Their two previous albums had proved to be critically acclaimed and commercially successful. Backstabbers, released in 1972, had reached number ten in the US Billboard 200 and number three in the US R&B Charts, resulting in The O’Jays’ first gold disc. Ship Ahoy, released in 1973, surpassed the success of Backstabbers, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts. This gave The O’Jays their first platinum album, after Ship Ahoy sold over a million copies. So the pressure was on Gamble and Huff to replicate the success of The O’Jays first two albums.
Gamble and Huff were up for the challenge, penning five of the eight tracks on Survival. Leon Huff wrote Never Break Us Up, while Bunny Sigler cowrote two tracks. He cowrote Let Me Make Love To You with Allan Felder and cowrote What Am I Waiting For with ex-Temptation Ron Tyson. These eight tracks were recorded at Sigma Sound, with Gamble and Huff producing Survival and Bobby Martin arranging the tracks.
Survival would prove to one of the final albums the original and classic lineup of M.F.S.B. While they’d also feature on Family Reunion later in 1975, by then they’d headed for New York and became The Salsoul Orchestra. So Survival is one of the last times musicians like the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli, percussionist Larry Washington, keyboardist Bunny Sigler and the legendary backing vocalists the Sweethearts of Sigma featured on an album recorded by a Philadelphia International Records’ artist. Equally poignant was that Survival was the penultimate album to feature Bill Powell, who two years later, in 1977, would die of cancer. It seemed the times and personnel were changing at Philadelphia International Records. Would this affect the success of Survival?
Give the People What They Want was released as a single in 1975, reaching number forty-five in the US Billboard 100 and number one in the US R&B Charts. This was The O’Jays third number one US R&B single, following Backstabbers and Love Train. Let Me Make Love To You was then released as a single, but stalled at number seventy-five in the US Billboard 100 and number ten in the US R&B Charts. On the release of Survival in April 1975, it was well received by critics, reaching number eleven in the US Billboard 200 and number one in the US R&B Charts. Survival had given The O’Jays their second gold disc, ensuring The O’Jays remained Philadelphia International Records’ biggest group. However, given the turbulence behind the scenes at Philadelphia International Records and William Powell’s failing health, did this affect Survival?
Opening Survival is the US R&B number one single Give the People What They Want, penned by Gamble and Huff. Earl Young’s thunderous drums and hissing hi-hats open the track, before Ron Baker’s funky bass, defiant harmonies and growling horns unite with searing guitars. Then comes Eddie Levert’s angry, frustrated vocal. His vocal is filled with defiance, accompanied by harmonies that match his frustration and anger. Eddie demands that they “Give the People What They Want” and that’s the “truth.” M.F.S.B. provide a dramatic, equally angry, demanding backdrop. Horns growl and rasp, while the Baker, Harris, Young rhythm section play dramatically, defiantly and with a sense of urgency. Along with the horns, they’re key to this much tougher funky sound. Like earlier O’Jays albums, this another of Gamble and Huff’s “message songs.” It’s like a wake up call, where The O’Jays protest at the inequality, injustice and unfairness like only The O’Jays can. Thirty-seven years later, this track is just as relevant and totally timeless.
Let Me Make Love To You was the second single released from Survival. It was one of two songs Bunny Sigler cowrote, this time with Allan Felder. Eddie’s pleading vocal is sung against a wailing, atmposheric Hammond organ, before Earl Young’s drums add drama. Norman Harris’ thoughtful, jazz-tinged guitar reflects the emotion in Eddie’s vocal, while slow, lush strings, rasping horns and tight, impassioned harmonies play their part in an arrangement where beauty, emotion and drama unite. Baker, Harris, Young play their part, Norman’s guitar adding beauty and Earl’s drums adding both beauty and drama. The longer the track progresses, the more the emotion and sincerity in Eddie’s vocal grows. He pleas and begs, delivering a vocal that’s emotive, heartfelt and needy. This makes this easily, one of the highlights of Survival.
The title-track Survival, is one of five tracks written by Gamble and Huff. Blazing, cascading horns join the Baker, Harris, Young in driving the arrangement along. Punchy harmonies join the mix, with Eddie delivering a vocal that’s filled with desperation, sadness and resignation. This is another Gamble and Huff song with a message. Given the perilous economic state and the social problems, Eddie gives a voice for those that are struggling: “it’s survival of the fittest,” but some people aren’t fit enough. People, Eddie realizes are struggling to keep from drowning in a sea of despair and poverty. There’s no safety net to catch them. Again, anger fills his vocal, at the suffering he sees every day. M.F.S.B. reflect this anger, adding a dramatic, searing arrangement, that unfolds in waves. The rhythm section and horns play vital rolls, while Vince Montana Jr, adds his trademark vibes, providing a contrast to the drama and power. Punchy, soaring harmonies join Eddie’s scathing vocal, which brings to life the tragedy, drama and despair in the lyrics.
Where Did We Go Wrong closes Side One of Survival. It’s another of the slower songs. Lush, sweeping strings join Vince Montana Jr’s subtle vibes and piano. Harmonies full of sadness and regret wonder “Where Did We Go Wrong.” The vocal is filled with heartache and hurt, harmonies cascading, while strings reflect the emotion, sadness and heartache. Norman Harris’ pensive, sparse guitar playing adds to the sadness, as does the piano, vibes and strings. Here, each of The O’Jays plays their part in the songs success, their vocals tender, heartfelt and filled with a hurt that seems real.
Rich Get Richer opens Side Two of Survival and sees Gamble and Huff continue their message songs. Here, their lyrics are filled with social comment at life’s injustice. However, given their dispute with M.F.S.B. there’s an irony to the song. Stabs of slow, melodic keyboards provide a backdrop for Eddie’s vocal. He’s almost like a preacher, before M.F.S.B. kick loose. Maybe they saw the irony too? Strings sweep and swirl, horns bray and rasp, Baker, Harris, Young produce an angry, powerful backdrop and Eddie unleashes a vocal full of anger and frustration at the exploitation of people living in ghettos. They remain living in poverty, while “the folks that live on the hill Rich Get Richer.” Eddie’s anger and frustration seems real, as do the harmonies, which are filled with emotion. M.F.S.B. somehow, seem to raise their game again. Baker, Harris, Young provide the heartbeat, while strings cascade, horns growl and Vince Montana Jr, adds his vibes. They provide a perfect and fitting backdrop for The O’Jays anger, frustration and despair. The lyrics are still as relevant and true today as in 1975.
Moody, cinematic strings, Vince Montana Jr’s vibes and keyboards join with a thoughtful Baker, Harris, Young rhythm section as How Time Flies unfolds. Eddie’s vocal is pensive, thoughtful and filled with emotion as he remembers the past. Strings add a beautiful backdrop, while the rest of M.F.S.B. give the track an understated, beautiful sound. Later, the tempo increases, giving the arrangement a jazzy sound, while high-kicking horns add a funky, dramatic sound. Norman Harris’ guitar provides an equally thoughtful, pensive sound to Eddie’s vocal and the harmonies. Here,The O’Jays deliver some of their tightest, most soulful and heartfelt harmonies, while Eddie Levert delivers one of his most moving and beautiful vocals.
What Am I Waiting For was penned by Bunny SIgler and ex-Temptation Ron Tyson. Dramatic flourishes of strings and blazing horns give way to soaring harmonies, Vince Montana Jr’s vibes and Norman Harris’ tender guitar. They provide an arrangement that veers between understated and dramatic, reflecting The O’Jays’ harmonies. Eddie’s vocal is laden with hurt, heartache and emotion. Bursts of Earl Young’s drums and keyboards add drama, while lush strings, Vince’s vibes, a Norman Harris’ jazz-tinged guitar provide a delicious contrast. This combination of drama and subtlety is the perfect accompaniment to one of Eddie’s most heartfelt, soul-baring deliveries.
Closing Survival is the Leon Huff composition Never Break Us Up, which has a jazzy sound when it opens. Rasping horns, cascading strings, keyboards and the Baker, Harris, Young rhythm section combine to create this jazzy backdrop. A burst of drama from Earl’s drums signals Eddie’s impassioned vocal. Harmonies and sweeping, swirling strings and punchy horns ensure the arrangement swings along. The O’Jays’ harmonies and Eddie’s lead drive each other to greater heights of soulfulness. Meanwhile M.F.S.B. prove their versatility, seamlessly transformed into a big band as they ensure Survival swings to a memorable, jazzy close.
Survival survived the turbulent times that were unfolding at Philadelphia International Records unscathed. What with Gamble and Huff locked in a dispute with M.F.S.B. over money, plus William Powell’s failing health, it’s remarkable that Survival is such a good album. It gave The O’Jays their first US R&B number one album and their second gold disc. With its combination of socially conscious songs, slow songs and relationship songs, Survival was a worthy successor to Ship Ahoy. Certainly, The O’Jays hadn’t run aground with Survival. They remained, Philadelphia International Records’ biggest success story. Mind you, by 1975, groups like The Three Degrees and Harold Melvin and The Blue Notes were about to leave Philadelphia International Records. More worryingly, so were M.F.S.B.
Although M.F.S.B. would feature on The O’Jays next album, somewhat ironically called Family Reunion, by then they’d have become The Salsoul Orchestra. Regardless of how people choose to spin this loss, this hurt Philadelphia International Records. M.F.S.B’s dispute with Philadelphia International Records reached a dramatic conclusion later in 1975. Unable to resolve their dispute, M.F.S.B. remembering that “the workman is worthy of their hire” headed to Salsoul, where the Baker, Harris, Young rhythm section, vibes virtuoso Vince Montana Jr, guitarist Bobby “Electronic” Eli and the legendary backing vocalists the Sweethearts of Sigma transformed Salsoul into disco greatest label. Back in Philly, the name M.F.S.B. continued, but without the legends who’d made them one of Philadelphia International Records’ not just the greatest house band in soul, but a successful group in their own right.
While Philadelphia International Records continued to produce some of the greatest soul music of the seventies, Philly Soul’s popularity was overtaken. Disco became the most popular genre of the mid, to late seventies. Providing the soundtrack and accompanying many of its biggest stars were The Salsoul Orchestra. Meanwhile, Philadelphia International Records’ biggest stars continued were Teddy Pendergrass, Billy Paul and The O’Jays, who continued to enjoy the critical acclaim and commercial success they’d enjoyed since their Philadelphia International Records’ debut album Backstabbers. Their third album, Survival wasn’t just a matter of survival, but progress, that saw The O’Jays become one of the greatest groups in the history of Philly Soul, releasing eight albums, three of which were certified gold and five platinum. Standout Tracks: Give the People What They Want, Let Me Make Love To You, Where Did We Go Wrong and What Am I Waiting For.
THE O’JAYS-SURVIVAL.
FIRST CHOICE-THE PLAYER.
FIRST CHOICE-THE PLAYER.
In the early seventies, Philadelphia had become the soul capital of America. Forget about Detroit or Memphis, Philly was where some of the greatest soul music was being produced. Philly was a hive of musical creativity, with the Philly Sound providing the soundtrack to much of the seventies. This soundtrack came courtesy of The Stylistics, The Delfonics and The Detroit Spinners all produced by Thom Bell, while at Philadelphia International Records, Gamble and Huff enjoyed success with The O’Jays, Billy Paul, Harold Melvin and The Blue Note. Dig deeper, and other producers were producing some of the critically acclaimed and commercially successful music. This included guitarist and songwriter Norman Harris, who would go on to enjoy a hugely successful production career. Blue Magic, Major Harris, Loleatta Holloway, Double Exposure, Gloria Gaynor, Eddie Holman and First Choice.
First Choice would go on to become one of Philly’s most successful female soul groups. Their career began when Rochelle Fleming, Annette Guest and Joyce Jones were just fifteen, and known as The Debronettes. They got their breakthrough after auditioning for Georgie Woods a DJ at Philadelphia’s WDAS radio station. Georgie was so impressed with The Debronettes, that he called Stan Watson, owner of Philly Groove Records. Stan liked the group, but not their name. Soon, The Debronettes became First Choice. To produce First Choice’s debut single, Stan Watson brought in Philly-based guitarist, songwriter, arranger and producer Norman Harris. This would prove to be something of a minor masterstroke.
The benefit of hiring Norman Harris, was Norman wasn’t just a guitarist and producer. He was a songwriter and arranger, plus one of the hottest rhythm section in soul, Baker, Harris, Young. With Ron Baker on bass, Norman on guitar and Earl Young on drums, these three legendary musicians gave Philly Soul it’s heartbeat. Then there was Norman’s songwriting skills, including his partnership with Alan Felder and often, Bunny Sigler. Where Norman went, Ron Baker and Earl Young, as did many of Philadelphia International Records’s house-band M.F.S.B, who’d work with First Choice.
For their first single, First Choice recorded This Is the House Where Love Died. It wasn’t initially a success, but when rereleased under license by Scepter/Wand gave First Choice a minor hit. First Choice’s second single Armed and Extremely Dangerous, written by Norman Harris and Alan Felder, gave First Choice their a hit single. It reached number twenty-eight in the US Billboard 100 and number eleven in the US R&B Charts in 1973. When their debut album Armed and Extremely Dangerous was released, it reached number 184 in the US Billboard 200 and number fifty-five in the US R&B Charts. With their debut album having given them a commercial success, Norman Harris started work on First Choice’s second album The Player.
After the success of Armed and Extremely Dangerous, it was important to build on the momentum of First Choice’s debut album. Norman Harris and Alan Felder set about writing songs for what became The Player. They wrote the title-track The Player and Guess What Mary Jones DId and with Bunny SIgler, penned You Took the Words Right Out of My Mouth. Bunny Sigler also Hustler Bill with Jean Lang. Frank Johnson and Terry Woodward cowrote You’ve Been Doin’ Wrong For So Wrong, while Gerry Shury and Ron Roker wrote Guilty and Bob Reneu wrote All I Need Is Time. These tracks became The Player, which was recorded at Philly’s premier recording studio, Sigma Sound Studios.
Joining First Choice at Sigma Sound Studios, were many of Norman Harris’ friends who he played with in M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarists Bobby “Electronic” Eli, Herbert Smith and Ron Louis Smith. They were joined by bassist Barry Gibson, and drummer Jerry Goldsmith. Larry Washington played bongos and congas and Ron “Have Mercy” Kersey played piano and organ. They were joined by vibes virtuoso Vince Montana Jr, alto-saxophonist Zach Zachary and Don Renaldo and His Horns and Strings. Norman Harris produced and arranged The Player, while Vince Montana Jr, and Ron “Have Mercy” Kersey arranged tracks. The Player, First Choice’s sophomore album, was released in 1974.
Two singles were released from The Player in 1974. The first of these was The Player (Part 1), which reached number seventy in the US Billboard 100 and number seven in the US R&B Charts. This gave First Choice their first top ten single in the US R&B Charts. Guilty then reached number 103 in the US Billboard 100 and number nineteen in the US R&B Charts. On the release of The Player, the album surpassed the success of Armed and Extremely Dangerous, reaching number 143 in the US Billboard 200 and number thirty-six in the US R&B Charts. It seemed that First Choice were on their way to becoming Philly Soul’s premier female group. However, what made The Player such a successful album? That’s what I’ll tell you, when I tell you about the music on The Player.
Opening The Player is the title-track, The Player, penned by Alan Felder and Norman Harris, who arranged and produced the track. Growling blazing horns, sweeping. swirling horns and a driving, dramatic Baker, Harris, Young rhythm section combine with percussion and funky guitars before punchy harmonies enter. Then enters Rochelle Fleming’s sassy, feisty vocal. Her vocal is a mixture of power and passion. Anne Guest and Joyce Jones’ harmonies prove the perfect foil for Rochelle’s vocal. They provide a backdrop that’s dramatic, punchy and deeply soulful. With strings dancing, Larry Washington’s bongos and congas and Bobby “Electronic” Eli’s guitar providing a funky backdrop, Earl Young’s drums provide power and drama. Likewise, the grizzled horns add to track’s sheer drama. Later, Vince Montana Jr, sprinkles vibes across the arrangement as Rochelle, accompanied by harmonies and Norman Harris’ jazz-tinged guitar. The result is a four-minute, musical epic, that’s dramatic and emotive, but also funky and deeply soulful.
Guilty was the second single released from The Player and was arranged by Vince Montana Jr. There’s no let up in the tempo, with Larry Washington’s bongos and congas joining a pounding Baker, Harris, Young rhythm section, cascading strings and then Rochelle’s heartfelt, impassioned vocal. She joins Anne and Joyce, adding harmonies that are equally heartfelt and soulful. When her vocal returns, she makes the song swing, as strings dance above the arrangement. Punchy horns, melodic keyboards and a powerhouse of a rhythm section drive the track along at breakneck speed. As Zach Zachary lays down a blistering alto-saxophone solo, this proves to be the icing on what is a delicious, dance-floor friendly slice of Philly Soul.
Norman Harris, Alan Felder and Bunny Sigler forged a successful and potent songwriting partnership. Their contribution to The Player was You Took the Words Right Out of My Mouth. From the get-go, there’s a moody, dramatic, funky backdrop. Key to this are Bobby “Electronic” Eli’s wah-wah guitar, Ron “Have Mercy” Kersey’s keyboards, blazing horns and the Baker, Harris, Young rhythm section. They unleash waves of funky music, complete with swathes of lush strings. Rochelle’s vocal is powerful, deliberate and tinged with emotion. Urgent, punchy harmonies accompany her, as her vocal grows in confidence and power. Similarly, the arrangement combines drama and power, with emotion, creating a moody, broody backdrop, that’s funky, soulful and thanks to Rochelle, full of sass and confidence.
You’ve Been Doin’ Wrong For So Long, which was arranged by Ron “Have Mercy” Kersey closed Side One of The Player. The tempo slows, but the drama remains, and the soulfulness increases. Ron “Have Mercy” Kersey’s wailing. atmospheric Hammond organ joins growling horns, slow, lush strings and a slow, thoughtful Baker, Harris, Young rhythm section. When Rochelle’s vocal enters, she’s at her soulful best, reminding me of Gladys Knight at her best. Her vocal is slow, filled with sadness, regret and resignation. She’s realized her man isn’t for changing, as she lays bare her soul. Heartfelt harmonies sympathize with her plight, while a Magnus Opus of an arrangement unfolds. A combination of lush strings, rasping horns and Earl Young’s drums reflect the drama, dilemma and heartache she’s going through. Although laden with sadness, regret and emotion, it’s a vocal masterclass from Rochelle Fleming, which shows how she could bring a song to life, breathing meaning into its lyrics.
Side Two of the Player opens with the Bunny Sigler and Jean Lang penned Hustler Bill, arranged by Norman Harris. Hustler Bill swaggers along the sidewalk, guns his car and then horns blaze, strings swirl and sweep while percussion and the Baker, Harris, Young rhythm section add a tough, swaggering, funky arrangement, complete with Bobby “Electronic” Eli uber funky guitar licks. Rochelle’s vocal is the complete opposite. It’s tender and heartfelt, with a touch of vulnerability. Soon, her vocal changes, becoming strong, defiant and angry. A she points out Hustler Bill’s failings, the harmonies reinforce the error of his ways. Later, her vocal veers between the two styles, while the arrangement reflects and compliments her vocal. Her anger is matched by power and drama, her vulnerability and tenderness reflected by a much more subtle sound. It’s like an emotive roller-coaster, a kitchen sink drama where an exasperated woman, decides enough, and reads her partner the proverbial riot act. Let’s just hope for his sake, he changed his ways.
Vince Montana Jr, arranged All I Need Is Time, written by Bob Reneu, which has a much more understated sound. It allows First Choice to showcase their harmonic delights, and features one of Rochelle’s most soulful vocals. Quivering, shivering strings, Norman Harris’ thoughtful jazzy guitar and a slow Baker, Harris Young rhythm section give way to impassioned, emotive heartfelt harmonies. When Rochelle steps forward, she delivers a vocal that’s one of the most soulful she ever recorded. Harmonies sweep in, strings sweep and as if spurred on, the band somehow, raise their game. They provide a backdrop that’s wistful, melancholy and dramatic, one that’s fitting for what is, a vocal tour de force from Rochelle Fleming.
Guess What Mary Jones Did is the second Alan Felder and Norman Harris penned track. Norman arranged and produced a track that’s very different from the previous track. Here, Rochelle plays the part of the wronged woman, delivering her vocal with a mixture of anger, frustration and feistiness. Bobby “Electronic” Eli’s searing guitar, shivering strings, rasping horns and a thunderous Baker, Harris, Young rhythm section are joined by First Choice’s harmonies. Then when Rochelle’s vocal enters, it’s a mixture of anger, frustration and drama. Earl Young’s drums, cascading strings and growling horns reflect and reinforce this drama. Norman Harris’ production, the band’s performance and Rochelle Fleming’s angry, frustrated vocal make this a feisty fusion of funk and Philly Soul.
Closing The Player is an instrumental version of Guilty, arranged by Vince Montana Jr. The track bursts into life, with layers of the lushest strings dancing with joy. They join a pounding, Baker, Harris, Young rhythm section, growling horns, Larry Washington’s bongos and congas before a brief burst of First Choice’s vocals enters. When they drop out, the cascading strings, blazing horns, percussion and the rhythm section take charge. Then another tantalizing taste of First Choice is introduced, only to disappear way too soon. From there, you’re teased, awaiting its return as this glorious, string and horn laden reveals its secrets. Strings dance, joining punchy horns that kick and Baker, Harris, Young demonstrate why they were the hottest rhythm section of the seventies. Later, Zach Zachary lays down a blistering alto-saxophone solo, that’s joined by First Choice’s tight, soulful harmonies as they bring The Player to an infectiously catchy close, fusing funk, Philly Soul, jazz and Latin music majestically.
First Choice’s sophomore album The Player saw them pick up where they left off on Armed and Extremely Dangerous. They were well on their way to becoming Philly’s finest female soul group. By now, the music industry were realizing that this Philly trio were going places and were keen to sign them. It’s no wonder. With Rochelle Fleming’s lead vocal plus Annette Guest and Joyce Jones’ harmonies, here was a group that had a huge future. Key to their success was Norman Harris. He produced The Player, cowrote three of the songs and brought in some of Philly’s greatest musicians, songwriters, arrangers and producers to work on The Player. Here was a musical machine, that would provide First Choice with material and accompany them. In Rochelle Fleming, First Choice had one of the most talented lead singers. She could breath life and meaning into lyrics. Whatever emotion was required, Rochelle could deliver this. Similarly, ballads or uptempo tracks, Rochelle was equally at home. Although Annette and Joyce were both talented singers, Rochelle could’ve easily enjoyed a solo career. Listen to two of the slower tracks, You’ve Been Doin’ Wrong For So Long and All I Need Is Time and you’ll hear a voice that rivals Gladys Knight for sheer soulfulness. Her delivery is exquisite, emotion personified. However, Rochelle stayed a member of the group she’d founded, First Choice.
Although First Choice enjoyed commercial success, they never enjoyed the critical acclaim and commercial success their music truly deserved. While many people are familiar with their three albums for Salsoul, their first three albums, including The Player show a quite different side to their music. Back in 1974, when they were at their soulful best, the future looked bright for First Choice. After Armed and Extremely Dangerous, First Choice were on the cusp of greatness. They were about to be crowned the first Lady’s of Philly. Their only rivals were The Three Degrees, another legendary Philly Soul group. Once The Player was released, First Choice were crowned Philly Soul’s Queens. Nearly forty years later, Philly Soul’s first female group, can still wear their crowns with pride, having released some timeless music, including albums like Armed and Extremely Dangerous and of course, The Player. Standout Tracks: The Player, Guilty, You’ve Been Doin’ Wrong For So Long and All I Need Is Time.
FIRST CHOICE-THE PLAYER.
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.
BLUE MAGIC-BLUE MAGIC.
BLUE MAGIC-BLUE MAGIC.
Having left The Delfonics, Randy Cain started working with Ted Mills, a Philadelphia-based songwriter. The pair would cowrite songs for the Philly-based WMOT production company. Not long after they started collaborating, Randy and Ted met Shades of Love, a Philly vocal group yet to make their commercial breakthrough. Featuring Keith Beaton, Richard Pratt and brothers Wendell and Vernon Sawyer, the WMOT production team realized they lacked one thing, a charismatic lead singer. This is where Ted Mills came in. Ted was added to the quartet previously known as Shades of Love and the group was renamed as Blue Magic. Little did they realise, that another in a long line of Philly’s commercially successful and critically acclaimed vocal groups had just been born. For Blue Magic’s debut album Blue Magic, what they needed was a talented producer. One of Philly’s greatest ever musicians, Norman Harris was starting to establish a reputation as one of the hottest up-and-coming producers. Norman would produce Blue Magic. With some of the Philly’s most talented songwriters, arrangers, musicians and backing singers working with Blue Magic on their debut album Blue Magic, surely the album was guaranteed to a commercial success?
For Blue Magic’s debut album Blue Magic, Philly’s most talented and creative minds got to work. New lead singer Ted Mills wrote two tracks, What’s Come Over Me and Spell, and with Al Felder cowrote Tear It Down. Alan Felder cowrote four other tracks, Stop To Start with Jimmy Grant and three tracks with Norman Harris. They were Look Me Up, Welcome To the Club and Answer To My Prayer. Bobby “Electronic” Eli and Vinnie Barrett cowrote Sideshow and with John Freeman, cowrote Just Don’t Want To Be Lonely. These nine tracks were recorded at Philly’s greatest recording studio, Sigma Sound Studios.
At Sigma Sound Studios, work began in early 1973. Blue Magic were joined by many members of Philadelphia International Records’ legendary house-band M.F.S.B. So, this meant the Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers Ted Cohen. The were joined by bassists Jimmy Grant, Lee Smith and Jimmy DeJulio, and drummer Larry James. Vince Montana Jr, played vibes Larry Washington percussion and Carlton Kent and Ron “Have Mercy” Kersey piano were joined by Don Renaldo and His Horns and Strings. With Norman Harris producing Blue Magic, the album was ready for release in January 1974.
Blue Magic had released their debut single Spell in 1972, which had reached number thirty in the US R&B Charts. Look Me Up was then released in 1973, reaching number thirty-six in the US R&B Charts. Stop To Start was then released later in 1973, enjoying crossover success. It reached number seventy-four in the US Billboard 100 and number fourteen in the US R&B Charts. When Blue Magic was released in January 9th 1974, it reached number forty-five in the US Billboard 200 and number four in the US R&B Charts. Helping sales of Blue Magic was the fourth single Sideshow, which reached number eight in the US Billboard 100 and number in the US R&B Charts, resulting in the single being certified gold. Producer Norman Harris had worked hos magic with Blue Magic. A number one US R&B single that was certified gold and top ten US R&B album was proof of this. However, in terms of Philly Soul classics, is Blue Magic one of them?
Opening Blue Magic is Sideshow, penned by Bobby “Electronic” Eli and Vinnie Barrett. Arranged and produced by Norman Harris, the song tells the story of a circus, where rather than animals, the sideshows are all failed romances. There’s a wistful, dreamy and melancholy sound when a slow, thoughtful rhythm section, Vince Montana Jr’s vibes, lush strings and rasping horns give way to a circus barker. Then comes the main attraction, Ted Mills’ heartfelt, tender vocal. His voice is tinged with sadness, heartache and regret . Percussion, emotive strings, a plucked harp and subtle vibes combine to create an understated backdrop for Ted’s vocal. Harmonies sweep in, adding to the dreamy, melancholy sound. Norman Harris’ adds some sparse, jazzy guitar, while Ron Baker’s bass and Earl Young’s drums provide the song’s heartbeat. Together they provide a heartbreakingly sad, emotive and melancholy backdrop for Ted’s vocal, that’s also beautiful and timeless.
Look Me Up sees an about turn from Blue Magic. This is a much more uptempo track. From the get-go when strings dance joyously, joining Earl Young’s thunderous drums, growling horns and Norman Harris’ jazzy guitar. Ted’s vocal is filled with hope, soaring powerfully and joyously. Harmonies and a sprinkling of Vince Montana Jr’s vibes combine, before the band kick loose. Horns blaze, strings cascade and the rhythm section combine Philly Soul, funk and drama. Percussion and vibes join the arrangement, as Ted and the rest of Blue Magic feed off each other. As the vocal drops out, the band showcase their considerable skills, exploring the song’s subtleties and secrets, in a jazzy style. Guitar licks are traded, while keyboards, percussion and the rhythm section improvise, before Blue Magic return. Then Ted’s lead vocal and harmonies trade places, while the Philly made arrangement fuses a tantalizing combination of Philly Soul, funk, jazz and early disco.
What’s Come Over Me sees the tempo drop, revisiting the dreamy, wistful sound of Sideshow. It’s like a carousel ride, but a melancholy one. A burst of Earl Young’s drums give way to Vince Montana’s thoughtful vibes, flourishes of harp, lush strings and wistful horns. They create a slow, spacious backdrop for Ted’s impassioned vocal. Harmonies reply to his call, his vocal growing in power and emotion. Growling horns, a dramatic rhythm section and vibes combine creating an arrangement that’s a fittingly emotive, moving and heartfelt backdrop for Ted’s soul-baring and beautiful vocal.
Alan Rubens and Steve Bernstein produced Just Don’t Want To Be Lonely, penned by Bobby “Electronic” Eli, Vinnie Barrett and John Freeman. This was the only track Norman Harris didn’t produce. Thunderous, pounding drums, lush strings and blazing horns combine, creating a dramatic crescendo. They set the scene for Ted’s vocal, which is sung with feeling and power. Harmonies and strings sweep in, while horns rasp. Vince Montana Jr, who arranged the track, sprinkles vibes subtly, before Ted’s half-spoken, sultry vocal is accompanied by tender harmonies. When the vocal drops out, the horns, rhythm section and strings unite before Ted’s heartfelt vocal returns, breathing new life, meaning and beauty into a Philly classic.
Stop To Start is arranged and produced by Norman Harris, and is reminiscent of an old show tune when the track begins. Strings, vibes and the rhythm section combine with keyboards, before giving way to Ted’s tender vocal. The vocal changes hands, as the arrangement grows in power, emotion and drama. It veers between drama and tenderness, with the vocal changing hands. Horns with a Thom Bell sound, punctuate the arrangement, which becomes musical roller-coaster. Power and drama plus tenderness and subtlety are constant companions, while emotion and beauty are always ever-present during this captivating musical journey.
Welcome To the Club is another of the uptempo tracks, written by Norman Harris and Alan Felder. Although soulful, it’s funky and dance-floor friendly. It almost explodes into life, with the Baker, Harris, Young rhythm section creating the arrangement’s heartbeat. Bobby “Electronic” Eli lays down some of his trademark guitar riffs, while funky keyboards and dancing strings provide a backdrop for Ted’s soaring, joyful vocal. Tight, punchy and often, urgent harmonies accompany him, while Earl Young’s drums reflect this urgency. Ted takes the lyrics, making them his own, while the band match his urgency and enthusiasm matching him every step of the way. Later, the band take centre-stage, improvising and magically mixing funk, Philly Soul and jazz, providing the finishing touch to this uplifting, hook-laden dance-floor friendly track.
Spell was Blue Magic’s debut single, written by Ted Mills. Here, there’s more than a hint of The Delfonics and The Stylistics. It’s a slow, spacious ballad, where Ted’s lead vocal is emotive and heartfelt, while the rest of Blue Magic add some of their most impassioned harmonies. Bobby “electronic” Eli’s guitar is shrouded in filters, while the Baker, Harris, Young rhythm section add drama and lush strings add an emotive backdrop. This is perfect for Ted’s vocal and the tight, sweeping harmonies. Vince Montana Jr, sprinkles vibes across the arrangement, while Earl’s drums reinforce the drama and emotion in Ted Mills lyrics and vocal. For a debut single, it’s a highly accomplished track, that’s a tantalising taste of what was to come.
Answer To My Prayer was third track written by Norman Harris and Alan Felder. Vince Montana Jr’s vibes join swirling strings, percussion and the rhythm section before Ted’s gentle, hopeful vocal enters. He delivers his vocal with feeling, thankfil that he’s found the Answer To My Prayer. Horns punctuate the arrangement, as if in celebration. Punchy harmonies enter, and with the lush strings, dramatic drums and vines add to this joyous, sometimes melancholy sounding love song.
Closing Blue Magic is Tear It Down, another understated song, interspersed with bursts of drama. Quivering strings, vibes and percussion combine with bursts of chiming guitars and pounding drums. They build up the tension and drama, before Ted’s vocal enters. His vocal is laden with sadness and despair, at the loss of the one he loves. Harmonies reflect the sadness in his vocal, their tender melancholy sound a perfect accompaniment to the arrangement. He pleads and begs, his vocal filled with equal amounts of heartache and hope, as Blue Magic reaches an emotive, melancholy and dramatic ending.
Less than two years after Blue Magic were first formed, their debut album Blue Magic saw the group join the ranks of Philly’s soul elite, with an album that’s undoubtedly a Philly Soul classic. Whether ballads like Sideshow and What’s Come Over Me, or uptempo tracks like Look Me Up and Welcome To the Club, Blue Magic are equally at home, working their soulful magic. For a debut album, Blue Magic was critically acclaimed and commercially successful. Blue Magic reached the top ten in the US R&B Charts, plus featured four hit singles, including Sideshow, which reached number one in the US R&B Charts and was certified gold. By adding Ted Mills as lead vocalist to the old lineup of Shades of Blue, a new Philly soul group was born. Add to the equation, Norman Harris, one of the top up-and-coming producers who produced Blue Magic. Norman worked his magic, producing an album of beautiful ballads and uptempo, dance-floor friendly tracks. Key to the success of the nine tracks that became Blue Magic, were the personnel that wrote, arranged and played on them.
Norman Harris put together an all-star band, including many of M.F.S.B, Philadelphia International Records’ legendary house-band, including Baker, Harris, Young, Bobby “Electronic” Eli and Vince Montana Jr, who arranged three of the tracks. Of course, the success of Blue Magic was helped along by the number one single, Sideshow. This timelss dreamy, melancholy ballad was penned by Bobby “Electronic” Eli and Vinnie Barrett and brought Blue Magic to the public’s attention. Since then, Blue Magic have become members of Philly’s soul elite. The album that started this journey, was Blue Magic, their timeless classic 1974 debut album. Standout Tracks: Sideshow, Look Me Up, Stop To Start and Answer To My Prayer.
BLUE MAGIC-BLUE MAGIC.
M.F.S.B.-M.F.S.B.
M.F.S.B.-M.F.S.B.
By 1973, Philadelphia International Records was well on the way to becoming one of the most successful record labels of all time, whilst supplying the soundtrack for the seventies, and a generation. Critically acclaimed and commercially successful albums started flowing out of Philadelphia. This included The O’Jays’ Backstabbers, Harold Melvin and The Blue Notes’ I Miss You and Billy Paul’s 360 Degrees of Billy Paul. Each of these albums have one thing in common, the musicians that played on these albums. Known as M.F.S.B, not only would they accompany the artists on Philadelphia International Records, but became one of the label’s most successful groups. M.F.S.B. would released eight studio albums between 1973 and 1980. Their debut album was 1973s M.F.S.B. which featured the original and classic lineup of M.F.S.B. This included the Baker, Harris, Young rhythm section, guitarist Bobby “Electronic” Eli, vibes virtuoso Vince Montana Jr, percussionist Larry Washington and Don Renaldo and His Strings and Horns. These legendary musicians, were responsible for shaping and defining what became known as the Philly Sound. Sometimes, these musical legends don’t receive the credit they’re due. All too often, when someone mentions Philadelphia International Records, people think of Gamble and Huff. However, without the combined talents of M.F.S.B, who were much more than just musicians. People line Ron Baker, Norman Harris, Lenny Pakula and Vince Montana Jr, were songwriters, arrangers and producers, whose creativity and in some cases, sheer genius made Philadelphia International Records the musical force it became. All this creativity, talent and indeed, genius, shines through on the six songs that became M.F.S.B. Before I tell you about M.F.S.B, I’ll tell you about the background to the album.
Way before Philadelphia International Records was founded, the various musicians that became M.F.S.B. played together. They regularly played together in sessions for a whole host of artists. Look at any album by The Delfonics, The Detroit Spinners, The Stylistics or any number of artists and the same names played on each album. If Earl Young played drums, then Ron Baker would play bass and Norman Harris guitar. This would continue even during M.F.S.B’s time at Philadelphia International. The members of M.F.S.B. would have side projects, say working with producer Thom Bell or as producers in their own right. Norman “The Machine” Harris and Bobby “Electronic” Eli both worked as successful producers. Whoever they worked with, they’d pick up the phone to the rest of M.F.S.B. and instantly, an all-star backing band was in place. However, one thing these musicians had never done, was record as a band. Their debut album would come when they recorded M.F.S.B’s debut album M.F.S.B. in 1972.
Six songs were chosen for M.F.S.B’s debut album M.F.S.B. This included covers of Curtis Mayfield’s Freddie’s Dead, Sly Stone’s Family Affair and Poinciana, written by Buddy Bernier and Nat Simon. The other three songs were written in-house at Philadelphia International. This included one of their early success story’s, Backstabbers, previously a hit for The O’Jays and the title of their 1972 album. It had been written by McFadden and Whitehead with Leon Huff, who also contributed Lady In Low. Kenneth Gamble’s only contribution was Something For Nothing, which he cowrote with Thom Bell and Roland Chambers. These six tracks would be recorded at Sigma Sound Studios in Philly.
The lineup of M.F.S.B. was what’s become known as the classic lineup. Baker, Harris, Young provided the rhythm section, guitarists included Bobby “Electronic” Eli, Roland Chambers T.J. Tindall and Reginald Lucas. Anthony Jackson also played bass, and drummers included Karl Chambers and Norman Farrington. Vince Montana Jr, played vibes and Larry Washington congas and bongos. Lenny Pakula played organ, Eddie Green and Harold Williams piano and Leon Huff electric piano. Joining Don Renaldo and His String and Horn Section were saxophonist and flautist Tony Williams and alto-saxophonist Zach Zachary. Gamble and Huff produced the six tracks that became M.F.S.B, which was released in 1973.
On the release of M.F.S.B. in 1973, it reached number 131 in the US Billboard 200 and number twenty in the US R&B Charts. Only one single was released from M.F.S.B, Family Affair, which failed to chart. However, for a debut album M.F.S.B. had been a commercial success. M.F.S.B was just the beginning though, but what a way to start their career.
Opening M.F.S.B is a cover of Freddie’s Dead, arranged by Bobby Martin. The track explodes into life, searing guitars, cinematic strings, percussion and a pounding, dramatic Baker, Harris, Young rhythm section. Ron Baker plays standup bass, while Zach Zachary unleashes a blistering, blazing alto saxophone solo. Joining him are rasping horns, a dramatic rhythm section, chiming guitars and percussion. Later, Vince Montana Jr. lays down a vibes solo, while behind him, waves of dramatic, frenzied music unfold. M.F.S.B. deliver the music with equal amounts of drama, urgency and passion. It’s almost as if they pride themselves are their ability to seamlessly fuse jazz, soul and funk during seven minutes of scintillating, music. If Freddie’s Dead, then this is the most fitting tribute.
Another of the cover versions on M.F.S.B. is Sly and The Family Stone’s Family Affair. Not for M.F.S.B. the loose, laid back sound of the original. There’s much more urgency and drama in the music. Sometimes, M.F.S.B. even outdo Sly Stone for sheer funkiness. Waves of pounding, punchy and dramatic music unfold. Horns punchy and growling join a thunderous Baker, Harris, Young rhythm section and melodic keyboards. Bobby “Electronic” Eli lays down a dramatic guitar line, while funk, soul and jazz combine. Wah-wah guitars, grizzled horns, a driving rhythm section and keyboards provide the engine to this powerhouse of a track, that masterfully totally reinvents Sly Stone’s classic.
Something For Nothing was the only song Kenny Gamble cowrote on M.F.S.B. He cowrote the song with Roland Chambers and Thom Bell, who arranged the track. Just a pensive piano panned left, explores the arrangement, before it’s all change. A thunderous rhythm section, dramatic piano, Vince Montana Jr’s vibes and horns, complete with Thom Bell signature sound combine. Strident, dramatic and with a sense of urgency, the arrangement unfolds. Waves of horns, swathes of strings and the Baker, Harris, Young rhythm section in full flight combine dramatically. Vince’s vibes sit in the background, as wave upon wave of dramatic, theatrical music unfold majestically and symphonically.
Backstabbers had given The O’Jays a huge hit, but here M.F.S.B. totally reinvent the song. It becomes something it was never meant to be, but thank goodness. From the get-go, M.F.S.B. kick loose. It’s as if arranger Lenny Pakula dares them. A flute, thunderous, dramatic Baker, Harris, Young rhythm section are joined by blazing horns, searing guitars and a Lenny Pakula’s wailing Hammond organ. Having given the track a jazzy twist, they add elements of funk, rock and soul. As the horns kick loose, they reveal a heartfelt, soulful, emotive sound, that draws you in. Searing rocky guitars explore the track’s nuances, while the rhythm section add drama whilst providing the track’s pulsating heartbeat. Vince Montana Jr’s vibes and percussion are almost a calming contrast to the drama, energy, enthusiasm and power of the rest of M.F.S.B. For six minutes plus, they take Backstabbers, explore its subtleties, secrets and nuances, deconstructing and then reconstructing the track. In doing so, they rebuild, revitalize and reenergize a classic track, M.F.S.B. style.
Lay In Low is arranged by Norman Harris and given a delicious, jazzy twist. Space, beauty and emotion are ever-present, with just Vince Montana Jr’s vibes, Earl Young’s thoughtful drums and Norman Harris jazz-tinged guitar combining. Sultry horns are joined by Lenny Pakula’s Hammond organ and percussion courtesy of Larry Washington. Soon, M.F.S.B. have locked into the tightest, sultriest and most beautiful jazzy grooves. So good and so beautiful is the track, you hope it goes on forever and that you find the secret of eternal life, so the track can massage your weary soul.
Closing M.F.S.B. is Poinciana, arranged by Vince Montana Jr. He gives the track an orchestral sound, using swathes of the lushest strings and dramatic flourishes of grandiose piano. This time, the rhythm section’s role is to provides a steady heartbeat. The piano, flute and quivering, shivering strings take centre-stage. They’re the stars of the show, while bursts of wah-wah guitar drift in and out. Later, Norman Harris steps forward, adding a jazzy guitar solo, while layers of strings sweep above, providing an emotive backdrop. The result is a dramatic, grand and orchestral track, where Vince Montana Jr, shows how innovative, talented and creative an arranger he was.
Having previously provided the musical backdrop for artists like The O’Jays, Harold Melvin and The Blue Notes and Billy Paul, it was time for M.F.S.B. to show they were more than the hottest house-band in America. It was like a challenge. Not only did M.F.S.B. rise to the challenge, but revelled in it. They kicked back and then kicked loose, showing that now was the time they stepped out of the shadows. Suddenly, all this creativity was unleashed. Cover versions new and old were reinvented. Songs subtleties, secrets and nuances were explored. Then the song was deconstructed and then reconstructed in a way that had never ever been envisaged. Proof of this are Freddie’s Dead, Backstabbers and Family Affair, where funk, soul and jazz become one. Proving M.F.S.B. were no one trick pony, is the jazz-tinged beauty of Lay In Low and the majestic, orchestral sound of Poinciana. While M.F.S.B. might not have been M.F.S.B’s most successful album, it showed their versatility and creativity. It also showed that M.F.S.B. were an innovative, multitalented band.
Without M.F.S.B, Philadelphia International Records might not have become the success story it became. Maybe, critical acclaim and commercial success might have eluded them. History may have been very different. Thankfully, that wasn’t the case. At least Gamble and Huff realised just how talented M.F.S.B. were. They went on to become one of Philadelphia International Records’ most successful artists. The album that started this off was M.F.S.B. It’s proof, if any were ever needed, of just how versatile, creative and innovative a band M.F.S.B. were. Standout Tracks: Freddie’s Dead, Backstabber, Family Affair and Lay In Low.
M.F.S.B.-M.F.S.B.
THE STYLISTICS-THE STYLISTICS.
THE STYLISTICS-THE STYLISTICS.
Often, when people mention the Philly Sound, they immediately think of Gamble and Huff. That’s doing a huge disservice to another of the architects of the Philly Sound, Thom Bell. He worked with some of the most successful groups of the Philly Sound. The Detroit Spinners, The Delfonics and The Stylistics were just some of Thom Bell’s early successes. It was with The Delfonics that Thom Bell made his name, producing them between 1967 and 1971. This proved to the most successful period of their career. Then when Thom stopped working with The Delfonics, he’d guide another legendary Philly Soul group to fame..The Stylistics. Thom Bell produced their debut album The Stylistics, which would feature five top ten US R&B singles. Before I tell you about the music on The Stylistics, I’ll tell you about the background to the album.
The Stylistics formed in 1968, when two Philly groups The Percussions and The Monarchs became one. Lead singer Russell Thompkins Jr, James Smith and Airron Love had been members of The Monarchs, while James Dunn and Herbie Murrell were members of The Percussions. Little did they realize that when they joined forces, they’d be one of the most successful soul groups of the early seventies.
Marty Bryant, The Stylistics road-manager had penned You’re A Big Girl Now with Robert Douglas. He was a member of The Stylistics’ backing band, Slim and The Boys. The Stylistics recorded the song, which was released on Sebring Records. It became a regional hit and resulted in The Stylistics signing with Avco Records. They were fortunate that when they signed to Avco, that Thom Bell had become available and would produce their debut album The Stylistics.
Thom Bell realized when he first heard The Stylistics that in Russell Thompkins Jr, here was a singer with potential, Potentially, he could be a soul legend, replicating or even surpassing the success of The Delfonics. So Thom Bell and his songwriting partner Linda Creed started writing songs for The Stylistics’ debut album The Stylistics. They wrote eight of the nine tracks. The other tracks was the Marty Bryant and Robert Douglas penned You’re A Big Girl Now. With the material for The Stylistics written, The Stylistics and a group Philly’s top session musicians and backing singers headed to Philly’s Sigma Sound Studios.
At Sigma Sound Studios, Thom Bell would produce The Stylistics. Joining them were the Baker, Harris, Young rhythm section and guitarist Roland Chambers. They were joined by vibes virtuoso and percussionist Vince Montana Jr and organist and pianist Lenny Pakula. There was also a full string, horn section and woodwind section, including Jack Faith on flute. Barbara Ingram, who’d later become one of the legendary Sweethearts of Sigma backing vocalists was joined by Linda Creed on backing vocals. Once The Stylistics was recorded, it was ready for release in 1971.
You’re A Big Girl Now was the lead single, released in 1971. It reached number seventy-three and number seven in the US R&B Charts. Stop, Look, Listen (To Your Heart) then reached number thirty-nine and number six in the US R&B Charts. You Are Everything was the last single released in 1971, reaching number nine and number ten in the US R&B Charts. Then when The Stylistics was released, it reache number twenty-three and number three in the US R&B Charts, resulting in a gold album for The Stylistics. Betcha By Golly, Wow became the most successful single, when it reached number three and number two in the US R&B Charts in 1972. People Make the World Go Round then reached number twenty-five and number six in the US R&B Charts. Even the most optimistic member of The Stylistics couldn’t have imagined that The Stylistics would result in a gold disc and five top ten US R&B Charts. However, that’s what happened. Given how successful The Stylistics was, it must be a Philly classic. Is that the case? That’s what I’ll now tell you, when I tell you about the music on The Stylistics.
Stop, Look, Listen (To Your Heart) opens The Stylistics. The arrangement has an understated sound, with just a plucked harp, subtle rhythm section, wistful horns and lush strings combining. When Russell’s heartfelt falsetto enters, Vince Montana Jr’s vibes play gently. They merge beautifully with the lushest of strings and tenderest of harmonies. Thom Bell’s arrangement is masterful, subtle and beautiful. Similarly, Russell soul-baring vocal is beautiful and impassioned. Later, a melancholy horn, with Thom’s signature sound proves to be just the finishing touch. When all this is combine, the result is one of the most beautiful, timeless songs The Stylistics recorded.
Point of No Return opens with the Baker, Harris, Young rhythm section providing the track’s pounding beat. Earl Young’s drums help drive the track along, with Ron Baker’s bass matching him beat for beat. Norman Harris lays down a searing guitar solo while strings dance and Lenny Pakula adds a pounding piano. Russell’s falsetto soars, taking on a punchy style, with the other Stylistics, Barbara Ingram and Linda Creed adding tight harmonies. The harmonies drift in and out, while Earl’s drums give the track its heartbeat and Russell delivers what can only be described as vocal tour de force that’s the icing on this delicious musical cake. Cut a slice, and it says Philly made.
Betcha By Golly, Wow was the most successful of the five singles released from The Stylistics. It’s another Thom Bell and Linda Creed composition, with Thom’s arrangement a mixture of subtlety and drama. Wistful horns, quivering strings and Earl Young’s confident drums combine, before Russell’s tender vocal enters. Percussion, piano, flourishes of harp and rasping horns accompany his vocal. Harmonies sweep in, with the other Stylistics and backing vocalists combining. Later, the unmistakable sound of Norman Harris’ guitar enters. Norman’s guitar takes centre-stage, before Russell’s heartfelt vocal returns. He delivers one of his best vocals on The Stylistics, with a little help from some of Philly’s greatest musicians and backing vocalists.
Country Living is a a much more uptempo track. From the get-go, the Baker, Harris, Young rhythm section provide the track’s heartbeat. Punchy, rasping horns and swirling strings give way to Russell’s punchy, dramatic heartfelt vocal. He’s looking forward to going back to the simplicity of Country Living. It’s almost as of this brings back memories. Russell’s paints pictures, while the rest of The Stylistics add harmonies. The arrangement grows. Horns, strings and a pounding rhythm section combine, as the arrangement becomes choppy and dramatic. It’s really effective. So are the harmonies accompanying Russell’s lead vocal. Here, the rest of The Stylistics show that there was more to the group than Russell Thompkins Jr. Without their contribution, the song would be same. Similarly, without Thom Bell’s production skills, this wouldn’t be the same. He had the uncanny knack of dropping instruments in just where it makes sense.
Like the other singles on The Stylistics, You’re A Big Girl Now has a timeless sound. Chiming guitars, drums and heartfelt harmonies sweep in as Russell’s soaring falsetto enters. His tender vocal unites with the harmonies, before taking centre-stage. When they unite, their voices become one. The Baker, Harris, Young rhythm section provide the track’s heartbeat, while The Stylistics showcase their vocal prowess. Russell’s vocal soars above a half-spoken vocal, while Lenny Pakula’s Hammond organ provides an atmospheric and beautiful backdrop.
Although many groups have recorded You Are Everything, The Stylistics version is the definitive version. Guitars swathed in filter are joined by the Baker, Harris, Young rhythm section, piano, Vince Montana Jr’s vibes and shimmering strings. Russell’s vocal is tinged with sadness and emotion. He’s joined by the other Stylistics plus Barbara Ingram and Linda Creed’s backing vocals. Wistful horns with Thom Bell’s trademark sound join layers of cascading strings, as the arrangement grows in drama, emotion and sadness. So too does Russell’s vocal, with the song becoming an emotional roller-coaster, where drama, heartache and emotion unite. That’s why this is The Stylistics version is the definitive version and will never, even be better. One listen proves this.
Just a sprinkling of vibes and percussion from Vince Montana Jr, opens People Make the World Go Round. Cinematic strings, Hammond organ, Earl Young’s hissing hi-hats and percussion give the track a broody, moody backdrop. When Russell’s vocal enters, his reading of Thom Bell and Linda Creed’s socially conscious lyrics is full of emotion, sadness, and even resignation. He delivers his vocal against a backdrop that’s moody and cinematic. He paints pictures in your mind of a video that was never shot. Wistful, melancholy horns, flourishes of harp, percussion and vibes aplenty and bursts of dramatic drums combine. They provide a fitting backdrop for Russell’s vocal, as describes troubled times, as this six minute Magnus Opus unfolds. Forty-one years later, this musical masterpiece of a Philly Classic is just as relevant, and as a result, is a truly timeless track, one of the highlights of The Stylistics.
Ebony Eyes opens with Norman Harris’ jazz-tinged, chiming, Vince Montana Jr’s percussion and Earl Young’s pounding drums uniting. Russell’s tender falsetto joins, soaring and growing in power. The other Stylistics add harmonies that compliment his vocal. Their vocal interplay is peerless. They seem to feed off each other, pushing each other to greater heights of soulfulness. Later, Lenny Pakula lays down a melancholy sounding Hammond organ, that’s the finishing touch to a track that’s a perfect showcase for The Stylistics plentiful vocal talents.
Closing The Stylistics is If I Love You. Earl Young’s pounding drums join growling horns, sweeping, swirling strings and Russell’s impassioned vocal. Sweeping, elegant harmonies answer and accompany Russell’s vocal. Vince Montana Jr, adds vibes, horns rasp, strings cascade and harmonies sweep as the arrangement waltzs along like a carousel ride, bringing their debut album The Stylistics to a joyous, dramatic conclusion.
From the moment Thom Bell clapped eyes on The Stylistics, he said he saw potential in Russell Thompkins Jr. He was proved correct, but probably in his wildest dreams, never thought that their debut album The Stylistics would prove as successful. Not only was The Stylistics certified gold in America, but featured five top ten singles in the US R&B Charts. That’s not forgetting Betcha By Golly, Wow was the most successful single, reaching number two in the US Billboard 100 and number three in the US R&B Charts. It seemed Thom Bell was a man with the Midas touch. He’d enjoyed success with The Delfonics, and now that he’d finished working with them, hooked up with The Stylistics. This was the start of the most successful period of both Thom Bell, and The Stylistics’ career.
Thom Bell’s success with The Stylistics lasted for three albums. After their debut album The Stylistics, Round 2 followed in 1972 and then Rockin’ Roll Baby in 1973. After that, Thom Bell would enjoy commercial success and critical acclaim with The Detroit Spinners.
Similarly, The Stylistics were about to embark on the most successful part of their career. Following the success of The Stylistics, they’d release six further albums between 1971 and 1975. Three of these were certified gold in America, one was certified gold in the UK and four were certified silver in the UK. During this period, The Stylistics were one of the most successful purveyors of the Philly Sound. However, it would take a lot to surpass the success of The Stylistics, their critically acclaimed debut album. It brought The Stylistics to the attention of soul fans on both sides of the Atlantic. Forty-one years after its release, The Stylistics is a totally timeless album, where each of the nine songs is a like a mini, musical masterpiece, thanks to the songwriting team of Thom Bell and Linda Creed. Although The Stylistics was just the first step in The Stylistics musical journey, it was a huge step. Together, The Stylistics and Thom Bell would prove a potent musical partnership. While further critical acclaim and commercial success would follow, the album that started this musical journey, The Stylistics would prove to be one of the best albums of The Stylistics long and illustrious career. Standout Tracks: Stop, Look, Listen (To Your Heart), Point of No Return, You Are Everything and People Make the World Go Round.
THE STYLISTICS-THE STYLISTICS.
S.E.L.-DAYDREAM.
S.E.L.-DAYDREAM.
While many people may not yet have heard of S.E.L. or to give her, her real name, Emma Louise Bucknor, that could and should be, all be about to change. S.E.L’s new single Daydream has just been released. It’s the latest offering from one of the hottest names in the UK’s Nu-Soul and Nu-Jazz scenes. In many ways, it’s as if all her life, S.E.L. has been working towards forging a career in music. All her life, from the age of six, S.E.L. has been immersed in music. Before I tell you about Daydream. I’ll tell you about S.E.L’s career so far.
Before being transformed into S.E.L, Emma Louise Bucknor’s life was dominated by music. She started playing piano and violin aged just six. Five years later, aged just eleven, S.E.L. made her professional debut. Surprisingly, given her background, it was neither playing piano nor violin. Instead, S.E.L. made her debut as a vocalist. This didn’t stop her from becoming a classically trained musician. Qualifications in music and performing arts followed, before S.E.L. headed to university. It was during a degree in music, that S.E.L. joined her first group.
At university, S.E.L. was asked to join a new girl group, Lyrical Force. They enjoyed some success, performing professionally. Then S.E.L. decided to pursue a solo career. Having left Lyrical Force, S.E.L. she quickly established a reputation as a gifted and up and coming artist. Soon, S.E.L. had established a reputation as versatile singer, equally comfortable singing rap as R&B. This lead to S.E.L. working with a variety of producers, including Mind Set Entertainment. Having decided to leave Lyrical Force, then pursue a solo career, S.E.L. decided to join another group.
Soul Essence was the group that made S.E.L. decide to forego her solo career. Not only did this provide her with the opportunity to work with artists of the stature of Omar and IceBurg Slim, but gain a wealth of experience. Then the members of Soul Essence decided they wanted to embark on their own projects. So S.E.L. was now without a group. Then Delroy Murray offered her the chance to gain some valuable insight and experience that would help her career no end.
It was during S.E.L’s third year at university, that she met Delroy Murray. She was given the chance to get some work experience the Music Corporation. This allowed S.E.L. the opportunity to discover how the music industry worked. It also gave her the chance to sing with Delroy Murray’s band. S.E.L. was part of his band during shows like 291 and Lovers Rock Reunion. She sung alongside Michael Gordon and Paulette Tajah. This gave S.E.L. the opportunity to join Tahiltha Voices, where she sang alongside Toyin Adekade. They then toured with George Nooks, Lukie D and Sanchez. Then S.E.L. was given the chance to work with a legend of British music and join their family.
It was in 2005 that S.E.L. was asked by Jazzie B to join the ranks of Soul II Soul’s backing vocalists. She was following in the footsteps of legendary vocalists like Carleen Anderson, Rose Windross and Caron Wheeler. Working with Soul II Soul gave S.E.L. invaluable experience. Not only had she worked with one of the innovators of British music Jazzie B, but was now part of the Soul II Soul family. That wasn’t S.E.L’s only encounter with legends of British music.
Between 2005 and 2010 S.E.L. worked as a backing vocalist and vocal arranger. This allowed her to work with a variety of musicians and gain a wealth of experience. Then in 2011, S.E.L. was signed to Elton John’s label Rocket Records. but not as a singer. Instead, she was signed to cowrite Jake Simms’ debut album. This allowed S.E.L. to showcase her songwriting skills. The next time S.E.L. would write a song, would be for herself.
Having gained experience working with and for some of the biggest names in British music, 2012 saw all S.E.L’s hard work, perseverance and persistence pay off. She signed to Cubit Records, a subsidiary of Universal. Her debut single Necessary was released to critical acclaim. Canada, China, Europe, Japan and South Africa were won over by S.E.L’s vocal prowess. At last, S.E.L. had announced herself on the world stage. In doing so, she’d garnered a reputation as a rising star of the British Nu-Soul and Nu-Jazz scenes. It seemed her hard work had paid off. Building on the success of Necessary is S.E.L. new single Daydream, which I’ll now tell you about.
Given the quality and success of Necessary, Daydream has a lot to live up to. Somehow S.E.L. manages to do so. From the opening bars, when stabs of keyboards and washes of synths combine to create a dramatic backdrop. Then when S.E.L’s vocal enters, it’s heartfelt, impassioned and dramatic. It’s as if she really means every word she sings. Her vocal grows in drama, emotion and power, with her band matching her every step of the way. The rhythm section, with pounding drums providing its heartbeat, join wistful horns, synths and keyboards. Waves of searing guitar licks and punchy harmonies join the arrangement, as S.E.L. grows, reaching an emotive, impassioned crescendo. Soul, jazz and even rock combine, as S.E.L. and her band create a track that’s not just anthemic and beautiful, but dynamic and dramatic.
It wasn’t going to be easy for S.E.L. to followup such an impressive debut single as Necessary. It was something of a soulful masterpiece. However, not only has S.E.L. matched the quality of Necessary, but bettered it. Daydream has something that not many songs have, great lyrics, hooks aplenty and to top it all, an anthemic quality. The more you play Daydream, the more you realize this. S.E.L’s delivery is heartfelt, impassioned and dramatic. Her voice has a maturity, and is soulfulness personified. She’s a talented singer and songwriter, whose more than paid her dues. Over the past ten years, S.E.L. has persevered and persisted. All the time she’s been learning. Knowledge certainly is power as far as the music industry is concerned. Certainly S.E.L. has gained plenty knowledge, to add to her experience. One vital thing S.E.L. doesn’t lack is talent. Daydream her new single is proof of this, and builds on the success and critical acclaim of Necessary. 2012 has been a big year for S.E.L. and I’m certain 2013 will be an even bigger one.
S.E.L.-DAYDREAM.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
Given the amount of music that’s released on a weekly basis, finding time to review everything isn’t easy. Often, some releases get overlooked in the process. This I discovered recently, whilst looking through two mountains of albums. They contain just some of the recent releases I’ve received. Within these two mountains, are a pile of albums awaiting a review. Nearly every musical genre is represented. There’s everything from blues, disco, house, psychedelia, rock and world music awaiting a review. So gradually, I’m going to work my way through this backlog of releases. The first of this backlog I’ve decided to review is a recent release from the prolific reissue label Fantastic Voyage, Later Alligator-Louisiana Rock and Roll. It’s a double-album, featuring fifty slices of what’s described as “a lip smackin’gumbo of rockin‘ musicality.” Sounds good to me, so let’s see if the music matches the hype.
Fantastic Voyage have recently become one of the most prolific reissue labels, specializing in reissuing everything from blues, rock and roll, surf music, jazz and just about every other musical genre you care to mention. Often, their releases focus on one part of America, with New Orleans, Texas and Louisiana being the focus of their attention. For Later Alligator-Louisiana Rock and Roll, Fantastic Voyage have called upon the services of compiler DJ Jailhouse John Alexander, who presents the Wild Wax Show. John has dug deep into his collection, coming up with an eclectic selection fifty tracks. There’s everything from R&B, rock and roll, country and boogie represented on the two discs. Many of these tracks are from well known names, including Jerry Lee Lewis, Dale Hawkins, Fats Domino, Champion Jack Dupree, Huey “Piano” Smith and even a young Dolly Parton, before she found fame and fortune. Sitting side-by-side with established artists, are some less well known artists. This includes contributions from Johnny Jano, Chris Kenner and Red Smiley. So Later Alligator-Louisiana Rock and Roll looks like a tantalizing taste of Louisiana’s rich musical heritage. Is that the case though?
DISC ONE.
With twenty-five tracks to choose from, choosing just a few isn’t easy. Some, however, pick themselves .It’ll come as no surprise that one of the giants of rock and roll opens Later Alligator-Louisiana Rock and Roll. Piano pounding Jerry Lee Lewis’ Lewis Boogie was a B-side to The Return of Jerry Lee Lewis, which was released in 1958 on Sun Records. It’s also one of the highlights of the Disc One’s highlights. It seems even The Killer’s B-sides were better than most peoples singles. However, The Killer isn’t the only big name on Disc One.
Dale Hawkins’ is best known for his hit single Suzy Q. My Babe shows there’s much more to his music. It was written by Willie Dixon, and features Roy Buchanan on guitar. Released on Checker Records, this shows Dale at his best, fusing blues, country and rock and roll. Bobby Charles found success at Chess Records, with singles like Later Alligator, Laura Lee and Time Will Tell. Take It Easy Greasy wasn’t a single though. This was the B-side of Time Will Tell, released on Chess Records in 1956. Although just a B-side and released early in Bobby’s long career, it’s since become a minor swamp pop classic and is just one of many written by Bobby. While these tracks show artists at the height of their success, one track is a taste of an artist before fame came their way.
One interesting inclusion is Dolly Parton’s Puppy Love, released in 1959 is very different from what she’d later release. What it does show is a glimpse of what was to come. Eight years later, in 1967, Dolly would make her commercial breakthrough. While Dolly Parton is one of the biggest stars on Disc One of Later Alligator-Louisiana Rock and Roll, it’s the lesser lights that contribute some of the other highlights.
Among the less well known singer are Texas born, Harry Choates. He released Louisiana Boogie in 1950, making this one of the oldest cuts. It showcases his own brand of fiddle boogie, where he mixes folk, country and Cajun music. Tibby Edwards is almost unknown outside of Texas and Louisiana. This is something a shame considering how talented he was. His music was influenced by Hank Williams and Lefty Frizzel. Flip, Flop and Fly, a cover of the Big Turner song, sees Tibby change tack, combining rock “n” roll and rockabilly. This isn’t the only fusion of styles on Disc One. Indeed, Al Ferrier’s Kiss Me Baby sees Al fuses an irresistible combination of rock ‘n’ roll and R&B on this 1959 cut for Rocko. Some of the tracks didn’t find the commercial success they deserved. One especially, stands out.
Gene Wyatt’s impassioned please on Lover Boy are another of the hidden gems on Disc One. Released in 1957 on the Ebb label, Chess Records were offered the chance to release this track. They passed up the opportunity and since then, this track has lain undiscovered. Its inclusion here, shows what Chess turned down. Who knows what might have become of Gene Wyatt is things had turned out differently?
Among the other tracks that deserve a mention on Disc One are Johnny Ray Harris’ Cajun Weekend, released in 1960. It seems Johnny was just a few years too late in releasing this self-penned track. Maybe two or three years earlier and things might have been different, but this was one of three singles he released on his own Ray label. Jerry Kennedy’s angst ridden Teenage Love Is Misery, released in 1958 and Al Terry’s feisty, sassy Watch Dog are two other tracks well worthy of a mention. They’re among the hidden gems that are given a new lease of life on Disc One of Later Alligator-Louisiana Rock and Roll.
Disc One of Later Alligator-Louisiana Rock and Roll combines a mixture of well known and lesser known artists. Although the title refers to the music as rock and roll, that’s too narrow a description. There’s everything through blues, boogie, Cajun, country, R&B and rockabilly on Disc Two. From the track-listing to Disc Two of Later Alligator-Louisiana Rock and Roll, it looks like the music will be just as eclectic. The only difference is more big names feature on Disc Two.
DISC TWO.
Indeed, there’s big names aplenty on Disc Two of Later Alligator-Louisiana Rock and Roll. Fats Domino, Dale Hawkins, Huey Piano Smith, Jerry Lee Lewis and Champion Jack Dupree. Rather that start Disc One with a bang, it’s Dave Bartholomew’s take on the standard When The Saints Go Marching In. Released in 1954, rock “n” roll, jazz and blues combine, while Dave delivers the vocal with a sassy swing, bringing new life into an old song. Bobby Charles’ Later Alligator is a slice of driving rock “n” roll, released in 1955. It too swings, complete with rasping, growling horns aplenty. Fats Domino doesn’t let the side down with I’m Gonna Be A Wheel Some Day, released in 1959 on Imperial. Although it’s catchy, it’s not as full-on as Later Alligator. Still, it’s a reminded of just how talented Fats Domino was. While it lacks the energy of some of Fats’ other cuts and is a more subdued song, this can’t be said of three songs.
Champion Jack Dupree’s Shim Sham Shimmy is almost an explosion of energy and joyousness. Released in 1954, this is rock “n” roll, boogie woogie and blues rolled into one, with Champion’s vocal a sassy, snarl. Jerry Lee Lewis pounds his piano on Jamabalaya, delivering the definitive version of this track. Released in 1958 on Sun, it’s a track that’s totally timeless and is one of the highlight of Disc Two. So too is Dale Hawkins’ Suzie Q, which was released in 1957. Since then, Suzie Q has become synonymous with Dale. It features song searing guitar licks from a fifteen year old James Burton as blues and rock “n” roll unite. For anyone yet to discover the delights of Huey “Piano” Smith and The Piano Clowns, then High Blood Pressure released in 1957, is the perfect introduction. Here, rock “n” roll, boogie woogie piano and growling horns play their part is this delicious fusion of genres. Like Disc One, its not just the big names that are responsible for the best tracks on Disc Two.
Proof of this is Ray Vict and His Bop Stoppers’ We Gonna Bop Stop Rock. Released in 1957, rock “n” roll and rockabilly collide, for two tantalizing minutes. Like so many artists on this compilation, commercial success eluded this track. The same can be said of Chris Kenner’s horn driven slice of R&B Sick and Tired. John Fred and His Playboys’ 1958 single Shirley, is full of poppy hooks as rock “n” roll and R&B are fused seamlessly. Hook laden, catchy and like a walk down music’s memory lane, it had so much going for it. Just like the other two tracks, why this track wasn’t a commercial success seems strange? Mind you, I could just as easily say the same about my final choice from Disc Two of Later Alligator-Louisiana Rock and Roll.
In many ways, I’ve kept the best until my last choice. Margaret Lewis’ Cheaters Never Win reminds me of Patsy Cline. Both women have similar voices, which bring to life the hurt and heartache in lyrics. Here, blues and country combine, as Margaret delivers one of the most heartfelt and emotive vocals on Later Alligator-Louisiana Rock and Roll.
Later Alligator-Louisiana Rock and Roll features fifty tracks that cross the musical genres. Describing it as rock and roll, like the title does, is something of an understatement. There’s much more to discover on Later Alligator-Louisiana Rock and Roll. This includes blues, boogie woogie, Cajun, country, jazz, rock ‘n’ roll, rockabilly. These tracks are from a mixture of well known and lesser known artists. Mostly, the quality of music doesn’t waver, with familiar faces and hidden gems aplenty awaiting discovery. Not only does Later Alligator-Louisiana Rock and Roll feature fifty genre-sprawling tracks, but features lengthy and informative sleeve-notes from Lucky Parker. All this costs just £7, €9 or $10, making Later Alligator-Louisiana Rock and Roll one of the real bargains of these recession hit times. Whether you’re a veteran or newcomer to these genres of music, there’s plenty of quality music that’s not unlike a musical trip down memory lane, before Elvis, The Beatles and Rolling Stones. Unlike so much music released since the music on Later Alligator-Louisiana Rock and Roll, much of the music on the two discs is absolutely timeless. Indeed, Later Alligator-Louisiana Rock and Roll is voyage of musical discovery that could very well lead to a lifelong love affair with music from Louisiana. Later Alligator-Louisiana Rock and Roll might just be a first date, but won’t be your last. Standout Tracks: Dale Hawkins My Babe, Harry Choates Louisiana Boogie, Huey “Piano” Smith and The Piano Clowns High Blood Pressure and Jerry Lee Lewis Jamabalaya.
LATER ALLIGATOR-LOUISIANA ROCK AND ROLL.
GREAT BRITISH ALBUMS.
GREAT BRITISH ALBUMS.
Usually, in the run-up to Christmas, record companies find any excuse to release compilations, best of’s and box set galore. Wander through you’re local record shop, and you’ll find the umpteenth album of greatest hits from the usual suspects, including rock stars of yesteryear topping up their pension plans. Often, a similar album was released last year, or failing that, the year before. Then there’s compilations. Every possible musical situation is covered. I’m sure they’ll be the usual cash-ins, that are only ever released at Christmas. There’s sure to be everything from driving anthems, Christmas songs, and dance parties galore. I’m sure every musical genre will be covered. So expect the usual compilations of commercial dance music, eighties pop and what every Christmas would be complete without, a barrel scraping Northern Soul compilation. Lastly, there’s box sets. Now I thought Christmas had come early, when recently I came across a box set entitled Great British Albums. After all, surely such box sets are only released at Christmas? Having checked that a couple of months hadn’t passed without me noticing, I decided to check-out what Great British Albums has to offer. With such a bold, almost boastful title, I was expecting great things from the twenty albums included in Great British Albums. Did the quality of music on the twenty albums included in Great British Albums match the title?
For any compiler given the job of compiling a box set entitled Great British Albums, they’re faced with something of an uphill task. Making this task even harder, is the description of Great British Albums. It’s meant to contain “genre defining albums” with a “unique sounds, innovative style and cult status.” Choosing twenty such albums isn’t going to be easy. Everyone, critics included, have their own favorites and reasons for their inclusion. Some albums pick themselves. The Beatles would have at least one album in the box set, either Revolver, Rubber Soul or Sgt. Pepper’s Lonely Hearts Club Band. So would the Rolling Stones, possibly Exile On Main Street. Other albums I’d expect to find are Dusty Springfield’s Dusty In Memphis, either Van Morrison’s Astral Weeks or Moondance or Pink Floyd’s Dark Side of The Moon. What about an album by David Bowie, Roxy Music, The Who, Led Zeppelin or The Smiths, who like the other artists I’ve mentioned, are among the most important artists in the history of British music. Guess what, not one of these artists are included in Great British Albums. The reason for this is quite simple and shows that the idea behind Great British albums is fundamentally flawed.
The problem with the Great British Albums box set is that it only covers RCA, Columbia, Epic and Sony. To compile a box set of twenty Great British Albums, this would’ve required all the major record labels to cooperate. This would probably be impossible. So what we have is a box set that should be entitled Great British Albums Released By RCA, Columbia, Epic and Sony. However, having told you what’s not included in Great British albums, I’ll tell what is in the box set.
Great British Albums covers the period between 1968 and 2010. Starting with Fleetwood Mac’s Mr. Wonderful and ending with The Vaccines’ What DId You Expect From The Vaccines 2010. I’m sure these two albums give you a flavor of the eighteen other albums in between. As you’ll realize, calling the box set Great British Albums, is maybe a slight exaggeration.
Given how important the sixties were musically, and the effect British groups had on music, the sixties are grossly under represented. The only album included is Fleetwood Mac’s 1968s album Mr. Wonderful. It’s one of the highlights of Great British Albums. Featuring the original and some would say classic lineup, which included guitarist Peter Green, drummer Mick Fleetwood and John McVie. This is the polar opposite of what Fleetwood Mac became circa Rumours. Mr. Wonderful features Peter Green at his very best, and is a reminder of just how talented he was. From Mr. Wonderful, there’s a gap of four years, to what many people see is where the seventies rock went awry.
Prog rock is a musical genre that divides opinion. One of the biggest prog rock bands were Emerson, Lake and Palmer, who released Tarkus in June 1971. Given prog rock was a musical genre British groups excelled at, I can see why a prog rock album was included, but wonder whether this is the right album? Mott The Hoople’s All the Young Dudes, comes close fulfils the criteria laid out. Released in September 1972 and produced by David Bowie, this was Mott The Hoople’s best album and features Ian Hunter at his very best. Forty years later, it’s stood the test of time, whereas Jeff Beck’s overblown and Blow By Blow, released in March 1975 hasn’t. It’s a self-indulgent album, where like an attention seeking child, Jeff Beck says “look at me.” There’s no disputing he’s a hugely talented guitarists, but Blow By Blow is neither a classic, nor even a great album. By the time the next album in Great British Albums was released, music had changed, drastically.
By the time The Only Ones released their eponymous album The Only Ones in April 1978, punk was now flavor of the month. Many critics had been won over by the one chord wonders of punk. Punk, post-punk and new wave all made their presence felt. There were the odd memorable albums. While The Only Ones was a decent album, it certainly is neither a great, nor classic album. I’d argue whether its inclusion can be warranted. London Calling, The Clash’s Magnus Opus was different though. Released in December 1979 and produced by Guy Stevens, London Calling is The Clash at their finest, snarling, full of political and social comment. While London Calling is a classic album well worthy of inclusion, so too would Joy Division’s Unknown Pleasures. Sadly, it’s overlooked. Indeed, Factory Records, one of the most important independent British labels in represented by an album that takes Great British Albums into the eighties.
Factory Records is represented by John Cooper Clarke’s Snap, Crackle and Bop. Released in 1980, referring to Snap, Crackle and Bop as a great album, is over-egging the musical pudding. It’s a good album, indeed I’d say it’s a very good album from one of British music’s mavericks and commentators. Since its release, it’s attracted a cult following. Sadly, referring to it as a great album, is possibly pushing things. The same could be said of the Psychedelic Furs album Psychedelic Furs, released in February 1980. Yes, it’s a cult classic, but referring to it as a great album is debatable. In many ways, Great British Albums seems to be about including an eclectic selection of albums, as the next two albums prove.
if you think about what’s missing from Great British Albums, you’ll realize neither heavy metal nor live albums have been represented..until now. Judas Priest’s British Steel, released in April 1980. This is a live album recorded during their British Steel Album. Now Judas Priest were one of the most successful British heavy metal groups, but surely if British Judas priest were to represent British heavy metal, the surely a better album could’ve been included. Mind you, British Steel shows how good a live band they were. One of the most questionable inclusions is Adam and The Ants’ Kings of The WIld Frontiers, released in December 1980. All I can say is why? Dressing up as pirates or highwaymen and releasing singles as forgettable as Antmusic doesn’t make a group innovators. Classic album this definitely isn’t, neither is it great album, merely forgettable. Things improve during the rest of the eighties.
Prefab Sprout’s Steve McQueen, released in June 1985 and produced by Thomas Dolby is what I’d refer to as an underrated classic. It showcases the genius of Paddy McAloon, one of the most talented British singers and songwriters. Steve McQueen is just one in a series of minor classics, including From Langley Park To Memphis, Jordan the Comeback and Let’s Change the World With Music. Quite simply, Steve McQueen is one of the highlights of Great British Albums. Big Audio Dynamite’s This Is Big Audio Dynamite was released in October 1985 and featured a post-Clash Mick Jones, who produced the album. While there’s some innovative music on This Is Big Audio Dynamite, comparisons will always be drawn with The Clash. This is unfair, given how different the music is. Other contenders I’d have rather included are The Cult’s Love or The LA’s debut album The LA’s. I could just as easily argue for the inclusion of an album by The Cure, X.T.C. or Depeche Mode. In many ways, Great British Albums is a box set that provokes debate and discourse. Everyone will have their own ideas about what albums deserve included. Some of the albums included in Great British Albums, rather than being British albums, remind me of and make the think of specific cities.
Calling Deacon Blue’s Raintown a British album is something i’d dispute. To me, Raintown is a quintessentially Scottish album. I’d go further and say it’s a Glasgow-centric album, much like Blue Nile’s A Walk Across The Rooftops, which I’d say is much more worthy of inclusion. Of all the Scottish albums, Raintown is a genuine classic. While Raintown is a Scottish albums, The Stone Roses debut album The Stone Roses, released in May 1989 and Primal Scream’s Screamdelica are Manchester albums. They’re two of the best albums released by Manchester bands. Both are stonewall classics, John Leckie produced The Stone Roses indie rock at its best and Screamadelica is stunning fusion of indie rock and dance. These two albums are Manchester’s music at its best, only The Smiths are missing from Great British Albums. After 1991, things go somewhat awry for the rest of Great British Albums.
Apart from Screamadelica, only the Manic Street Preachers’ Everything Must Go, released in May 1996 represents British music in the nineties. Featuring the classic lineup of Manic Street Preachers, Everything Must Go was their best album. It represents the Manic Street Preachers before they sold their soul to poppy hooks and commercial success. However, surely there are other British groups from the nineties worthy of inclusions? How about Oasis’ Definitely Maybe or (What’s the Story) Morning Glory?, Blur’s Parklife, when they were at the height of their Britpop success. Or how about an album from New Order, Pulp, Leftfield, Massive Attack or Portishead? With just two albums from the grossly underrepresented nineties, the noughties are represented by four albums.
Faithless’ No Roots, released in June 2004, is the first of four albums where the debate about whether the album’s inclusion is worthy. Certainly the dance-floor friendly No Roots is representative of the time it was released and is Faithless’ best albums. Like Kasabian’s Empire, released in August 2006, which saw a revival in indie rock, judging whether both albums will stand the test of time is just a bit early. Both were successful albums, released to critical acclaim, but whether in ten or twenty years time, they’ll have stood the test of time, is for others to decide. Whether Mark Ronson’s Version, released five years ago, in April 2007 is worthy of inclusion is highly debatable. Granted he’s an innovator, but some of the tracks on Version come across as lightweight. Some of the collaborations are better, including his collaboration with Amy Winehouse on Valerie, but others are less memorable. The final album included in Great British Albums is The Vaccines’ What DId You Expect From The Vaccines, released in March 2010. Although the album was well received and commercially successful, like the inclusion of Kasabian’s Empire and Mark Ronson’s Version, they seem somewhat strange additions. After all, they’ve been released relatively recently. At the time, they weren’t regarded as timeless classics. These weren’t instant classics like London Calling, The Stone Roses or Screamadelica. Maybe in the future, when further volumes of Great British Albums are being released, then they’ll be worthy of inclusion, but this time around is way too soon.
In many ways, Great British Albums is a bit like a burger from a fast-food joint, it looks better than it really is. Draped in the Union Flag, Great British Albums looks as if a sturdy, musical feast is in-store. Sadly, it’s more of a snack. Open the box set, the sleeve-notes are slightly disappointing. They describe Great British Albums “genre defining albums” with a “unique sounds, innovative style and cult status.”
If that’s the case, why no albums from The Beatles like Revolver, Rubber Soul or Sgt. Pepper’s Lonely Hearts Club Band. Similarly, Dusty Springfield’s soulful Magnus Opus Dusty In Memphis is missing. So too is the innovation of Van Morrison’s innovative Astral Weeks or Moondance or Pink Floyd’s Dark Side of The Moon. What about album from David Bowie, Roxy Music, Led Zeppelin, The Smiths or even The Sex Pistols? Instead we’re meant to believe Adam and The Ants, Judas Priest, The Vaccines and Kasabian are innovators? While some of the artists are true innovators, including The Clash, John Cooper Clarke, Prefab Sprout, The Stone Roses and Primal Scream, others are hardly innovators. That’s one of the reasons why Great British Albums is fundamentally flawed. Another is many ground-breaking, innovative genres are ignored. Many of them are British, including Trip Hop and Ambient House. That means no Leftfield, Massive Attack, Portishead or The Orb.
Two other reasons Great British Albums is fundamentally flawed are the title and the concept. Calling the box set Great British Albums is flawed as several albums are far from great, never mind innovative, unique or having attained cult status. Proving this are Jeff Beck’s overblown Blow By Blow, the pantomime of Adam and The Ants’ King of The Wild Frontiers and Judas Priest’s British Steel. Instead, the twenty albums included in Great British Albums are an eclectic selection of albums by British artists. It would’ve been a much better box set if the cutoff date for albums was the year 2000. Anything after that date is almost too new, to be worthy of inclusion. Like wine, albums need time to mature, for critics to decide their importance. Granted some albums you realize instantly they’re going to forever change the musical landscape and history. However, Faithless’ No Roots, Kasabian’s Empire, Mark Ronson’s Version and The Vaccines’ What DId You Expect From The Vaccines are hardly musical game-changers.
What Great British Albums is, is a talking point. Great British Albums provokes debate, brings back memories and often, proves infuriating, but similarly great fun and controversial. Sometimes, you wonder why an album was even included? Other times, you rediscover an album you’d long forgotten. It’s like meeting an old friend, after many years apart. Whether it’s worth buying Great British Albums, will depend on the extent of your record collection. What I discovered, was I have many of the albums. Indeed, given the current fashion for remasters and special editions, several albums I’ve got multiple copies of. However, given there are twenty albums included in Great British Albums, some with bonus tracks and it costs roughly £25, $38 or €30, then it represents good value for money. Whether like me, you’ll think that Great British Albums is a concept that’s fundamentally flawed and sometimes, frustrating and infuriating. At the same time, it’s a compellingly eclectic selection of albums, that shows how rich, varied and innovative British music is. Proof of this comes from The Clash, The Stone Roses and Primal Scream, plus memorable musical moments from Fleetwood Mac, Mott The Hoople, Emerson, Lake and Palmer, Prefab Sprout, Deacon Blue and Manic Street Preachers.
GREAT BRITISH ALBUMS.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
For a label looking to release a retrospective compilation of an artist’s career, things don’t always go smoothly. Pitfalls aplenty await the label. Often their persistence, never mind patience is sorely tested. Indeed from deciding to rerelease an album or compilation can take years. There’s everything from finding out who now owns the rights to the songs, licensing tracks and in some cases, even tracking down master-tapes can prove problematic. In many cases, especially with compilations, a compiler starts with a wish-list of a hundred tracks. From there, they narrow that list down to a list of possibilities. Sometimes, the cost of licensing tracks are far too prohibitive. Once the list of tracks that becomes a compilation is finalized, many of their “first choices” are missing. The result is about compromises and financial reality. Occasionally, when a release is taking too long, a label has to admit defeat. They can neither afford to spend time nor resources pursuing a release that is proving to be problematic. However, New York label Luaka Bop persisted in their determination to release a compilation of a remarkable, maverick singer, the Brazilian cult her Tim Maia. It took them ten long years, but in October 2012, their persistence paid off when they released Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia. Before I tell you about the highlights of Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia, I’ll tell you the almost surreal and sometimes psychedelic life and adventures of Tim Maia.
Tim Maia couldn’t have timed the release of his debut alum Tim Maia better. It was 1970, Brazilian music was about to reach the peak of its popularity. To help consolidate the music’s popularity and get people talking about it, what was needed was an artist whose personality wasn’t just larger than life, but bigger than that. In Tim Maia they found just the artist. Here was a man who was married five times, had six children and spent time in prison. Then there was his rock and roll lifestyle. Copious amounts of drugs and alcohol were part of Tim Maia’s diet. Whether this played its part in Tim joining a cult obsessed by UFOs is unknown. Yet despite Tim’s obsessive pursuit of hedonism, excess and a rock and roll lifestyle, he still managed to make some incredible music. Despite the quality of this music, mention Tim Maia’s name and people will say Tim who? That’s a great shame, because not only is Tim’s life a compelling story, but his music deserves a much wider audience.
By 1970, Tim Maia was twenty-eight, the eighteenth child in a family of nineteen. Aged just six, Tim earned a living delivering homemade food, which his mother cooked. This would be the nearest Tim got to an ordinary job. Having learnt to play the guitar whilst a child, Tim’s musical career started at aged fifteen. He formed his first band The Sputniks. Then two years later, Tim headed to America, believing this was the land of opportunity.
With just twelve dollars in his pocket and unable to speak English, Tim arrived in America. He called himself Jimmy at customs, and bluffed his way into the country, saying he was a student. Living with extended family in Tarrytown, New York Tim worked various casual jobs and augmented his meagre earnings by allegedly, committing petting crimes. Soon, he learnt to speak and sing English. This lead to him forming a vocal group The Ideals, who recorded one of Tim’s songs. Having planned on never returning home to Brazil, things went wrong for Tim in 1964. He was caught in a stolen car in Daytona, Florida. After serving six months in prison, Tim was deported back to Brazil. Even then, Tim Maia liked living life on the edge.
Now back in Brazil, Tim Maia had to kickstart his nascent musical career. During his time away from Brazil, times and music had changed. Then Tim had a break, when Elis Regina became entranced by his song These Are the Songs. It had been released as a single, but she she asked Tim to duet with her on the song. They recorded the song in English and Portuguese, and the song featured on Elis’ 1970 album Em Pieno Veroa. This gave Tim’s career a huge boost.
Recording with such a famous Brazilian singer lead to Tim signing a recording contract. His debut eponymous debut album Tim Maia, spent twenty-four weeks on the Brazilian charts. His music was something of a game-changer for Brazilian music. Never before had soul and funk music been combined with Brazilian music. Now soul and bossa nova and funk and baiao became intrinsically linked. They intertwined. Two nation’s musical styles and heritage’s became one. It was a fusion of cultures and musical genres. This musical melting pot marked Tim Maia’s entrance to Brazilian music.
Soon, Tim Maia was at the vanguard of a new musical movement, Black Rio. This new Afro-Brazilian musical and cultural movement was heavily influenced by the American civil rights movement. However, for Tim party politics didn’t interest him, but partying did. He was at heart a pleasure seeker, a hedonist and out to enjoy life. For Tim, music wasn’t about changing the world, but having a good time.
Ever the contrarian, each of Tim’s albums were entitled Tim Maia. He wrote and recorded in English and Portuguese. Maybe by writing songs in English, Tim had an eye on crossing over into the American and European markets. Then in 1971, flushed by the commercial success of his debut album, Tim decided to head to London. In London, Tim celebrated his newfound success. There he enjoyed the rock and roll excesses. Drink and drugs were his way of celebrating his success. One of the drugs he discovered, like many had discovered to their cost, would prove to be his undoing.
In London, Tim discovered L.S.D. He became an advocate of its supposed mind opening qualities. He took two-hundred tabs of L.S.D. home to Brazil, giving it to friend and people at his record label. Little did Tim know, but this was like pressing the self-destruct button. Three years later, in 1974 and just as Tim was finishing his fifth album, he discovered and joined a religious cult, the cult of Rational Energy, who fixated on UFOs. Tim was now clean-shaved, dressed in white and no longer drank, ate red meat, smoked or took drugs. Always in his hand was a mysterious book. Even his music changed. From his fifth album Racional, Tim’s music reflected the change in his personality and character. While his voice improved from Racional, the lyrics made no sense. Then in 1976, Tim quit the cult.
When Tim quit the cult, after Racional Volume 2, he’d fallen out with its leader. He felt duped and wanted the two Ratconal albums destroyed. His music changed from his first post-Racional album, entitled Tim Maia, released in 1976. From 1976 onwards, Tim Maia continued to release albums through the rest of the seventies, eighties and nineties. While albums kept on coming, his shows were hit and miss affairs. Sometimes he’d turn up, play an outstanding set, other times he’d play a mediocre or shambling set. On many occasions, he’d fail to turn up. He returned to is rock and roll lifestyle, living life to the fullest.
His final album was Nova Era Glacial, released in 1995. Sadly three years later, Tim died in March 1998. His shows and behavior had become predictable since his 1976 post-Racional comeback. Since his death, Tim Maia’s music has been a well-kept secret, spoken about in hushed tones. Like many maverick musicians, Tim Maia’s story sees myth and reality become intertwined. Truth and reality become one, just like his music was fusion of influences and musical genres. You’ll realize this, when I tell you about some of the highlights of Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia.
As Que Beleza which opens Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia, is a horn driven funky track, begins where Latin music, jazz and classic rock combines. Horns add funk and jazz, while the percussion adds an authentic taste of Brazilian music and searing, soaring Santana-esque guitars add a rocky, Latin twist. Tim’s vocal supplies the soul. His vocal is heartfelt, delivered in Portuguese, with dramatic horns replying to his call. It’s a compelling, captivating melting pot of influences and musical genres, that’s the perfect introduction to Tim Maia’s music. Not only does it whet your appetite, but leaves you hungrily wanting more, much more.
Of the fifteen tracks on the compilation, Let’s Have a Ball Tonight epitomises Tim’s carefree, hedonistic attitude. He makes it clear politics, aren’t his bag. Instead “love is the answer.” He combines funk, soul, psychedelia and Latin music. His half-spoken, emotive vocal is sung against an arrangement that’s a slow, fusion of styles. There’s even a bluesy sound to the tracks, where the rhythm section, chiming guitars, percussion and Hammond organ prove the perfect foil to Tim’s vocal, which references Jimi Hendrix, Bob Dylan, gospel and soul music. Soon, he’s like a preacher, winning over and converting the nonbelievers. This is the track, that’ll win converts to Tim Maia’s music. One listen and they’ll become believers.
Given how American soul music influenced Tim Maia’s music, I wonder whether Brother Father Mother Sister is Tim paying homage to the hottest house-band of the seventies, M.F.S.B, known as Mother, Father, Sister, Brother. With cascading strings, chiming guitar’s that pay tribute to Philly’s finest, this is one Tim’s Magnus Opus. His vocal is deliberate, accentuating and annunciating the lyrics. If you listen carefully, you’ll realise these lyrics are some of his best. Combine all this, and not only is this a track that’s soulfulness personified, but it’s dance-floor friendly and infectiously catchy.
Nobody Can Live Forever sees pounding drums and percussion combine, before a Hammond organ ushers in Tim’s Jimi Hendrix style vocal. Tim’s delivery has a similar, deliberate style. As Tim sings “Nobody Can Live Forever,” the lyrics take on a poignancy, given his early death. The band fill the space left by his vocal, using waves of gloriously, repetitive, pensive rocky licks. Moody, thoughtful and melancholy, this track is all that and much more, including outstanding.
I Don’t Care sees another side to Tim Maia when the track opens. There’s a moody, despairing sound before the arrangement bursts into life. Tim, openly defiant unleashes a vocal that’s cascades, soulfulness, despair and bravado combining. The arrangement is similarly dramatic and wistful. Strings sweep and swirl dramatically, horns rasp emotively and the rhythm section build the tension. They provide a fitting backdrop to a vocal that’s tinged with desperation, but openly defiant. In many ways, it’s poignant, given it could be almost autobiographical.
Over Again is a much more uptempo track. Percussion, keyboards and rhythm section combine before Tim’s vocal enters. There are similarities to Terry Callier and Tim Buckley in Tim’s vocal. Accompanying Tim are tight, sweeping harmonies, that are the perfect foil to his vocal. They match him for soulfulness. Joining them are the lushest of strings, bursts of blazing horns and an atmospheric wailing Hammond organ. The finishing touch are the rhythm section, which provide the track’s heartbeat, adding bursts of drama. It’s a glorious combination of soul, funk and rock, where Tim Maia lays bare his soul for all to hear.
My final choice from Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia is The Dance is Over. Fittingly, features one of Tim’s most heartfelt, emotive vocals. It’s as if the lyrics are personal, describing Tim’s life and attitude to it. Flourishes of cascading strings are key to the arrangement, before after a minute, a Hendrix style guitar solo is unleashed. Not only does this grab your attention, but sets up Tim’s vocal. Although melancholy mingles with hope and hedonism, you wonder who the real Tim Maia is? Is he really this hedonistic, thrill-seeker who seemed hell-bent on living life on the edge, or was he someone who in reality, was insecure and introspective and was looking for answers?
Listening to Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia and researching his life, I’ve come to the conclusion that like many maverick singer-songwriters, Tim Maia was touched by genius but fundamentally flawed. He could’ve, and should’ve, been a huge star. Sadly, something held him back. It stopped him from receiving the commercial success and critical acclaim his music richly deserved. This was music shaped by a multiplicity of musical influences, genres and of course, his lifestyle. His music is a compelling, captivating fusion influences and musical genres. Everything from soul, funk, jazz, rock, bossa nova and baiao thrown into Tim Maia’s mystical and psychedelic musical melting pot. Similarly, Tim’s lifestyle including drink, drugs, multiple-marriages and imprisonment all shaped and influenced Tim Maia’s music. It’s then given a stir by one of music’s true maverick’s, who on the verge of critical acclaim and commercial success, made a couple of decisions he would later come to regret.
The first of these was Tim’s dalliance with L.S.D. in 1971. If that was his first mistake, his second was definitely, his decision to join a cult derailed his career. Maybe if Tim had never celebrated his success in London, then things might have been very different. Somewhat ironically, given the amount of music Tim Maia recorded and released, the two albums he recorded during his time with cult, have gained cult status. These two albums, were just a snapshot of his career, but one that affected his future. After leaving the cult, Tim continued releasing music, but his live shows became unpredictable. They were either outstanding, mediocre or didn’t happen. All this fueled the mythology that surrounds Tim Maia. In a cruel and tragic twist of fate, Tim Maia died young, like many maverick musicians. He was just fifty-five when he died in 1998. Since then, the mythology and rumors surrounding Tim have increased, as has his popularity.
Now belatedly, Tim Maia’s music is enjoying an Indian summer. So for anyone yet to discover the delights of Tim Maia’s music, then they’ve a majestic, musical journey ahead of them. The best place to start is quite simply Tim Maia: World Psychedelic Classics 4: Nobody Can Live Forever: The Existential Soul of Tim Maia. It’s the perfect primer and introduction to a Tim Maia, who lived life on the edge, exuberantly reveling in the excesses of the rock and roll lifestyle. Maybe without living his life in the way he did, his music wouldn’t have been either as memorable, magical, eclectic and timeless. So maybe we should be thankful that Tim Maia was both touched by genius and fundamentally flawed. Standout Tracks: Let’s Have a Ball Tonight, Brother Father Mother Sister, Nobody Can Live Forever and The Dance is Over.
TIM MAIA: WORLD PSYCHEDELIC CLASSICS 4: NOBODY CAN LIVE FOREVER: THE EXISTENTIAL SOUL OF TIM MAIA.
BLUE NILE-HATS.
BLUE NILE-HATS.
For most groups, a gap of five years between albums would be unthinkable. It just wouldn’t happen. Either the group would be keen to get a new album released, or their record company would be pressurizing them to do so. Not the Blue Nile. In fact, the five years between their debut alum A Walk Across the Rooftops and their sophomore album Hats, wasn’t long by their standards. Indeed, there was a gap of seven years between Hats, and their third album Peace At Last. The gap between albums three and four grew to eight years. High, which proved to be the Blue Nile’s swan-song was released in 2004. It had been so long between albums, that a new millennia had dawned. However, fifteen years earlier, Paul Buchanan, Robert Bell and P.J. Moore released what many people perceive as their finest album, Hats, which was recently rereleased and remastered as a double album. Disc One features the newly remastered version of Hats, while Disc Two contains a disc full of Blue Nile rarities. When I recently reviewed the Blue Nile debut album, A Walk Across the Rooftops which was also rereleased and remastered, I said that I found it hard to decide whether A Walk Across the Rooftops or Hats was their finest album. Once I’ve reviewed Hats, I’ll now decide which album is indeed the Blue Nile’s finest hour.
Five years had passed since A Walk Across the Rooftops had been released by Linn Records. A Walk Across the Rooftops was Linn Records first release. Indeed, Linn had specifically set up the label to release A Walk Across the Rooftops. It was the perfect way to showcase Linn’s high end hi-fi products. During the previous five years, the Blue Nile proved they were no ordinary band.
Describing the Blue Nile isn’t easy. They were enigmatic, almost reclusive and publicity shy. The Blue Nile weren’t exactly your normal band. Not for them the rock “n” roll lifestyle favored by other bands. In many ways, neither musical fashions nor fads affected them. Their attitude was almost contrarian. Albums were recorded slowly and methodically as the Blue Nile strived for musical perfection. This wasn’t a group willing to jump onto a musical bandwagon in pursuit of fame, fortune or supermodels. Quite the opposite. It seemed to be their way or no way. So, for their sophomore album Hats, Paul, Robert and P.J. retreated to the studio. Once there, it seemed they sought musical nirvana, perfection. What they came up with was Hats, which was pretty near it.
Hats featured seven tracks, written by Paul Buchanan, Glasgow’s answer to Frank Sinatra, a tortured troubadour, whose voice sounds as if he’s lived a thousand lives. Producing Hats was group effort, with Paul, Robert and P.J. taking charge of production duties. Guiding them, was Callum Malcolm, who with Paul and Robert took charge of recently remastering both A Walk Across the Rooftops and Hats. On the release of Hats, American audiences proved more discerning and appreciative of the Blue Nile’s sophomore album Hats.
On the release of Hats in the UK in 1989, it was critically acclaimed, but not a commercial success. Then when it was released in America in 1990, audiences seemed to “get” Hats. Not only did it reach number 108 in the US Billboard 200 Charts, but The Downtown Lights reached number ten in the US Modern Rock Tracks charts. While this was a small crumb of comfort for the Blue Nile, in the UK, they remained a well kept secret. Since the release of Hats, like their debut album A Walk Across the Rooftops it’s become a minor classic. Indeed, if everyone who claimed to have originally bought Hats had indeed done so, the Blue Nile would’ve been fabulously wealthy. Now twenty-three years later, somewhat belatedly, Hats has been remastered and rereleased. This seems like the perfect opportunity to decide whether A Walk Across the Rooftops or Hats was the Blue Nile’s finest hour.
In many ways, Hats is a like a musical journey, a voyage of discovery. Over The Hillside is the first step on the journey. Slow, spacious drums, washes of wistful synths and a dramatic guitar combine. Then Paul’s worldweary vocal enters. The sheer drudgery, repetitiveness and almost hopelessness of everyday life flavors Paul’s vocal. Sage-like, he sees through living to work and working to live. It fills him with dread and despair. Reflecting this, is the arrangement, with its somewhat industrial, repetitiveness. Drums with a synthetic, monotonous regularity and washes of wistful synths combine. As the drums reflect the pointlessness of the 9 to 5 life, synths offer a sympathetic backdrop. Meanwhile, eloquently and giving voice to the lack of hope, opportunity and escape, is Paul’s vocal, which brings to life the relentless grind of modern life. Bleak, honest but eloquence personified is this five minute track.
A sprinkling of cascading synths gives way to thunderous drums and washes of synths as The Downtown Lights begins. Soon, Paul Buchanan’s tortured vocal enters. It’s a mixture of emotions, worldweary, but heartfelt and reassuring. Drums cracks, synths fill the gaps and a pounding, broody bass reflects the drama in Paul’s vocal. As the arrangement grows in power and drama, so too does the emotion and reassurance in Paul’s voice. When he sings “it’s alright,” you believe him. His vocal grows in emotion and soulfulness, enveloped by swathes of synths, a funky bass and crispy drums. Later, as the power, drama and emotion grows, driven along by chiming guitars, you realize this is deeply soulful, but not soul music. Instead, it’s music for the soul, music about love, being in love and insecurity.
Waves of synths meander, growing in tension and drama. Let’s Go Out Tonight has just began to reveal its cerebral beauty. Guitars chime, while the backdrop is minimalistic. Paul’s whispered vocal is filled with despair. His relationship is almost over. It’s on its last legs. Rather than stay home and talk about it, it’s easier to go out. Best to dance around the subject and problems, rather admit it’s over. Meanwhile, synths, keyboards and guitar join Paul’s vocal, as he lays bare his soul, his hurt and heartache. His voice is tinged with regret and sadness, as if he can’t believe it’s over. For anyone whose been in this situation, or is going through it, then this song describes it perfectly. Quite simply, this is highlight of Hats and one of the Blue Nile’s greatest songs.
The tempo increase on Headlights On The Parade. So too does the emotion. Blue Nile mix moody funk courtesy of the bass and guitars with waves of bright, hopeful synths and stabs of keyboards. It’s almost as if they’re setting the scene for the worldweary troubadour, Paul Buchanan. From the moment Paul’s vocal begins, his vocal is filled with emotion. Saying: “I love you” isn’t easy, it’s hard, the three hardest words for him to say. Waves of symphonic, hopeful music cascade, envelop Paul’s vocal as he finally plucks up the courage.When he does, it’s almost a relief, it seems. Keyboards and quivering strings join him. Having found the courage, they serenade the one he loves. The result is an elegant, symphonic and beautiful song, one about conquering and overcoming the fear of commitment and the fear of rejection.
From A Late Night Train is a track that’s wonderfully moody and melancholy. The arrangement is broody and minimalistic, meandering behind Paul’s heartfelt vocal. It’s a bit like Frank Sinatra meets Brian Eno. Keyboards picked out carefully and cautiously are joined by occasional bursts of wistful horns. Slowly, Paul delivers lyrics that are poetic, with a strong narrative and steeped in emotion. His half-spoken vocal is filled with sadness, as he sings of his relationship being “over now.” You can imagine him heartbroken, sitting on the late night train, wondering why and what could I have done differently? Considering this track is only four minutes long, it’s a poetic, descriptive and emotive tour de force, Blue Nile style.
Squelchy synths, crunchy drums and percussion join a funky bass as Seven A.M. unfolds. A combination of an industrial sounding arrangement, which brings to mind Can, Neu and Velvet Underground join Paul’s worldweary, wistful vocal. Pensive, probing and questioning, he wonders “where is the love?” It’s a question posed a thousand times before, puzzling poets and philosophers alike. Paul sounds just as puzzled, pondering, wondering. Lovelorn and confused Paul and the Blue Nile bring out the subtleties and beauties of the lyrics, but pose a question that’s unanswerable, even for them.
Saturday Night sees the Blue Nile close Hats with another of their Magnus Opus.’ Like Let’s Go Out Tonight, this is classic Blue Nile. Washes and stabs of synths, chiming guitars, a buzzing bass and crispy drums combine with Paul’s vocal. It’s a mixture of hope, happiness and longing, but tinged with insecurity. Washes of synths and lush strings cascade. They sweep and swirl, and are joined by chiming guitars. Together they envelope Paul’s deeply soulful vocal. His vocal is filled with hope and emotion and plays its part in one of the most beautiful tracks the Blue Nile ever recorded. As if a remastered version of Hats isn’t enough in itself, then there’s the bonus disc.
Unlike the original version of Hats, the newly remastered and rereleased version includes a second disc of six bonus tracks. While these tracks may not be particularly rare, they offer an insight to an enigmatic band. A live studio version of Seven A.M, alternate versions of Saturday Night Let’s Go Out Tonight are three hidden gems from the Blue Nile back-catalogue. So too is the live version of Headlights On the Parade, which is the perfect reminder of how good a live band the Blue Nile were. The Wires Are Down is a tantalizing glimpse of the Blue Nile and what might have been. I’m sure there’s many more tracks like this hidden, safely away in the Blue Nile’s vaults. Hopefully, before too long, we’ll be able to hear many more of these hidden gems. So, having told you about the newly released, remastered version of Hats, is Hats a better album than their debut album A Walk Across the Rooftops?
Hat’s is a captivating, bewitching and beautiful album, where the Blue Nile lay bare their soul. Not only do they lay bare their soul, but articulate their hopes, fears, frustrations and dreams. Articulating this range of emotions, is Glasgow’s troubled troubadour, who mixes Frank Sinatra, Tom Waits and Tim Buckley, but doing so in a way that’s almost quintessentially Scottish. This newly remastered version of Hats accentuates the Scottishness of the seven songs. However, despite this quintessentially Scottishness, the music transcends geographical boundaries. For anyone whose lived, lost and lost love, then this album speaks to and for them. It brings to life their heartache and hurt, their sense of how life will never be quite the same again. Combining elements as diverse as Brian Eno, Can, Neu and the Velvet Underground Hats is an album of many influences, but unique. Only the Blue Nile could produce an album so special, so deeply soulful, beautiful and emotive. In some ways, Hats is a very different album from A Walk Across the Rooftops, the Blue Nile’s debut album. However, is Hats a better album?
A Walk Across the Rooftops was one of the best debut albums released by a Scottish, or indeed British band. A Walk Across the Rooftops belongs in every self-respected record collection. So too does Hats. Both albums are the perfect introduction the Blue Nile and their music. After just one listen to the seven tracks on A Walk Across the Rooftops and Hats, you’ll fall in love with the music of the Blue Nile. These were the two best albums of the Blue Nile’s career. Choosing which is the best album is like asking a parent which of their children is their favorite child. Just like they’d refuse to answer the question, I’m going to refuse to choose between not just two of my favorite albums, but two of the best albums released by a British band in the last forty years. Instead, I’ll leave you to decided. The best way to do this, is to buy copies of A Walk Across the Rooftops and Hats, two of best albums by one of music’s best kept secrets. Standout Tracks: Let’s Go Out Tonight, From A Late Night Train, Seven A.M. and Saturday Night.
BLUE NILE-HATS.
dereksmusicblog
dereksmusicblog 