DISCO DISCHARGE-CLASSIC DISCO, DISCO LADIES AND DISCO FEVER USA.
DISCO DISCHARGE-CLASSIC DISCO, DISCO LADIES AND DISCO FEVER USA.
Throughout the history of popular music, various artists and types of music have managed to provoke a variety of reactions. From the release of Billy Haley and The Comets’ Rock Around the Clock in 1955, to the shock and horror that greeted Elvis Presley’s gyrations on American national television, music can provoke reactions and divide opinion. In the UK, both The Beatles and The Rolling Stones provoked controversy during the early part of their career. Some of their antics, controversies and misjudged comments shocked older generations and opinions were divided over their influence on youth culture. Fast forward to the seventies and two very different musical genres played an important role in the decade’s musical history. Punk raised its ugly head around 1976, and quickly, became the latest genre of music to provoke controversy and divide opinion. With its DIY attitude to music, and nihilistic outlook on life, this bleak music reflected an equally bleak time in the UK. Over the Atlantic, one of the most distasteful reactions to music was taking place, the Disco Sucks movement.
After disco had moved from the underground to become a musical phenomenon, sweeping the world along in it its sweet, musical wake, a backlash began. From being one of the most popular types of music, thanks to films like Saturday Night Fever, suddenly the tide turned, and disco was no longer de rigueur. This cumulated in the DIsco Demolition Night in Chicago, when the Disco Sucks movement not only tried to destroy a musical genre, but nearly destroyed the Chicago White Sox’s stadium. This event had started as a supposed “prank,” but manifested itself into something quite distasteful, which reeked of homophobia and racism. Having encouraged locals to bring along disco records to the stadium which would be blown up. The local disc jockey responsible for the event, whipped up the “good ole boys” watching into a distasteful frenzy, before blowing up the pile of discarded records. Disco however, nearly had the last laugh when the “prank” nearly backfired, just about demolishing the stadium and the “good ole boys” watching. However, despite the best efforts of all those involved, and the abandonment of disco by radio stations and the music industry, disco never died. Instead, just over thirty years later from that fateful day, disco is just as popular as ever, with many labels rereleasing some of the brilliant music from that magical time back in the seventies, when disco ruled the airwaves.
One of these labels is Harmless, who during 2009, 2010 and 2011, released the Disco Discharge series. On twelve albums, so far, they’ve revisited some of best disco music ever released. They’ve spilt the music into subsections, with one disc featuring Classic Disco, another Disco Ladies, while Euro Disco, Boogie and some of disco’s hidden gem’s are unearthed by the good people at Harmless. It seems no stone has been left unturned in the pursuit of the best disco music ever recorded. During this article, which will be the first of a series of articles on the Disco Discharge series, I’ll introduce you to some of the compilations, and tell you what awaits the listener on my first three choices from the Disco Discharge series.
DISCO DISCHARGE-CLASSIC DISCO.
Like all the Disco Discharge compilations, the Classic Disco compilation is a two-disc set and does indeed feature some classic disco tracks. Thankfully, the compilers have resisted the urge to feature the usual predictable tracks that grace supposed classic disco compilations. This compilation is something quite different, and sees the compilers dig deeper into the disco archives to find tracks that deserve the tag classic disco. Classic Disco was released in 2009, and features twenty-one full length tracks that are unmixed. Thankfully, the compilers have resisted the urge to release this as a mixed CD, allowing the listener to hear the tracks in their full glory.
Disc One features some great music, with two of my favorites including Cheryl Lynn’s classic Got To Be Real and Rose Royce’s Do Your Dance. This is from Rose Royce’s number one US R&B album Rose Royce II: In Full Bloom, which also reached number nine in the US Billboard 200. The album was produced by Norman Whitfield, and is what I’d refer to as classic Rose Royce.
Another of the highlights has to legendary drummer Idris Muhammed’s Could Heaven Be Ever Be Like This. Of all the tracks on the album, this is one of the curveballs the compilers have thrown. However, the track sits well with the other twenty tracks on the album, and has long been a track that I’ve loved.
Esther Phillips is another legend of music who features on Classic Disco. The compilers have chosen to include the title track of her 1975 album What A Difference A Day Makes, which was one of Esther’s best albums for the Kudi/CTI label, one of her most commercially successful albums, reaching number thirteen in the Us R&B Charts. Her version of What A Difference A Day Makes totally transforms the track, giving it a unique twist with her unique vocal style.
Disc two of Classic Disco sees The Players Association contribute Turn the Music Up, which to me, is one of disc two’s best track. This was the title track from their 1978 album Turn the Music Up, which reached number fifty-four in the UK charts. When the track was released as a single, it reached number eight in the UK and number fifty-nine in the US R&B Charts. How a track of this quality never fared better in America, seems strange. However, it’s given another chance to shine here on Classic Disco
The quality continues with Cerrone’s Look For Love and Glen Adams Affair Just A Groove. One track I particularly like is Don Ray’s epic track Got To Have Loving, which benefits from an excellent arrangement.
Overall, Classic Disco is an album which is packed with some excellent disco tracks. It’s very much a case of it does what it says on the tin. Classic Disco is the title, and that’s what you get. Of the twenty-one tracks on the two discs, the only one that surprised me when I originally bought the album was the inclusion of a Johnny Mathis track. However, when I listened to the track I got a welcome surprise, with the track much better than I’d originally thought. What I do like about this compilation is that the tracks are full length and original versions, not chopped down versions that you sometimes find on similar compilations. If you’re a fan of disco and haven’t discovered the Disco Discharge series, then this is a good place to start.
DISCO DISCHARGE-CLASSIC DISCO.
DISCO DISCHARGE-DISCO LADIES.
During the disco era, many a disco diva was discovered and many other female singers were unexpectedly and suddenly transformed into disco divas. Disco Ladies features some tracks that will be familiar to many people, and few that will take you be surprise. However, they will be a welcome surprise once you hear them. The album combines solo artists and groups, with twenty-one quality tracks from some of the stars of the disco era.
When you listen to disc one of Disco Ladies, you’re in for an aural treat that will soon have you trying to resist the urge to dance along to theses hook laden classics. The disc opens with Fern Kinney’s sweet sounding track Groove Me, while Sister Sledge contribute the irresistible You Fooled Around. It’s from the second album Niles Rogers and Bernard Edwards produced for Sister Sledge, Love Somebody Today, released in 1980. That is one of my favorite tracks from the this album, along with a true classic, Stacy Lattisaw’s hook heavy Jump To the Beat. Add to this diva Lucy Hawkins’ dramatic and sweeping Gotta Get Outta Here and you get an idea of the sheer quality of music on Disco Ladies. One other track that deserves a mention is A Taste of Honey’s sweet and catchy Boogie Oogie, which reached number one in the US R&B and US Billboard 100 charts in 1978. This is just the latest in a line of quality disco tracks on disc one.
Although the first disc is full of classic tracks, this isn’t one of these albums where the second disc disappoints. Often, two-discs sets are top heavy on quality on disc one, while disc two slides into mediocracy. Not here, no way. With Melba Moore’s Pick Me Up, I’ll Dance from her 1978 album Melba. This track was often played by the legendary DJ Larry Levan at the Paradise Garage. With such a pedigree, there’s no higher recommendation.
While many people in the UK will always remember Phyllis Nelson for her 1984 number one single Move Closer, it’s another of her biggest hits that features on Disco Ladies, I Like You. The version included is the excellent Sheb Pettibone Remix. I Like You gave Phyllis’ number one her biggest hit in America, reaching number one in the US Dance Charts in 1985.
Of the other tracks on disc two of Disco Ladies Silver Convention’s Get Up and Boogie (That’s Right) is a true classic, while The Richie Family’s Give Me A Break is one of my personal favourites.
Like Classic Disco, Disco Ladies is a mixture of the familiar and a few surprises. One of the surprises was the inclusion of Janis Ian’s Fly Too High. However, like the Johnny Mathis track on Classic Disco, this works and is a welcome addition. Of the twenty-one tracks, the compilers have managed to keep up the standard throughout the two discs, without letting their standards drop. As someone who has bought many similar compilations over the year, I was really impressed when I first bought the album in 2009. It allowed me to hear some tracks that have long been favourites of mine, alongside some that I wasn’t quite as familiar with. For anyone who loves good quality disco music sung by some of the divas of the seventies, then this is a compilation that’s well worth buying.
DISCO DISCHARGE-DISCO LADIES.
DISCO DISCHARGE-DISCO FEVER USA.
Disco Fever USA was one of the Disco Discharge compilations in 2011, and is absolutely chock full of some delicious disco music. Of all the compilations in the series, this is one that features some of the biggest names of the seventies. This includes Earth, Wind and Fire, Gloria Gaynor and Teddy Pendergrass. Add to this, Fern Kinney, Cissy Houston, Marlena Shaw and Linda Clifford and you’ll see not only how comprehensive and eclectic a compilation this is. In total, there are twenty-two tracks on the two discs, with just one track in particular being a surprising choice, Johnny Mathis’ Original Disco Version of Begin the Beguine seeming a strange track to include. However, apart from that one track, there’s some great music on Disco Fever USA.
Fern Kinney’s Baby sensual Let Me Kiss You opens side one of Disco Fever USA. Although best known for other disco hits Together We Are Beautiful and Groove Me, which features on Disco Ladies, this is another of the former Poppies vocalists best tracks.
Claudja Barry contributes Why Must A Girl Like, with the Tom Moulton Mix used, with its swirling strings and backing vocalists playing an important part in this joyous track.
Cissy Houston, mother of Whitney and aunt of Dee Dee and Dionne Warwick provides one of the best tracks on disc one You’re the Fire. This is very different from Cissy original music with the Sweet Inspirations, when she combined gospel and soul. Although You’re the Fire didn’t replicate the commercial success of her other disco hit Think It Over, it managed to come in second in the 1979 World Popular Song Festival, winning Cissy the Most Outstanding Performance Award.
Although there’s an Earth, Wind and Fire track on the album, Boogie Wonderland, this is an instrumental version of their hit single. The original reached number six in the US Billboard 200 and number two in the US R&B Charts, while it reached number four in the UK. Even without the vocal, the instrumental version of Boogie Wonderland deserves its place here.
Like the first disc, the second disc features some great music, with one of my favorites Teddy Pendergrass’ Life Is A Song Worth Singing. This is the title track from Teddy’s second Philadelphia International album Life Is A Song Worth Singing. It reached number eleven in the US Billboard 200 and number one in the US R&B Charts, being certified platinum having sold over one million copies. Written by the Thom Bell and Linda Creed songwriting partnership, it’s Teddy at his very best.
You could hardly have a series of disco compilations without including one of Gloria Gaynor’s tracks. The one chosen by the compilers is Love Is Just A Heartbeat Away (Nocturna’s Theme). This original disco mix was from the soundtrack to Nocturna, and is an interesting choice of track. Many compilers would choose one of Gloria’s more familiar tracks, either from her Never Can Say Goodbye or an old and tired chestnut like I Will Survive. Thankfully, we’ve been spared another outing of I Will Survive, with this a much more interesting and in my opinion, a much better track. The compilers should be thank for their inventiveness and left-field choice of track.
Another diva to feature on Disco Fever USA is Linda Clifford and her version of If Her Friends Could See Me Now. This was the title track from her 1978 album If Her Friends Could See Me Now, which reached number twenty-two in the US Billboard 200 and number nine in the US R&B Charts. When the track was released as a single, although it only reached number fifty-four in the US Billboard 100 and number sixty-eight in the US R&B Charts, it gave Linda a number one in the US Dance Charts. This was deserved, given the dramatic arrangement that builds and builds, with Linda’s soaring, joyous vocal sitting on top. Of the eleven tracks on disc two, this is one of the highlights.
My final choices from disc two are Slick’s Space Bass and Boys Town Gang’s version of Yester-Me, Yester-You Yesterday, originally recorded by Stevie Wonder on is My Cherie Amour album. Boys Town Gang’s version is quite different but has a gospel tinged sound, with a lovely thoughtful, slightly dramatic vocal. Although it isn’t as quick as some of the songs on the album, it’s quite beautiful and a very welcome addition to Disco Fever USA.
Disco Fever USA is another album crammed full of some quality disco music, with the compilers surpassing themselves yet again. Sometimes, they’ve chosen to eschew the obvious, throwing a few curve balls. Three examples of this are the instrumental version of Earth, Wind and Fire’s Boogie Wonderland, not choosing a more obvious Gloria Gaynor track and the lovely mid-tempo version of Yester-Me, Yester-You Yesterday by Boys Town Gang. Other compilers would’ve stuck to more familiar territory, including the original version of Boogie Wonderland and one of Gloria Gaynor’s better known tracks. Not Harmless, no they’ve thought outside the box, bringing us a compilation that although features some familiar tracks, has a few surprises along the way. With disco divas sitting next to soul superstars and Hi-NRG heroes, Disco Fever USA features some of the magical and majestic disco music that swept America by storm, and not long after, the rest of the world. This compilation gives you the chance to relive these glory days, and prove to the doubters that disco doesn’t suck, and never did.
DISCO DISCHARGE-DISCO FEVER USA.
PHILLY BUSTERS AND SMOOTH GROOVES.
PHILLY BUSTERS AND SMOOTH GROOVES.
Usually around the Christmas and New Year period, you don’t expect to find a series of ten, yes ten great soul compilations to be released. Usually at this time of year it’s a myriad of predictable greatest hits or best of albums from the usual suspects. Add to that the usual TV advertised albums aimed at the casual music buyer, and the pre-Christmas period is hardly inspirational for people who must have their fix of music fifty-two weeks of the years. Post-Christmas is usually the time when various record shops roll out the same “bargains” that they’ve been trying to shift for more years than I care to remember. The same mixture of supposed classic albums, greatest hits compilations and a smattering of unappealing box sets don’t seem to find someone to put them out of their misery and give them a good home. However, this year, was different, when Backbeats released the third installment of their highly successful and quite brilliant series on 26 December 2011.
The Backbeats label is a subsidiary of Harmless Records, who have been releasing quality compilations since 1996. Since then, they’ve released well over one-hundred compilations, with their Pulp Fusion series one of the most consistent and successful compilation series. With music ranging from the numerous funk, soul and breakbeat compilations to Latin and African funk compilations, Harmless dug deeper than many of their competitors, with one quality compilation following the previous one.
Back in 2010, Harmless decided to release the Backbeats series, with the first ten installments of the series being released. The music on the first ten albums ranged from New York Garage, 80s Chicago House and Northern Soul to Breakbeats, Smooth Chicago Soul and Philly Disco. Each of these ten compilations was crammed full of great music, chosen by compiler Ian Dewhirst, who was responsible for the Mastercuts series.
Earlier in 2011, the second installment of the Backbeats series was released. Again, Ian Dewhirst had chosen some wonderful music, with the series including 70s New York Disco, Southern Soul and Crossover Soul to 70s Detroit Soul, 70s Funk and more fantastic Philly Soul. Like the first ten albums, they were well received and sold well. What made the Backbeats series even more appealing was their affordability. Unlike other compilations, which are much more expensive and feature similar music, they’re available for less than £4, or $6. The only difference is that the sleeve-notes aren’t the most comprehensive. However, while other compilations feature more in-depth sleeve notes, what really matters is the music. If people want to know more about the music, there’s plenty of information available on the internet. After the second installment of the series, which not only kept up the quality of the first series, but improved upon it, I was eagerly awaiting the third installment. When I saw they were available on 26 December, I decided to treat myself, a late Christmas present. This I added to the other two batches of albums, so to do the series justice, I’m going to do a series of articles on the compilations. The first of these will focus on the two new compilations which feature The Sound of Philadelphia, Philly Busters and Smooth Grooves. This will augment a previous article on Philly Soul entitled The Philadelphia Sound-Sweet Soul Music which reviewed a number of Philly compilations, including to the two previous Backbeats Philly compilations Philly Disco and Philly Freedom.
PHILLY BUSTERS.
As someone who absolutely adores the The Sound of Philadelphia, and especially the music produced by Gamble and Huff at Philadelphia International Records and Thom Bell at both Philly Groove and Philadelphia International Records, Philly Busters was one the compilations I eagerly awaited. What would be on it? Would there be some rare hidden gems that had been lurking hidden away, in the corners of the Philadelphia International Records archives? Once I received Philly Busters and studied the music on it, I realised that what I’d describe as Philadelphia royalty featured on the album. There are songs from some of the biggest and most successful groups and solo artists that recorded for Philadelphia International. With the groups including The O’Jays, Harold Melvin and The Blue Notes, The Stylistics and The Trammps, while solo artists like Billy Paul, Teddy Pendergrass, Lou Rawls and Dee Dee Sharp Gamble all featured, this was quite simply a compilation long on quality and without any filler or poor tracks. To choose seventeen fantastic Philly tracks takes some doing, but compiler Kev Roberts manages to achieve this, and does so with aplomb. Although the casual listener will recognize many of the tracks on the album, they may not recognize The Futures, Anthony White or Don Covay. However, those of us who love the Philly Sound will remember and cherish their music. Choosing the best tracks on Philly Busters isn’t easy, with so many great tracks to choose from, but I’ll mention some of the best and some of my favorites of what are rightly referred to on the album cover as “underground Philly dancefloor gems.”
I’ve always thought that two men who sometimes don’t get the credit for their achievements in the success story that Philadelphia International became. They were Gene McFadden and John Whitehead, who most people will remember for their eight million selling hit single Ain’t No Stoppin’ Us Now. Not only were they prolific songwriters and producers, but they were successful recording artists, who recorded some wonderful and underrated music. One of their tracks features on Philly Busters, the joyous, uptempo and hugely catchy I Heard It In A Love Song, the title track of their 1980 album. This is one of my favorite tracks on this compilation. Too often, compilers predictably choose the excellent Ain’t No Stoppin’ Us Now forgetting that Mc Fadden recorded many other great tracks. So to compiler Kev Roberts, a big thank you for putting this track on the album.
Two of Philadelphia International’s biggest groups The O’Jays and Harold Melvin and The Blue Notes feature on Philly Busters. The O’Jays contribute one of the most familiar and beautiful tracks Darlin’ Darlin, Baby (Sweet Tender Love), which is a bona fide Philly Soul classic. It gave The O’Jays the second US R&B number one hit of their career, although strangely, the track only reached number seventy-two in the US Billboard 100. The track was from The O’Jays 1976 album Message In the Music, which reached number three in the US R&B Charts and number twenty in the US Billboard 200. Although this is a track many people will know, its beauty deserves to be heard and shared by as many people as possible.
Another of the biggest groups on Philadelphia International were Harold Melvin and The Blue Notes. Tell the World How I Feel About Cha Baby is from their hugely successful, 1975 album Wake Up Everybody. It gave the group a number one US R&B album, while Tell the World How I Feel About Cha Baby gave them a number seven US R&B hit single. It’s a welcome addition on Philly Busters, and makes a change from the usual Harold Melvin and The Blue Notes tracks compilers gravitate towards.
Three of the biggest solo artists on Philadelphia International feature on Philly Busters Billy Paul, Teddy Pendergrass and Lou Rawls. Billy Paul contributes two tracks, I Trust You and Let The Dollar Circulate. Of the two tracks, my favorite is Let the Dollar Circulate from his 1975 album When Love Is New, which reached number seventeen in the US R&B Charts. It’s a socially conscious slice of soul from Billy and is one of seven fantastic tracks on the When Love Is New album.
With so many great Teddy Pendergrass tracks to choose from, compiler Kev Roberts has chosen When Someone Loves You Back, from Teddy’s number one US R&B album Life Is A Song Worth Singing. Although this wasn’t one of the two singles released from the album, I’ve always thought that When Someone Loves You Back was one of the best tracks on the album and I’m glad that Kev Roberts agrees with me about this.
The third of these solo artists is Lou Rawls, with his Gamble and Huff penned track Groovy People one of the catchiest tracks on the album. It’s from Lou’s 1976 All Things In Time album and when it was released as a single, it gave Lou a number nineteen US R&B hit single. Incidentally, Leon Huff has released a new album Groovy People, which features a new version of this track.
Apart from Billy Paul, Teddy Pendergrass and Lou Rawls, Philly Busters features Jerry Butler, Dee Dee Sharp Gamble and Jean Carn, another trio of successful solo artists on Philadelphia International. The Jerry Butler track (I’m Just Thinking About) Cooling Out is from his hugely underrated 1978 album Nothing Says I Love You Like I Love You. When (I’m Just Thinking About) Cooling Out was released as a single it reached number fourteen in the US R&B Charts. While Jean Carn has two tracks on the album, (No No) You Can’t Come Back Now and Sweet and Wonderful which features Glenn Jones, the Dee Dee Sharp track Happy ‘Bout the Whole Thing is another great dance track, and a worthy successor to the classic Breaking and Entering which featured on Philly Disco.
One of the non-Philadelphia International groups to feature on Philly Busters is The Trammps. Stop and Think from their 1975 album Tammps is chosen. Again, compiler Kev Roberts has resisted the temptation to choose one of their more familiar tracks. After all, everyone has heard Disco Inferno and Hold Back the Night many times on many other compilations, so it’s good to hear something many people won’t be familiar with, unless they happen to own the original album.
Overall, Philly Busters is one of the best Philly Soul compilations I’ve come across recently, and believe you me, I’ve got a number in my collection. Although I’ve only mentioned some of the seventeen tracks, there isn’t a bad track on the compilation. This is no mean feat, considering many compilations on other labels feature just a smattering of quality tracks. That isn’t the case here, with one great track following another. With Philly royalty like Harold Melvin and The Blue Notes, The O’Jays, Billy Paul and Teddy Pendergrass just four of the fifteen artists gracing the album, it’s the perfect introduction to some of the wonderful music of The Sound of Philadelphia. Even today, each of the seventeen dance-floor friendly tracks are still guaranteed to fill a dance-floor.
PHILLY BUSTERS.
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SMOOTH GROOVES.
Smooth Grooves is the perfect companion to Philly Busters, and is describes on the album cover as “sophisticated 80s Philly soul, although much of the music was recorded and released during the seventies.” Now connoisseurs of Philly soul may protest and say that the best music coming out of Philadelphia was recorded and released during the seventies. However, that to me, is unfair as even into the eighties, a lot of good and quite underrated music was coming out of “The City of Brotherly Love.” By this time, groups like The Stylistics and The O’Jays may not have been as popular as during their seventies heydays, but they were still producing some quality music. Both groups feature on Smooth Grooves, as do artists like Billy Paul and Lou Rawls. Other familiar faces like Dee Dee Sharp Gamble, Bunny Sigler, Jean Carn and The Jones Girls all feature on Smooth Grooves. However, there are some groups that the casual listener may not have heard of. These include Instant Funk and Silk. Overall, it’s a good combination of familiar and unfamiliar artists, all with one thing in common quality. I’ll now tell you about some of the best tracks on the album.
Three of the biggest groups on the album are The Stylistics, The O’Jays and M.F.S.B. Between them, they’ve sold many millions of albums and during their careers, recorded for Philadelphia International Records. The Stylistics track is Mine All Mine from their 1981 Closer Than Close album. It only reached number 210 in the US Billboard 200 and number forty-four in the US R&B Charts. Despite this, Closer Than Close like Hurry This Way Again and 1982, all feature some fine music, and are a trio of hugely underrated albums from The Stylistics. Sadly, when Mine All Mine was released as a single, this lovely Dexter Wansel and Cynthia Biggs track failed to chart. Regardless of this, Mine All Mine is a good addition to the album by compiler Ralph Tee.
The O’Jays track Lovin’ You on Smooth Grooves is also from one of their later albums, but in 1987, gave the group their first number one US R&B single since Used Ta Be My Girl in 1978. Written by Gamble and Huff, the track was from their 1987 album Let Me Touch You which reached number three in the US R&B Charts and number sixty-six in the US Billboard 200. Like The Stylistics, The O’Jays proved they could still produce quality music into the eighties.
M.F.S.B. were the third of the supergroups that feature on Smooth Grooves. Their track is Tell Me Why from their 1980 album Mysteries of the World. Adding the vocal is Carla Benson, who sung on some of the biggest hits on Philadelphia International, Carla’s vocal can be heard on Billy Paul’s seminal Me and Mrs Jones and McFadden and Whitehead’s Ain’t No Stoppin’ Us Now. Apart from this, Carla’s voice featured on tracks by The O’Jays, Lou Rawls and Teddy Pendergrass. The M.F.S.B. that feature on the track are the second incarnation of the group, after the original M.F.S.B. left Philadelphia International to become The Salsoul Orchestra. Although the legendary Baker, Harris and Young rhythm section had long gone by the time Tell Me Why was recorded, it’s still a track that deserves to feature on this compilation.
Of the other familiar faces to feature on Smooth Grooves, this includes a trio of male superstars in Billy Paul, Teddy Pendergrass and Lou Rawls. Billy Paul contributes You’re My Sweetness from his 1979 album First Class. This was the last studio album Billy recorded for Philadelphia International, and is an album that’s quite underrated. It’s a beautiful, lush slice of smooth soul from Billy, that to me, is one of the album’s highlights.
Like Billy Paul, Teddy Pendergrass doesn’t disappoint, with the Gene McFadden, John Whitehead and Victor Carstarphen penned Easy Easy, Got To Take It Easy. This is taken from Teddy’s debut solo album Teddy Pendergrass, released in 1977. Reaching number seventeen in the US Billboard 200 and number five in the US R& B Charts. Again, this track is an interesting choice, eschewing the three singles released from the album, including I Don’t Love You Any More and The Whole Town’s Laughing At Me. This beautiful laid back track with a sultry vocal from Teddy is one the seventeen reasons for buying this album.
Lou Rawls contribution to Smooth Grooves is one of the most familiar tracks on the album, the gorgeous Lady Love. It’s from Lou’s 1977 third Philadelphia International album When You Hear Lou, You’ve Heard It All. Lady Love was the biggest hit single from the album, reaching number twenty-four in the US Billboard 100 and number twenty-one in the US R&B Charts. This was the last of Lou’s singles to enter the top thirty in the US Billboard 100. The album fared well, reaching number forty-one in the US Billboard 200 and number thirteen in the US R&B Charts. However, of ten tracks on the album, Lady Love was the best, and is one of the best on Smooth Grooves.
The Philadelphia ladies make their contributions to Smooth Grooves with Dee Dee Sharp Gamble, Jean Carn, Phyllis Hyman and Patti LaBelle all contributing some great tracks. Dee Dee Sharp Gamble’s contribution is the Cynthia Biggs and Dexter Wansel penned track I Believe In Love. This is from Dee Dee’s What Color Is Love album released in 1977. I Believe In Love is easiest one of the most beautiful tracks on the album, and I’m sure that many people will investigate Dee Dee’s music further having heard this stunning track.
Start the Fire is the Jean Carn track on the album, and is from her 1979 album When I Find You Love. This was her third album on Philadelphia International, and like Dee Dee’s track, Jean’s doesn’t disappoint. It has a lovely meandering arrangement and stunning vocal from Jean, and is very different from some of her more dance-floor oriented tracks. Again, this is a welcome inclusion from compiler Ralph Tee.
It seems fitting that Phyllis Hyman who was born in Philadelphia, recorded for the city’s best known label Philadelphia International. She recorded four albums during the period 1986-1998. Set A Little Trap is from the Phyllis’ 1998 album Forever With You, which was released three years after her tragic death. The album only reached number sixty-six in the US R&B Charts. However, Set A Little Trap is a lovely reminder of just how talented a vocalist Phyllis Hyman was.
One of the most experienced vocalists on the album is Patti LaBelle, who contributes the title track of her 1983 album I’m In Love Again. The album reached number forty in the US Billboard 200 Charts and number four in the US R&B Charts, and was certified gold. This track a features a powerful and emotive vocal from Patti and is a contrast to the tracks from Dee Dee and Jean.
Two other artists that played an important part in the Philadelphia International story are The Jones Girls and McFadden and Whitehead. The Jones Girls had previously sang backing vocals on albums by Teddy Pendergrass and Lou Rawls on Philadelphia International before the three sisters Brenda, Valerie and Shirley signed a record contract with Philadelphia International. When I’m Gone is from The Jones Girls’ second album At Peace With Woman. It was written by the Cynthia Bigg and Dexter Wansel songwriting partnership, it’s one of the best tracks on At Peace With Woman and features a great lead vocal from Shirley. Again, it’s an interesting choice of track, as many compilers predictably choose their classic track Nights Over Egypt. By choosing this track, it allows the listener to hear something new from three really talented sisters from Detroit, The Jones Girls.
My final choice from this album is McFadden and Whitehead, who were the first artists I mentioned in my review of Philly Busters. Ralph Tee the compiler, has chosen another classic McFadden and Whitehead track I’ve Been Pushed Aside, from their 1980 debut album McFadden and Whitehead. Of all the tracks on Smooth Grooves, this is by far, my favorite, and demonstrates just how multi-talented the duo were. After all, how many other artists had the talent to write and produce their own music?
Overall, Smooth Grooves is a quality compilation featuring some great music that came out of The City of Brotherly Love. With some of the biggest names in the city’s musical history appearing on the album, this is very much a must have album, like its companion Philly Busters. With The O’Jays, The Stylistics, Billy Paul, Teddy Pendergrass, Dee Dee Sharp Gamble, The Jones Girls and McFadden and Whitehead all featuring on Smooth Grooves, it’s an album that’s too good to miss. It features a combination of tracks that you’ll be familiar with and few you won’t. Unlike many similar combinations it isn’t predictable, instead throwing a few curve balls. Like Philly Busters, I can’t recommend this album enough. It’s crammed full of great music, like the rest of the Backbeats series. if you’ve not got the Backbeats compilations in your collection, there are thirty to collect, all of which could be yours for under £120. That to me, is one the biggest bargains you’ll ever come across. That will allow you to hear some wonderful music from Chicago House, Northern Soul and Deep Soul to New York Garage, Breakbeats and Philly Disco. Hopefully, after listening to Smooth Grooves and Philly Busters, and all the other twenty-eight compilations, you too, will explore much more of the music that features on these compilations. With The Sound of Philadelphia, there’s a treasure trove of brilliant music waiting to be discovered, with many of these classic albums being reviewed on this music blog.
SMOOTH GROOVES.
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TERRY CALLIER-TURN YOU TO LOVE.
TERRY CALLIER-TURN YOU TO LOVE.
Have you ever heard of the soul singer who gave up music for fifteen years to become a computer programmer? This isn’t a joke, this is what happened to Terry Callier back in 1983. Before this, the two albums Terry recorded for Elektra in 1977 and 1978 hadn’t been a commercial success, although they’d been well received by critics. The second of these albums Turn You To Love, had been released in 1978, and was the last album Terry released for twenty years, until Timepeace in 1998.
Before Terry Callier recorded what would become Turn You To Love, he’d released some highly regarded albums for both Cadet and Elektra. Terry’s career started at Cadet Records, a subsidiary company of the legendary Chess Records, where he released a trio of critically acclaimed albums. The first of these Charles Stepney produced albums was Occasional Rain released in 1972. What Color Is Love followed in 1973 and I Just Can’t Help Myself in 1974. Sadly, the albums weren’t a commercial success, and Terry was dropped by Cadet. Adding to Terry’s woes was the closure of the Chicago Songwriters Workshop in 1976. This had been set up by Jerry Butler and Terry had joined in 1970. However, Terry’s luck changed in 1977, when he signed for a new label, Elektra.
During his time at Elektra, Terry only recorded two albums, however, they were two great albums. The first was Fire On Ice, released in 1977 and produced by Richard Evans. On the album Terry wrote four of the nine tracks himself, and four others with songwriting partner Larry Wade. With an all-star band backing him that included Philip Upchurch, Larry Wade, George Bohannon and Eddie Harris, and with Minnie Ripperton singing backing vocals, Fire On Ice was a great sounding album. Although critics loved the album, it failed commercially, and was a disappointing start to Terry’s Elektra career. Would things improve with his next album, Turn You To Love?
Like Fire On Ice, Terry managed to assemble a hugely talented group of musicians to accompany him. Looking through the sleeve-notes, it’s like a list of the great and the good of jazz, soul and funk music. Fred Wesley, James Brown’s bandleader and trombonist features on the album, guitarist Wah-Wah Watson, bassist Keni Burke, saxophonist Ernie Watts and keyboard player Earl Van Dyke, are just a few of the names that played on the album. The album was produced, arranged and conducted by Reginald “Sonny” Burke, while Dr. Don Mizell was executive producer and Larry Wade associate producer.
Again, the Terry Callier and Larry Wade songwriting partnership contributed four tracks for Turn You To Love, one of them with producer Reginald “Sonny” Burke. Terry contributed two tracks, Occasional Rain and Ordinary Joe, both of which had featured on his debut album for Cadet, Occasional Rain. There were two covers versions on the album, one was of Steely Dan’s Do It Again. The other was Still Water (Love) co-written by Smokey Robinson and Frank Wilson. Overall, it was mixture of something new, something borrowed and something blue. However, would Turn You To Love be more successful than its predecessor Fire On Ice?
Sadly, when Turn You To Love was released in 1979, it was a familiar story for Terry, the critics loved the album, but it wasn’t a commercial success. With the benefit of hindsight, disco was king in 1979, and albums by singers like Terry Callier were almost unfashionable. Singers like Bobby Womack, O.V. Wright, Syl Johnson and Ann Peebles suffered the same fate. Like Terry would soon be, Bobby Womack was without a record label, with record labels choosing disco over quality jazz and soul. There was one crumb of comfort for Terry with Turn You To Love, when Sign of the Times provided Terry with the biggest hit single of his career. It was released as a single after DJ Frankie Crocker used it as the theme for his radio show. On its release, it reached number seventy-eight in the US R&B Charts. This sadly, was the only success from Turn You To Love. Not long after this, Terry was dropped by Elektra, and for the second time in three years, he was without a record label.
Terry continued to tour until 1983, but never made another studio album during this period. By 1983, changes were afoot in his life. He won custody of his daughter, and started taking evening classes in computer programming. This lead to him taking what would be a prolonged sabbatical from music, which lasted fifteen years. During this period, Terry gained a degree in sociology, raised his daughter, and worked at the University of Chicago. During this period Terry never recorded any music, and the only album that was released was a live album of a 1982 show in Washington, TC In DC. It wasn’t until 1998 that Terry released another album Timepeace, twenty years after the release of Turn You To Love, which I’ll now tell you about.
Turn You To Love opens with the Larry Wade and Terry Callier penned Sign of the Times, which gave Terry his biggest hit single in America, reaching number seventy-eight in the US R&B Charts. Straight away, when the track opens, you realize that this is a really catchy track, that will sweep you along. It’s quite different from Terry’s Cadet era music, with a much more contemporary sound that mixes R&B with elements of funk. This funk influence is immediately noticeable, when keyboards, guitars and the rhythm section combine to produce a funk drenched sound, before a piano enters. Then when Terry’s vocal enters, it too sounds quite different. It’s the way he sings the song that’s different, not as reserved or thoughtful, more moderne in his delivery, full of joy, accompanied by a growling, yet equally joyous backing vocalist. The mid-tempo, dance-floor friendly arrangement almost bounces along, keyboards and synths combining with the rhythm section, while Terry delivers the lyrics with a mixture of emotion, passion and joy. Although quite different to his Cadet era music, it’s hugely catchy and demonstrates a different side to Terry’s music.
Larry Wade wrote Pyramids of Love, a very different song to its predecessor. It’s a much slower track, with some lovely lyrics about love. Swathes of keyboards, rhythm section, guitars and percussion combine before Terry’s tender, gentle vocal enters. Behind him the arrangement is quite full,everything combining perfectly, with subtle backing vocalists accompanying Terry. One of these backing vocalists is Terry, and they repeat the lyrics just after his lead vocal, which has an effective call and response style. Later, strings sweep in, providing a contrast to the combination of keyboards, percussion and rhythm section. By then, Terry’s voice is increasing in power and emotion, soaring high above the beautiful, meandering arrangement, which includes flourishes of synths and backing vocalists accompany Terry. Although this is a very different track from the opening track, it’s much more what you’d expect from Terry, with his tender, thoughtful vocal delivering some beautiful lyrics against a lovely, meandering arrangement.
The title track Turn You To Love was another song written by Terry and Larry Wade. A Spanish guitar opens the track, with a slow, subtle rhythm section and piano accompanying a thoughtful, but beautiful vocal from Terry. Lush strings slowly enter, as the arrangement gradually unfolds. Later, Larry Wade adds a chiming, guitar solo, giving way to sweeping strings that are the perfect accompaniment for Terry’s tender vocal, as he delvers the lyrics about love. These lyrics are the best from the Callier-Wade songwriting partnership on the album. With Terry delivering them with a combination of tenderness and thoughtfulness, and an arrangement that’s both understated and beautiful, this is one of the best songs on the album.
If someone had said can you imagine Terry Callier covering Steely Dan I’d have struggled to imagine the scenario. To me, it was like a line out of Alan Partridge. However, when I first heard this many album years ago, that’s what I encountered. It seems a strange choice for this album, but somehow, Terry and his band make it work. A spacious combination of rhythm section give way to keyboards blazing horns and searing, soaring guitars, before Terry gives slightly strained version of Walter Beckett and Donald Fagen’s lyrics. As the song progresses, he starts to get into the song, while guitars chime and soar, punchy drums and rasping, blazing horns combine. With backing vocalists accompanying him, the song fuses elements of rock, funk and jazz music. It’s a very different version to Steely Dan’s, who seem able to play the track a with looseness and freedom, that allows the song to breath, yet still remaining technically a tight and cohesive unit. Here, the song doesn’t seem to suit Terry’s voice and he has to alter his phrasing, while the band don’t allow the song space to breath. By the end of the track, however, Terry and his band manage to make the song work, just. It’s far from the best song on the album, and surely a song that would’ve suited Terry better could’ve been found. His band are technically excellent, but the song has too rocky a sound for Terry, and I’m sure after the album was released, many people maybe even Terry, questioned the song’s inclusion on the album.
Side two of Turn You To Love opens with the return of one of Terry’s classic songs, Ordinary Joe, which was popular in Northern Soul circles. Here, the song is given a new twist, speeded up with braying horns opening the track, accompanied by the rhythm section and keyboards. When Terry’s vocal enters, it too is quicker, as the song swings beautifully along, given a jazzy twist. His voice is a combination of tenderness and sometimes power, with emotion, joy and passion ever-present. Meanwhile a jazzy bass combines with rasping horns and the rhythm section, with guitars chiming throughout. Together with Terry’s jazz tinged vocal, they transform a classic song into something new, dynamic and full of energy. However, as good as the song is, and it’s excellent, I much prefer the original, which is one of Terry’s best ever songs.
While Ordinary Joe was speeded up, Occasional Rain is slowed way down. It was the title track from Terry’s 1972 album, and like Ordinary Joe is one of his best ever songs. However, this version of Occasional Rain works well, and the slow, spartan arrangement works well, displaying a new, and very beautiful side to the track. With a gentle acoustic guitar and violin combining, Terry’s thoughtful and considered, gentle vocal enters. Later, a harp enters, with flourishes of its beauty combining with the acoustic guitars. This combination is hugely powerful and deeply moving, and with Terry giving one of his best vocals on Turn You To Love, the result is a stunning version of a classic track.
Smokey Robinson cowrote Still Water (Love) with Frank Wilson. It’s another love song, with love compared to still water, as both run deep. As the sound of waves crashing against a beach open the track, a saxophone plays, with Terry’s voice drifting in and out of the track. He’s accompanied by backing vocalists, who play an important part in the track’s success. With piano, rhythm section and guitars accompanying him, a joyful Terry, carefully delivers the lyrics. Horns rasp and backing vocalists sweep in, while the piano is ever-present. The interplay between Terry and the backing vocalists, works really well, and their united soulful voices are a welcome addition. They combine well with Terry and the arrangement resulting in a beautiful, thoughtful track.
Tender, lovely backing vocalists open You and Me (Will Always Be In Love), co-written by Terry, Larry Wade and producer Reginald “Sonny” Burke. Again, the backing vocalists play a vital role in the song, accompanying Terry during the song, while his considered and gentle vocal is sung against a slow, slightly sad arrangement. it’s just the rhythm section, guitars and piano that combine, and for most of the track, it meanders slowly and subtly along. The only time this changes is when Larry Wade unleashes a chiming solo, with flourishes of his jazz guitar, that combine with Terry. Although this sounds good, the arrangement may have sounded better without this, as it detracts from Terry’s vocal and sounds of place with the rest of the arrangement. Despite this, it’s another gorgeous love song, tenderly sung by Terry.
Turn You To Love closes with another Larry Wade and Terry Callier song A Mother’s Love. It’s about a son thanking his mother for all she did for him, all the sacrifices she made for him and how he owes everything to her. A combination of rhythm section, backing vocalists and keyboards accompany Terry. His voice has a tenderness as he expresses gratitude against an arrangement that flows along with horns rasping, and the rhythm section adding brief bursts of drama. Mostly, the arrangement has an understated sound that suits the lyrics. As the song progresses, Terry’s vocal grows in power, as the emotion and passion in his voice grows. As the song ends he’s accompanied by backing vocalists whose voices are perfectly suited to his voice, while the piano and rhythm section provide a subtle and beautiful accompaniment. When this lovely song ends, it seems a good way to end the album. With such lovely lyrics, a gentle, understated arrangement and a tender, emotive vocal full of sincerity and love from Terry, how could you follow that?
Of the two albums Terry recorded for Elektra, Turn You To Love was quite different from its predecessor Fire On Ice. With covers of Steely Dan’s Do It Again, and re-workings of classic Terry Callier songs, like Occasional Rain and Ordinary Joe this saw Terry’s music move in a new direction. Mostly this worked, with Do It Again being the only questionable track on the album. Although Terry and his band made it work, it just seemed the wrong track for Terry. The new versions of Occasional Rain and Ordinary Joe worked well, with the new version of Occasional Rain, adding something new, subtle and quite beautiful to the track. Terry’s cover of the Smokey Robinson and Frank Wilson track Still Water (Love), worked really well and is one of my favorite songs on the album. Of the four songs Terry and Larry Wade cowrote, Pyramids of Love and Turn You To Love are the best, and among the album’s highlights. Apart from the questionable Do It Again, Turn You To Love is an album with some great music on it. Like I said earlier Turn You To Love was a case of something new, something borrowed and something blue. Sadly it was the last studio album Terry recorded for twenty years, until 1998s Timepeace. This sabbatical from music meant that one of the most talented singer, songwriter and musician of his generation was lost to music for far too long. Thankfully, since his return to music in 1998, Terry has recorded some excellent music, including Timepeace and Lifetime, his two best albums since his return from musical exile. Somehow, he effortlessly recorded some stunning music twenty years after the release of Turn You To Love, an album which like its predecessors, has some great music from the hugely talented Terry Caliier. Standout Tracks: Pyramids of Love, Turn You To Love, Occasional Rain and Still Water (Love).
TERRY CALLIER-TURN YOU TO LOVE.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
During the early to mid-seventies, Hi Records were producing some of the best Southern Soul of that time. With Willie Mitchell producing, The Memphis Rhythm Section, Memphis Horns and legendary backing vocalists Rhodes, Chalmers and Rhodes, one great record after another was recorded at the famous Royal Recording Studios and Allied Recording Studios. Back then, Hi had a roster that included some of the most talented purveyors of Southern Soul. Their best known artist was Al Green, who released some critically acclaimed and commercially successful albums, resulting in four of his albums certified gold, and one platinum. However, there was more to Hi than Al Green, with Ann Peebles, O.V. Wright, Otis Clay and Syl Johnson all producing some stunning albums for Hi. Of these artists, Syl Johnson is often overlooked when people discuss Hi. In doing so, some wonderful Southern Soul goes almost unnoticed, because Syl released four albums for Hi, all of which feature some quality Southern Soul.
Syl’s first album for Hi was Back For A Taste of Your Love, which this article is about. It was released in 1973, reaching number nineteen in the US R&B Charts. This was Syl’s most successful album for Hi. His second album, Diamond In the Rough, which I’ve previously reviewed, was released in 1974, but disappointingly, failed to chart. Total Explosion his third album, fared better, reaching number fifty-six in the US R&B Charts. By the time Syl released his final album for Hi, the music industry was a very different place and Hi was a very different label. Hi had been taken over by Cream, and they decided that what would become Uptown Shakedown should be recorded on the West Coast, with some of the top session players accompanying Syl. With no Memphis Horns or Memphis Rhythm Section, it was a different sounding album, albeit one with some fine music on it. Uptown Shakedown failed to chart, not helped by the massive popularity of disco music. This lead to albums by Southern Soul singers like Syl, Ann Peebles, Otis Clay and O.V. Wright not selling in such vast quantities. Even Al Green’s music wasn’t as popular, although his music had changed since becoming ordained as a pastor. However, this was all in the future, and after signing for Hi in 1971, Syl set about recording his debut album for his new label.
Before recording got underway for Back For A Taste of Your Love, ten songs were chosen for the album. Syl cowrote three of them, the title track Back For A Taste of Your Love, I’m Yours and Feelin’ Frisky, which he cowrote with Earl Randle, who wrote or cowrote so many of the great tracks recorded by Hi artists. On Back For A Taste of Your Love Earl wrote four tracks himself, and one with Syl. With The Memphis Rhythm Section, The Memphis Horns and Memphis Strings accompanying him, Syl entered the Royal Recording Studios. Rhodes, Chalmers and Rhodes contributed backing vocals, while Willie Mitchell engineered and produced the album. Having cut ten tracks, the album was due for release later in 1973.
On Back For A Taste of Your Love’s release towards the end of 1973, the album sold well, reaching number nineteen in the US R&B Charts, the highest chart placing of any of Syl’s Hi albums. In total, three singles were released from the album during 1973. The title track Back For A Taste of Your Love, reached number sixteen in the US R&B Charts, while We Did It reached number twenty-three in the US R&B Charts. The only disappointment was I’m Yours, which peaked at number sixty-eight in the US R&B Charts. Overall, the start of Syl’s Hi career had been a success, two hit singles and in Back For A Taste of Your Love an album that was well received and a commercial success. However, what does Back For A Taste of Your Love sound like? That’s what I’ll now tell you.
Back For A Taste of Your Love opens with the title track Back For A Taste of Your Love, which gave Syl a number sixteen US R&B hit single. With horns blazing the track swings into life, with a driving rhythm section accompanying Syl’s sultry vocal. A guitar plays the same line repeatedly, while a Hammond organ wails and horns punctuate the arrangement. The arrangement just swings along, hooks aplenty during what’s a really catchy, swinging track. With the horns and rhythm section playing leading roles in the track’s success, your swept along for just under three minutes of this horn laden, driving track. You become caught up in this uptempo and uplifting track, with Syl’s joyful vocal sitting atop Willie Mitchell’s excellent arrangement.
I’m Yours was another of the three singles released from the album, but only reached a rather disappointing number sixty-eight in the US R&B Charts. This didn’t reflect the quality of the song, which again, sees braying horns, Hammond organ and punchy rhythm section open the track, before an emotive and confident Syl’s vocal enters. With Rhodes, Chalmers and Rhodes accompanying Syl throughout the track, their sweet, soulful voices help make a good track even better, and provide a contrast to Syl’s more powerful vocal. As the track progresses, horns constantly punctuate the track, while the Hammond organ and rhythm section provide the mainstay of the arrangement, and the perfect backdrop for a besotted Syl, whose smitten by his new love, willing to do anything to please her. Together, they combine to produce a joyous and emotive sounding track, with Syl sassy and confident throughout.
The first of the four tracks written by Earl Randle himself, is I Let A Good Girl Go, a very different sounding track to the two previous tracks. It’s slower and full of sadness and regret. It has a much more understated and lush arrangement with strings sweeping sadly and slowly, while the rhythm section play carefully and thoughtfully and guitars chime. Adding to the emotion and sadness is a heartbroken Syl whose full of regret at the girl he mistreated and let go. When a Hammond organ enters, it’s the perfect addition, helping to bring out the heartache and regret in the lyrics, and a perfect accompaniment for Syl’s desperate vocal. This is easily one of the album’s highlights, a track that you’ll never tire of hearing.
With horns blazing Anyway the Wind Blows, another Earl Randle track opens. The horns are joined, chiming guitars and rhythm section, before Syl’s soliloquy enters. He’s despairing, his girlfriend threatening to leave him, and has come to the conclusion he can’t stop her, he’s done all he can to make her happy, so if she chooses to leave, so be it. Against an atmospheric and emotive backdrop of stabs of Hammond organ, rasping horns, lush sad strings and rhythm section, a despondent, but realistic Syl’s voice rises and falls, pain and frustration in his voice ever-present. Here, the addition of the Hammond organ and strings is a masterstroke, adding to an already sad and despondent sounding arrangement, and by combining horns adds to the frustration and anguish in Syl’s voice. This is a classic Willie Mitchell arrangement, providing an arrangement that suits the lyrics and Syl’s delivery of them. Willie’s arrangement and Syl’s vocal brings Earl Randle’s lyrics brilliantly to life, resulting a deeply moving and sad song, but one that’s quite beautiful and thoughtful.
Side one of Back For A Taste of Your Love closes with You Don’t Know Me. This is another slow track, where swathes of strings, rhythm section and Hammond organ combine, before a despondent and thoughtful Syl enters. He’s unhappy, having let his chance of love pass him by, his love unrequited and unnoticed. While a heartbroken Syl sings, Rhodes, Chalmers and Rhodes add subtle and tender backing vocals, as the song meanders sadly along. The strings add to the sadness, as does the Hammond organ, while a thoughtful rhythm section provide the song’s heartbeat. This is a powerful and thoughtful combination, made all the better by the slow tempo and of course, Syl’s heartbroken vocal.
Feelin’ Frisky opens side two of Back For A Taste of Your Love, and is co-written by Syl and Earl Randle. It’s a faster and much more uptempo track, with a more uplifting sound. Blazing horns, Hammond organ and rhythm section provide a swinging backdrop for another sassy vocal from Syl. As horns bray and rasp, the Hammond wails and punchy drums are occasionally joined by Rhodes, Chalmers and Rhodes. Together with Syl and the band, they combine to produce a great sounding track, albeit one where the lyrics don’t have the depth of some of the other tracks on the album.
Another of the three singles released from the album was We Did It, which reached number twenty-three in the US R&B Charts. Here, the tempo increases, with swirling, sweeping strings joining rasping horns, piano and rhythm section before Syl makes his entrance. It’s a happy, joyful Syl we meet, happy that his relationship has lasted, and that they’ve made it through the bad times. With Rhodes, Chalmers and Chalmers sweetly yet soulfully accompanying him, the arrangement sweeps along, with a Hammond organ accompanying the punchy, growling horns and swirling strings that play a key role in the arrangement. When all this is combined with the quicker tempo and Syl’s joyous vocal, the result is a much better track than the previous one, thanks to much better lyrics that have some depth.
Earl Randle wrote Wind, Blow Her Back My Way which straight away, you realise has a classic Willie Mitchell arrangement. A Hammond organ and rhythm section combine to produce heartbreaking arrangement, even before a despondent Syl or the saddest strings enter. Add to this rasping horns and you’ve one of the saddest and emotive arrangements on the albums. Stabs and flourishes of the Hammond add to the sadness, as Syl sings about who he told his girlfriend to leave, and is now desperate for her return. Willie Mitchell provides one of his stunning, trademark Southern Soul arrangements, perfect for a despondent and inconsolable Syl. Although just two and half minutes long, it’s one of the best and saddest tracks, Syl ever recorded for Hi.
I Hate I Walked Away has similarities with the previous track, with swathes of the lushest strings, a wailing Hammond organ and slow rhythm section combining before Syl’s vocal enters. He’s full of regret and despair, having left his girlfriend, and realizing his mistake wants her back. As the emotion results in his voice rising, Rhodes, Chalmers and Rhodes enter, their united vocals swoop in, sympathetically accompanying Syl. With the strings sweeping and swirling, sometimes adding drama, the Hammond adds to the atmospheric slightly bluesy sound. Full of remorse and regret, Syl pleads forgiveness, his voices soaring as he apologizes. This is hugely effective and seems so realistic, that you almost start to get caught up in the scenario, hoping that Syl will be forgiven. That’s testament to both Syl’s vocal and Willie Mitchell skills as a production.
Back For A Taste of Your Love closes with The Love You Left Behind, which Syl released as a single in 1971, reaching number forty-three in the US R&B Charts. Bursts of braying horns punctuate the arrangement, while the rhythm section add drama, before Syl’s powerful, roaring vocal enters. WIth Rhodes, Chalmers and Chalmers accompanying him, their subtle backing vocals provide a welcome contrast to the power of Syl’s vocal. Throughout the track, punchy, growling horns, Hammond organ and rhythm section combine, playing quickly, matching the passion displayed by Syl. Although it’s a track laden with drama and passion, it has a slightly different sound to the other nine tracks. Whether this is because it was recorded at a different time, or just because Syl and the band kick loose, it seems somewhat out of place. However, given the passion displayed and a punchy, blazing arrangement, it’s a good way to end the album.
As I said earlier in this review, Syl Johnson’s music is often overlooked when the music of Hi is discussed. During his career, he recorded for a variety of labels, with one of his best albums 1969s Is It Because I’m Black? A close second must come Back For A Taste of Your Love which features Syl at his very best. He was accompanied by some of the best musicians of the time in The Memphis Horns, Memphis Rhythm Section and Memphis Strings, with Rhodes, Chalmers and Rhodes adding backing vocals. Add Willie Mitchell as producer and some great material, with six songs written or co-written by Earl Randle and you’ve the recipe for a successful album. This was the case, with Back For A Taste of Your Love reaching number nineteen in the US R&B Charts, giving Syl his most successful album of his Hi career. Of the four albums he recorded for Hi, they all featured some fine music, but none of the other three were as complete. Each of the ten songs feature Syl at his best, bringing a song to life, with either heartache and despair or happiness and joy. On each song, he launched himself into it, made it come alive, so much so, that it made you believe in the characters. This is similar to a good book or film. That Syl could do this is testament to his talent and versatility as a singer. If you’ve never heard the music of Syl Johnson, I can thoroughly recommend it. A two-disc set entitled The Complete Syl Johnson On Hi Records was released back in 2000, by Demon Music Group. It features the four albums recorded by Syl for Hi Records, including the stunning Back For A Taste of Your Love. Standout Tracks: I Let A Good Girl Go, Anyway the Wind Blows, Blow Her Back My Way and I Hate I Walked Away.
SYL JOHNSON-BACK FOR A TASTE OF YOUR LOVE.
O.V. WRIGHT-WE”RE STILL TOGETHER.
O.V. WRIGHT-WE”RE STILL TOGETHER.
I’ve always thought that O.V. Wright was one of the most underrated Southern Soul singers of his generation. In some ways, his music was overshadowed by the success of Al Green, who was on the same label as O.V. Hi Records. Whereas, Al Green had numerous critically acclaimed albums, O.V. only released three studio albums for Hi. The first of these was Into Something (Can’t Shake Loose), which was released in June 1977. His second album was The Bottom Line, released in July 1978. The final album that O.V. released for Hi, and the final album of his tragically short career was We’re Still Together, released in May 1979. Tragically, just over a year later, O.V. Wright died, aged just forty-one, due to a drugs overdose. This tragedy saw Southern Soul lose one of its great talents, and a man with an unmistakable and inimitable voice.
We’re Still Together, like his two previous albums for Hi was recorded at Royal Recording Studios and Allied Recording Studios, with Willie Mitchell producing the album. It had been all change at Hi, with familiar faces leaving, being replaced by new personnel. One of the changes was the new Hi Rhythm Section and augmenting The Memphis Horns, were members of The South Memphis Horns. Another change was that backing singers Rhodes, Chalmers, Rhodes only appeared on one track, I’m Gonna Stay. Previously, they’d been a permanent fixture at Hi, their backing vocals gracing the best albums on Hi. This was just the latest change at Hi, which was undergoing a number of changes after being taken over.
What didn’t change was the standard of songs for O.V. to record, with Earl Randle contributing six of the tracks with a variety of songwriting partners. One of these was Willie Mitchell, with whom he’d written a number of great track. Their collaboration was I’m Gonna Stay, which closed side one of We’re Still Together. James Shaw collaborated with Earl on two songs, I Found Peace and The Hurt Is One. The nine songs on We’re Still Together were a combination of Southern Soul, with a sprinkling of funk. This was an intriguing and quite brilliant combination.
Sadly, regardless of the quality of music on We’re Still Together, it wasn’t a commercial success. Albums like this were no longer as popular, with many people preferring the now hugely popular disco music. Soul singers live O.V., Bobby Womack and even other artists on Hi like Otis Clay, Ann Peebles and even Al Green were no longer as popular. This was unfortunate, as many great soul albums passed almost unnoticed, including We’re Still Together, which I’ll now tell you about.
We’re Still Together opens with the title track, We’re Still Together one of six tracks co-written by Earl Randle, this time with Richie Key. With a combination of rasping horns, swirling strings, funky rhythm section and chiming guitars, the track opens.It has an uptempo joyous sound, with an appreciative O.V. grateful that he’s still together with his partner. A funky bass is a permanent fixture, as are the rasping horns, lush, swirling strings and sweet sounding female backing vocalists. They provide a contrast to O.V. raspy voice. Later, a sultry saxophone drenches the arrangement with its beauty. This addition is quite a departure from his two previous albums, with The Memphis Horns never usually playing solos. However, this really helps the track, and with a stunning arrangement from Willie Mitchell and an emotive and passionate vocal from O.V. it’s a fantastic way to open the album.
I Found Peace is a mid-tempo track that has a slight funky sound throughout. The arrangement combines elements of the M.F.S.B. rhythm section with the best of Southern Soul. Lush strings, accompany the rhythm section and chiming, shimmering guitars, before O.V.’s vocal enters. It’s a joyful O.V. we hear, at peace, ready to take on the world, because of the love of his partner. With the female backing vocalists accompanying him, and the rhythm section locking into a gentle funk based groove, the track sweeps along. Adding to the Southern Soul sound in a Hammond organ, which atmospherically wails. Keyboards also enter, as do rasping horns, and together with O.V, they combine to produce a really catchy, hook laden track, that sweeps beautifully along.
There’s a noticeable change in style and sound on It’s Cold Without Your Love, written by Jim Dotson and Earl Randle. It’s a heartbroken O.V. accompanied by a slow, thoughtful arrangement with a lovely understated sound. Here, it’s just the rhythm section, guitars and strings that combine, with female backing vocalists, accompanying a desperate and lonely O.V. The arrangement meanders along, with braying horns occasionally punctuating the sound, while O.V. emotively sings his heart out, displaying hurt and pain throughout this hugely moving track.
Sisters Aretha and Carolyn Franklin co-wrote Baby, Baby, Baby, a track that bursts into life with horns blazing, before giving way to a slow emotive sounding track, where piano, a slow rhythm section and guitars combine before a despairing and disconsolate O.V. enters. He’s desperate having lost the woman he loves, downcast and lost. With punchy sounding backing female backing vocalists accompanying him, who add to the drama of O.V.’s vocal, the track unfolds. O.V.’s The arrangement grows fuller, sad, dramatic strings combining with rasping horns, a drama laden rhythm section, piano and searing, chiming guitars. This impressive sounding, hugely sad combination combined with O.V.’s vocal is a potent and emotional combination that sounds quite brilliant.
Side one closes with a song many people will be familiar with, I’m Gonna Stay, the only track that Willie Mitchell co-wrote with Earl Randle. When you hear the first few familiar bars, it’s like meeting an old friend. There’s a real Southern Soul sound to the track, the rhythm section, guitars and Hammond organ combining with O.V.’s raspy voice. It’s a belligerent O.V. we hear, whose decided to stay with his partner, just to spite her. Horns blaze in, while the backing singers subtly sweep in. The tempo is slow, a wandering bass and slow, regular drums combine to provide the track’s heartbeat, while the horns and baking singers punctuate the track. By the end of the track, you realize that the Willie Mitchell and Earl Randle songwriting partnership have triumphed again, producing a great track, one that’s all the better for having O.V. singing it.
It’s a very different sounding track that opens side two of We’re Still Together. The funk drenched The Hurt Is On, which has wah-wah guitars, blazing horns and the funkiest of rhythm section accompanying O.V.’s angry vocal. This is a song with a social conscience, that amazingly, is even more relevant today than in 1979. O.V. sings about the problems of unemployment and poverty, against a backdrop that wouldn’t sound out place in a Blaxploitation movie. With swirling, strings joining the wah-wah guitars and growling horns, the arrangement just gets better. Providing a contrast are the some of the sweetest backing vocals on the album. Although this isn’t a slice of Southern Soul, it’s one of the album’s highlights, five magical and majestic minutes of a fusion of angry, funk and soul music.
A wailing Hammond organ, piano and rhythm section combine to provide a bluesy sounding backdrop for O.V.’s vocal on Today I Sing the Blues. Again, it’s a sad and lonely O.V. we hear, his girlfriend having left time. While chiming, searing guitars, piano and rhythm section slowly combine to produce a sad bluesy sound, horns rasp and the Hammond atmospherically wails sympathetically. Adding just the finishing touch to a really moving and great sound blues track are the lushest of strings, which accompany the desperate O.V.
After a diversion via funk and then the blues, O.V. returns to familiar territory, Southern Soul on Mirror of My Soul. A moody Hammond organ, rhythm section, guitars and rasping horns combine slowly, before sad, yet lush strings enter. After a lengthy introduction, a tender vocal from O.V. enters. His throaty vocal gently sings of his love for a woman who has transformed his life, made him happy and “brought meaning to his life.” As a slow, sad arrangement gradually reveals itself, with female backing vocalists punctuating the track, you realize that this beautiful and tender song is one of the album’s highlights. Not only that, but it’s one of O.V.’s best songs of his Hi period.
We’re Still Together closes with Sacrifice, with O.V.’s half-spoken vocal accompanied by the rhythm section, piano and guitars. Later, horns rasp, punctuating the arrangement, while strings sweep slowly and sadly. Together, they provide the perfect backdrop for a heartbroken O.V. He sings about the pain and hurt he’s suffered, his girlfriend having left him. With the strings and piano playing important parts in the arrangement, backing vocalists sweep in. Their gentle and sweet voices provide a contrast to the heartache and pain in O.V.’s voice, as the sad and melancholy arrangement flows along. By the end of this beautiful, tender yet heartbreaking song, you begin to sympathize and empathize with O.V. so real is the hurt and pain he displays. This demonstrates his talent and versatility, how he could deliver any song, and brilliantly bring the lyrics to life.
As I finished listening to We’re Still Together, it struck me that this was the last album of O.V.’s tragically short career. He was such a hugely talented singer, able to sing a variety of songs from Southern Soul, blues and even funk. On We’re Still Together, he displays this versatility, with the funk laden The Hurt Is On, followed by the bluesy Today I Sing the Blues, before returning to the familiar territory of Southern Soul on Mirror of My Soul. How many other artists could change styles with such ease, and deliver different styles of music so convincingly? O.V. Wright could, and although he only recorded three albums for Hi Records, they’re three great albums, full of the highest quality of music. On Into Something (Can’t Shake Loose and The Bottom Line, both of which I’ve previously reviewed, O.V. demonstrates his versatility and considerable talent. On We’re Still Together, there had been a number of changes at Hi Records, with many of the people who’d played on his first two albums leaving, and been replace by new personnel. Although you can tell the difference in the rhythm section, horns and backing vocalists, this doesn’t detract from the quality. If anything, it brought something new and fresh to the album, that made this subtly different from his two previous albums. Of the nine tracks that make up We’re Still Together, they’re of the highest quality, with no filler or makeweights, just great music. Remarkably, the music on We’re Still Together wasn’t affected by O.V.’s heroin habit, something that could really destroy an artists talent and creativity. It seemed that O.V. was just as good as ever, still in the groove, still making great music. Sadly, it was his addiction to drugs that cost O.V. Wright his career, dying aged just forty-one, far too young and with so much more music to produce. However, tragically, that wasn’t to be, and the legacy O.V. Wright leaves behind is something we can all share and cherish, some brilliant music, including his final album We’re Still Together. Standout Tracks: I Found Peace, Baby, Baby, Baby, The Hurt Is On and Mirror of My Soul.
O.V. WRIGHT-WE”RE STILL TOGETHER.
THE TEMPTATIONS-ALL DIRECTIONS.
THE TEMPTATIONS-ALL DIRECTIONS.
When The Temptations were recording what became All Directions, the group were determined not two songs that eventually appeared on the album. One of these songs was Papa Was A Rolling Stone, and The Temptations were absolutely determined not to record the song. They felt that the song wouldn’t provide them with a hit, and that this a backward step. After this, they felt, they’d be back singing ballads like My Girl and Ain’t To Proud To Beg. Having been persuaded to record Papa Was A Rolling Stone, the twelve minute epic proceeded to give the group one of the biggest hits of their career and resulted in three Grammy Awards for The Temptations. On its release, it reached number one in the US BIllboard 100 and number five in the US R&B Charts. The song received a Gramm for Best R&B Song, Best R&B Performance by a Group and even a Grammy for the instrumental version on the B-side of the track. Producer Norman Whitfield who incidentally co-wrote the song with Barrett Strong, must have felt vindicated, as Papa Was A Rolling Stone became one of the group’s biggest ever hits. However, as if that wasn’t good enough, the album All Directions gave The Temptations a huge hit album.
Recording for All Directions had taken place during 1972, with what was the fourth incarnation of The Temptations. With Norman Whitfield producing the album, eight tracks were laid down. The Barrett Strong and Norman Whitfield partnership contributed two songs, Papa Was A Rolling Stone and Funky Music Sho’ Nuff Turn Me On, previously recorded by Edwin Starr, which was the B-side to the first single released from All Directions, Mother Nature. It had only reached a somewhat disappointing number ninety-two in the US Billboard 100 and number twenty-seven in the US R&B Charts. However, Papa Was A Rolling Stone would more than make up for this. Of the other songs on All Direction, another prolific Motown songwriting duo, Ashford and Simpson contributed one song, Love Woke Me Up This Morning. Also on the album are covers of Isaac Hayes Do Your Thing and Ewan McColl’s beautiful The First Time Ever (I Saw Your Face). This was clearly an album long on quality, with no filler whatsoever. The record buying public realized this on the album’s release, in July 1972.
Before All Direction’s release, the album was critically acclaimed. The continuation of the fusion of soul and psychedelia appealed to critics and record buyers alike, with All direction reaching number two in the US Billboard 200 and number one in the US R&B Charts. After All Directions, The Temptations next three albums continued to sell well. 1973 saw two albums released, Masterpiece in February, which reached number seven in the US Billboard 200 and number one in the US R&B Charts, while 1990, released in December, reached number thirteen in the US Billboard 200 and number two in the US R&B Charts. Two years later, in January 1975, A Song For You reached number thirteen in the US Billboard 200 and number one in the US R&B Charts. After this album, The Temptations albums didn’t sell in such huge quantities, with them unable to replicate their earlier success. Even a brief sojourn to Atlantic Records where two albums were recorded, didn’t help. When they returned to the Gordy and then Motown labels, the commercial success of their earlier years eluded them, although they continued to make fine music. However, the music wasn’t as good as the psychedelic soul stew of All Directions, which I’ll now tell you about.
All Direction opens with a cover of the Barrett Strong and Norman Whitfield penned Funky Music Sho’ Nuff Turn Me On, a track best known for Edwin Starr’s version. After a big build up, the crowd being whipped up into fervor, resulting in raucous applause, the track opens, with each of the five Temptations sharing the lead vocal. The track sounds as if it has been recorded live, giving you an idea of just what The Temptations sounded like live. With The Funk Brothers backing them, and giving a tight, yet funky performance, Dennis Edwards, Richard Street, Damon Harris, Otis Williams and Melvin Franklin take turns of singing lead, while the other four provide harmonies. While The Funk Brothers provide a funk laden backdrop, The Temptations, combine emotion, joy and power resulting in an impressive and professional performance. However, due to the track being recorded live, the crowd noise sometimes drowns out the music, slightly spoiling the music for me.
Earlier in this review I mentioned that their were two tracks on the album The Temptations had to be persuaded to record. One was Papa Was A Rolling Stone, the other Run Charlie Run. The controversy here, was over the subject matter of the song, dealing with “white flight.” It was music with a social conscience, supportive of Black Power movement that required The Temptations to sing in a “caucasian” or “white” accent “the niggers are comin.’” Like the other Temptations, Otis wasn’t keen to record the track. However, producer Norman Whitfield persuaded them to do so, and against the track was included on the album. As the track opens, a piano, funky rhythm section and soaring, searing guitar combine with blazing horns as the vocal enters. Straight away, the controversial white flight lyrics can be heard. In them, they sing about people going to church on Sunday, but by Monday they forget what they’ve learned. Instead of togetherness and friendship, the white people became racists, rather than embrace and the black people who had entered their town and cities. Instead, the white people chose to leave these places, and make it worse, by passing their racist attitudes and beliefs to their children. When you listen to the track, it’s powerful, makes you angry and sad, that people could choose to dislike a person merely because of the color of their skin. With a reverberating, funky and dramatic arrangement accompanying them, The Temptations bring the song to life. This is helped by the constant pounding drums and blazing horns, that accompany the passion, frustration and anger of their vocals. As I said earlier, it’s a hugely powerful track, one that makes you glad to be alive in more enlightened times.
Easily the best known track on All Directions is the twelve minute epic Papa Was A Rolling Stone, which closes side one of the album. Here, Norman Whitfield’s production is stunning, the prolonged arrangement building and building, with the rhythm section, wah-wah guitars, keyboards and sweeping, swirling horns. The longer the introduction goes, the more the anticipation builds. You wonder what’ll happen next, where the track is heading? After four and a half dramatic and sweeping minutes, where the ever-present bass is a mainstay of the track, while hi-hats, horns and strings all play their part, the vocal enters. Each of The Temptations have their own part to play. Damon plays the part of the child’s mother, answering thee questions about their late father, trying to add a balance to the negative things they’ve heard about him. Meanwhile rest of the group play the part of the questioning children, with a series of questions being answered by Damon. This is already emotive and powerful, but the addition of braying horns, searing wah-wah guitars, the moody bass and the hissing hi-hats, adds to this. When you listen to the lyrics, there’s a sense of sadness present, that children would hear these things about their late father, and this is made worse by the thought of their mother having to answer them. By the end of this seminal, twelve minute epic, you realize that this is one of the defining moments not only in the career of The Temptations, but producer Norman Whitfield. Not only is the song powerful and emotive, but one of the best songs the group recorded and Norman producer. After all, when you’ve climbed the highest mountain, where do you go from there?
Over the years, Ashford and Simpson were more than just a highly successful songwriting partnership, this husband and wife duo, recorded a number of highly successful albums, like Street Opera and Solid, as well as producing acts like Gladys Knight and The Pips. A lush combination of piano and strings combine as Love Woke Me Up This Morning begins. This is followed by a tender vocal from Damon, while the rest of the group combine to sing equally tender harmonies. Behind them, the rhythm section combine, with the drums playing with an almost jaunty beat. Meanwhile, grand strings, rasping horns, piano and chiming guitars combine to produce a lovely arrangement, perfect for the Damon’s now soaring, passionate vocal which is full of emotion and sincerity. This results in a quite beautiful track, which opens the second side of All Directions.
I Ain’t Got Nothing sees Otis and Melvin share the lead vocal. As the track opens, the sound is understated, but there’s a sense that something special is about to happen. With Otis and Melvin sharing the lead, a slightly moody sounding arrangement unfolds. Key to its sound are the rhythm section who play slowly and thoughtfully, while strings add a sense of emotion and sadness. Adding to the arrangement is a piano which drops in and out of the the track. However, it’s the interplay between Melvin and Otis that adds to the moody sound, especially the contrast in their vocals. This sound is perfect for the sense of despair in the lyrics, especially when the sing “I’ve got nothing.” Here, The Temptations and producer Norman Whitfield combine brilliantly to produce a song that has a sense of bleakness and despair, befitting the song’s lyrics.
When Ewan McColl wrote The First Time Ever (I Saw Your Face), little did he know how many people would cover his song. As I said in another article, cover versions of this song can be good, bad or indifferent. Thankfully, The Temptations version falls into the first category, with Richard Street singing lead vocal. With guitar and bass combining, before the piano enters, Richard’s gorgeous vocal enters. He strikes the right note between singing the song tenderly and with an element of drama, befitting the song. This is no overblown version, thoughtful and tender, with a beautiful arrangement where lush strings sweep in, joining the guitar, bass and piano. Together with Richard’s stunning vocal, they combine to produce one of the album’s highlights.
Although Mother Nature was the B-side of Funky Music Sho’ Nuff Turn Me On, it’s a track that deserved a better fate than that. Of the two tracks, this is a much better track than the A -side. Dennis Edwards gives an emotive and moving rendition of the lyrics, while the dramatic arrangement sweeps along. A piano plays an important role, while strings sweep and swirl, guitars chime, drums pound and horns rasp gently. However, although the arrangement builds and builds, with a sense of drama omnipresent, it’s Dennis’ vocal that holds your attention. You become enthralled by it, spellbound, realizing just how talented and versatile a vocalist he is. There’s a mixture of emotion, passion and drama present, which when combined with Norman Whitfield’s arrangement, is a potent and brilliant combination.
All Directions closes with a cover of an Isaac Hayes track Do Your Thing, where Richard, Damon and Melvin share the lead vocal duties. The track bursts into life with the funkiest of guitars, a drama drenched combination of blazing horns and powerful, pounding drums. After this you’re expecting the track to explode, but it doesn’t. Instead it meanders along, with keyboards joining the arrangement which meanders along, with the vocal constantly changing hands. Throughout the track, a punchy and dramatic combination of drums, handclaps and braying horns make their presence felt, before the track returns to its previous meandering, sometimes moody sound. Although quite different from the two previous tracks, it sounds great and is a good and satisfactory way to end All Directions.
For people who were used to The Temptations singing tracks like My Girl and Ain’t Too Proud To Beg, albums like All Directions and Psychedelic Shack must have been a shock to them. The music was a mixture of soul, funk and psychedelia, all mixed together into a soulful stew that’s quite brilliant. During All Directions, The Temptations combined the frustration, power and anger of Run, Charlie Run, with the heartfelt Papa Was A Rolling Stone and the gorgeously, tender The First Time Ever (I Saw Your Face) sung by Richard Street. On Mother Nature, Dennis Edwards demonstrates his talents as a vocalist, combining emotion, passion and drama with aplomb. Credit must be given to producer Norman Whitfield. Not only is his production stunning, but he stuck by his conviction that The Temptations should record both Papa Was A Rolling Stone and Run, Charlie Run. With The Temptations not wanting to record either track, Norman managed to convince them to do so. This was fortuitous, as Papa Was A Rolling Stone gave the group a number one single and three Grammy Awards. Run, Charlie, Run was emotive music with a social conscience, full of passion and frustration. As I said earlier in this article, All Directions was long on quality and short on filler. Overall, it’s an album full of some great music, with one of the highlights of The Temptations career on it. That was the seminal Papa Was A Rolling Stone, a magical, musical masterpiece. If you’ve never heard All Directions, I can thoroughly recommend it. Now it’s possible to buy remastered versions of both All Directions and Psychedelic Shack on one album. This allows you hear some brilliant fusion of soul, funk and psychedelia from of one of Motown’s biggest groups, The Temptations. Standout Tracks: Papa Was A Rolling Stone, The First Time Ever (I Saw Your Face), Mother Nature and Do Your Thing.
THE TEMPTATIONS-ALL DIRECTIONS.
DR JOHN-IN A SENTIMENTAL MOOD.
DR JOHN-IN A SENTIMENTAL MOOD.
Anyone who collects records or CDs will tell you that one of the biggest buzzes for a collector is either finding an obscure or rare album in the most unlikeliest of places. For me this has included, many years ago finding mint editions of rare soul albums in a dark and dank junk shops that I was almost scared to enter for fear I’d never come out. The place looked like something out of a bad horror movie, but I dared enter and came out a while later grinning, carrying an armful of gorgeous, pristine vinyl. Sometimes, it’s backstreet record shops, looking in the bargain bins, and you see something interesting or unusual. Often this works well, and you come out with a box set of some brilliant electric blues, or an album of psychedelic funk. However, it’s not all plain sailing being a crate digger, after all, who would admit to an album of unlistenable free jazz or eery Byzantine chants that spooked everyone who dared listen to it. Okay, I’ll admit to both. They were cheap and looked interesting.
Another place I picked up an interesting and quite brilliant album was at a Dr. John concert, a number of years ago. I’d long been a fan of the Dr.’s work, so decided to visit his “surgery,” which that time was a concert hall in Glasgow. It was my first Dr. John concert, and he was touring what was a comeback album Anutha Zone. Having heard some of his classics, and much of his new album, everyone left the venue elated, having witnessed the Dr.’s comeback. Stopping by the merchandise stall, I noticed a couple of albums I’d missed, so bought them, without paying much attention to the content. One of these was In A Sentimental Mood, recorded during a fallow period in Dr. John’s career, and which features some great music, which demonstrates a very different side to Dr John, as far away from the psychedelic funk and R&B of his early albums as you could get.
The eighties hadn’t been kind to Dr. John, it’s best described as a fallow period in a career that spans six decades, starting in 1968 with the classic Gris Gris. This rich vein of form lasted until the mid-seventies, spanning a run of albums that included 1969s Babylon, Remedies in 1970, 197s The Sun, Moon and Herbs, Gumbo in 1972, In the Right Place in 1973 and ended with Desitively Bonnaroo in 1974. All of these album were recorded for Atco, part of Atlantic Records, and feature what I’d call vintage Dr. John.
After this, Dr. John’s music changed, tending to focus more on blues, R&B and the music of New Orleans. Another ingredient was some of the “standards,” which started to play a part in his concerts. This would be the case in the album this article is about, In A Sentimental Mood. As well as his music changing, Dr. John recorded less, spending more time as a session musician, something he’d always done even during his Atco years. However, this meant he released fewer and fewer albums, with only four albums being released during the eighties. The eighties began with Dr. John Plays Mac Refennack Volume 1 in 1981, with Dr John Plays Mac Refennack Volume 2 following in 1983. Six years passed without another Dr. John album, until 1989, when two albums were released ZuZu Man and In A Sentimental Mood.
After recording for a variety of smaller labels, In A Sentimental Mood saw Dr. John recording for a major label, Warner Bros. The sessions for the album took place in two prestigious recording studios, The Power Station in New York, and Los Angeles’ Ocean Way Studio. With a full string and horn section, and a tight band in tow, Dr. John recorded some classic songs from yesteryear, including Makin’ Whoopee, Accentuate the Positive and Don’t Let the Sun Catch You Crying. These songs, and other classics, which feature on On In A Sentimental Mood, are reinterpreted by Dr. John as he gives them his own unique twist.
In A Sentimental Mood opens with a song that will be familiar to most people, Makin’ Whoopee. It’s given the big band treatment by Dr John, slowed right down, and given a jazzy twist. Rickie Lee Jones sings the female part, as Dr John gives this old classic a new twist. With horns a blazing and drums pounding slowly, the song opens, giving way to Dr John’s tinkling piano. It’s only then that his raspy vocal enters, and you can almost imagine him singing the mildly suggestive lyrics with a big smile on his face. When Rickie Lee enters, her voice is sweet and coy, a real contrast to the Dr’s raspy, more powerful voice. Behind them, the strings sweep and horns rasp and blaze, the tempo slow, the sound powerful and swinging. Add to that the rhythm section, especially the drums, which play an important part in the track, and you’ve heard another very different of Dr. John, one that’s as far removed from the psychedelic, R&B and funk fusion of his early albums as you can possibly get. This very different and quite brilliant sound, is a welcome return to form for Dr. John, one that hints at later albums, when he’d cover classic by Duke Ellington and Johnny Mercer.
When you hear Dr. John’s version of Candy there’s only one man that springs to mind, Ray Charles. Indeed, in the sleeve notes to the album, Dr. John gives credit to Ray Charles and Charles Brown for their inspiration. This smoky sounding cover is a fitting testament and tribute to one of the giants of music. The tempo is slow, rasping horns and lush strings sweep and swirl as Dr. John gives a beautiful and heartfelt rendition of the lyrics. His piano playing is sparse and jazz tinged, and when he and the piano drop out, the strings take his place. Here, the horns play second fiddle to the strings, with the strings key to the gorgeous sound. Of course, the other key ingredient is Dr. John’s rasping vocal. Later a saxophone solo drifts above the arrangement, the rest of the horns playing with a subtly. Marty Paich’s arrangement of the strings and horns is stunning, and plays an important part in making this such a great song.
Johnny Mercer becomes the latest of the great songwriters Dr. John pays tribute to, on one of the best known songs he wrote, Accentuate the Positive. Later, Dr. John would record a whole album of Johnny Mercer’s music, Mercernary. This was just an amuse-bouche of what was to come, with high kicking horns almost marching through the track, accompanying the Dr.’s gruff, rough and rocking vocal. He really gets the song swinging, after a slow and somewhat thoughtful introduction, where a meandering piano solo gives way to his earthy vocal. It’s only after that, that the song unfolds, transforming into a swinging, rocking number with the piano at the forefront and those high kicking horns rasping and adding drama. The combination of piano, horns and Dr. John is a potent and swinging one, that gets even better when a saxophone solo blows gloriously, as the song heads towards dramatic crescendo.
One of the most beautiful songs on the album is My Buddy, co-written by Gus Kahn and Walter Donaldson. This song has a lovely, understated lush arrangement, with strings playing a major roll, while horns play a supporting roll. It’s just Dr. John with his trusty piano that opens the track, with cymbals hissing gently in the background. When the strings enter, they’ve the lushest sound, a perfect accompaniment for Dr. John’s thoughtful vocal and piano playing. Behind him a bass meanders, with the strings and later, gently rasping horns entering. Together, they produce a poignant and quite melancholy sound, one that
The songwriting credits for In A Sentimental Mood read like a who’s who of the greatest American songwriters of the first half of the twentieth century, with Duke Ellington, Irvin Mills and Manny Kurtz co-writing the title track In A Sentimental Mood. Again, Dr. John would return to Duke Ellington, recording an album of his best songs, entitled Duke Ellington. Like the previous track, it benefits from an understated arrangement, with the piano and lovely, lush strings combining as the track meanders along. It’s a song from a different age, gentle and beautiful, as it slowly reveals itself. A few jazzy flourishes from the piano accompany the swathes of strings that float above. During the song, Dr. John’s piano playing is among the best on the album, as is Marty Paich’s string arrangement. Together with producer Tommy Lipuma, they combine to produce a beautiful, piano lead track, that features swathes of the lushest strings, and is the perfect way to end side one of the album.
Side two of In A Sentimental Mood opens with Black Night, and the Dr. upping the tempo, on a song written by Jessie Mae Robinson. Dramatic flourishes of piano and braying horns combine as the song opens, with Dr. John demonstrating his talent and versatility as a pianist. When his vocal enters, it’s a downbeat and despondent Dr. we hear, as horns rasp and a beefy bass makes its presence felt. The arrangement is full, and drama laden, horns swirling grandly, while the rhythm more than section play their part in the song’s success. By now, Dr. John’s raspy voice is powerful, regret and sadness his only friends. As the arrangement reverberates, a combination of jazz players new and modern, including drummer Harvey Mason and bassist Abe Laboriel play their part in helping Dr. John give an old song a new magical new twist.
One of the saddest songs on the album is a version of Joe Greene’s Don’t Let the Sun Catch You Crying. As sad strings swirl in, flourishes of dramatic piano, give way to an equally sad vocal from the Dr. With chiming guitars, strings and piano combining, the song meanders along, flourishes of piano escaping, while a butter and rueful Dr. delivers the lyrics. The arrangement taps into perfectly into the sadness of the lyrics, which have a melancholy, and almost bittersweet quality. Again the arrangement has a somewhat understated sound, relying on the strings, instead of horns. This works well, getting across perfectly the sadness and emotion in the lyrics, especially when combined with such a great vocal as Dr. John’s.
When you talk about the greatest American songwriters of the first half of the twentieth century, then you can’t not mention Cole Porter. Similarly, Dr. John couldn’t record an album featuring some of the greats of American songwriting and not cover a Cole Porter song. The one he chose was Love For Sale, choosing to transform the track, with some of his best piano playing on the album. Here he veers between some rollicking jazzy piano playing with flourishes of drama included, while strings sweep and swirl grandly, their sound vaguely reminding me of a movie soundtrack, while horns rasp and blaze, reverberating and the rhythm section provide a light sprinkling of funk. It’s a track that absolutely swings, and has an irresistible sound. Towards the end, Dr. John almost raps over the arrangement, a brilliant track, just getting even better.
In A Sentimental Mood ends with More Than You Know, which opens with the saddest of string, which have a real retro sound, in keeping with music. They give way to an equally sad and thoughtful vocal from the Dr. with his piano meandering and tinkling along. He delivers the lyrics perfectly, with a tenderness and thoughtfulness, sadness tinging his voice. Above him, sits the strings, which float in and out of the arrangement, with Harvey Mason playing the drums with subtlety, forsaking sticks for bushes. Similarly, the bass meanders, the playing sparse, leaving flourishes of Dr. John’s piano playing and his thoughtful vocal to take centre-stage, on what was a tender, beautiful and heartfelt delivery of the lyrics. This thoughtful and somewhat poignant and melancholy song seems the perfect way to end the album.
For anyone who has only experienced the music of Dr. John’s vintage Atco years, the music on In A Sentimental Mood will come as something of a surprise when they hear it. That was how I felt when I first heard the album, but from the first song I was hooked, and since then, it remains one of my favorite Dr. John albums. If I ever meet anyone who says they don’t like Dr. John because they for some reason don’t like his early music, I win them round by playing them In A Sentimental Mood. That introduces them to a very different side of his music. Then I slowly introduce them to other albums that aren’t typical of his music, before trying the vintage Atco era Dr. John on them. Usually I win them round. On In A Sentimental Mood Dr. John demonstrates how his music was changing, and the two albums that he released in 1981 and 1983 Dr John Plays Mac Refennack Volume 1 and 2, gave us a hint the direction his music was heading in. This album of covers with string and horn section in tow, saw Dr. John brilliantly cover and sometimes, transform old standards, breathing new life and energy into them, as gives them his own unique twist. Since then, his music has continued to evolve, with recent albums rediscovering the music of Duke Ellington, Johnny Mercer and the wonderful music of New Orleans. Throughout his career, Dr. John has been an innovator, never afraid to try something new, sometimes, even becoming a contrarian. However, he’s always provided his many fans with some majestic and memorable music, which they’ll always cherish, and return to. if you’ve never heard Dr. John’s music, there’s plenty of great music available, with Rhino releasing five of his best Atco albums as part of their Original Album Series. Along with that, I’d recommend 1995s The Very Best of Dr. John which features his Atco era music, while 2005s The Best of The Parlophone Years focuses on some of his later work, from his 1998 “comeback” album Anutha Zone onwards. Add to this the brilliant In A Sentimental Mood and you’ll be the proud owner of some of the best music of Dr. John’s long and distinguished career. Standout Tracks: My Buddy, In A Sentimental Mood, Black Night and Love For Sale.
DR JOHN-IN A SENTIMENTAL MOOD.
THE CHI-LITES-TOBY.
THE CHI-LITES-TOBY.
Often an album fails to do as well as it should’ve commercially, because of a lack of promotion and advertising. This is almost becoming a recurring theme for readers of this blog. When Stax was heading towards insolvency, albums like Shirley Brown’s Woman To Woman suffered this fate, while DJ Rogers believed his three albums for RCA suffered from from a lack of advertising and promotion. Another group to suffer from this problem were The Chi-Lites, when they released their seventh studio album Toby.
By 1974 when, The Chi-Lites had recorded Toby, their record company Brunswick Records had started to experience financial problems, that would eventually see the company collapse. Having recorded Toby, with lead singer Eugene Record producing the album, it was ready for release in June 1974. The album featured ten songs, with Eugene writing the songs himself, and co-writing three other songs. Toby featured some great music, but the only thing that could derail the album’s success was Brunswick’s financial problems, and the lack of advertising and promotion. Would these problems break the group’s run of US R&B top ten albums?
On Toby’s release, it only reached number 181 in the US Billboard 200 and number twelve in the US R&B Charts. This was a disappointing result, with Toby becoming the first of The Chi-Lites albums since 1970s I Like Your Lovin’ (Do You Like Mine?), which had failed to chart. After this, the next four Chi-Lites albums had all reached US R&B top ten.
This started in July 1971 with (For God Sake) Give More Power To the People, which reached number three in the US R&B Charts and number twelve in the US Billboard 200. April 1972 saw the release of A Lonely Man, which reached number five in the US R&B Charts and number one in the US Billboard 200. Even their Greatest Hits album, released in October 1972, reached number four in the US R&B Charts and number fifty-five in the US Billboard 200. Their next studio album was A Letter To Myself in March 1973, which reached number four in the US R&B Charts and number fifty in the US Billboard 200. The album that preceded Toby was Chi-Lites, released August 1973. It kept up The Chi-Lites run of top ten US R&B albums, reaching number three in the US R&B Charts and number eighty-nine in the US Billboard 200. However, what was a remarkable run of chart success was ended with Toby, leaving the group no doubt disappointed and frustrated at what might have been.
Of the trio of singles released, only two of the trio reached the top ten in the US R&B charts. The first single was There Will Never Be Any Peace (Until God Is Seated At the Conference Table) which reached number eight in the US R&B Charts and number sixty-three in the US Billboard 100. This was followed by You Got To Be the One which only reached number fifteen in the US R&B Charts and number eighty three in the US Billboard 100. Making up for this was Toby, the third single which reached number seven in the US R&B Charts and number seventy-eight in the US Billboard 100. Although the album had been relatively successful and yielded two top ten US R&B singles, and features some fine music, which I’ll now tell you about.
Toby opens with the title track Toby, co-written by Eugene Record and Barbara Ackilin. With lush, swirling strings, a meandering bass line and rasping horns opening the track, the scene is set for Eugene’s gentle, tenor lead vocal. As Eugene tenderly and thoughtfully tells the story of a young child Toby, you wonder where the story is going. However, nothing prepares you for the ending, when with sadness and emotion, he sings about the child dying. His vocal is enveloped by harmonies from the rest of the group, swathes of slow and sad strings and subtly rasping horns. A combination of Eugene’s beautiful, tender and sympathetic delivery of the lyrics and an equally beautiful arrangement result in one of the album’s highlights.
There’s a change of style on You Got To Be the One, a much more uplifting and slightly funky track. With the other Chi-Lites singing short, sharp, backing vocals, accompanied by percussion, rhythm section, guitar and sweeping strings. They give way to Eugene’s joyful vocal, with braying horns joining him, as the track swings along. It’s a very different sounding track to it’s predecessor, catchy, full of hooks and quicker. The track sweeps and swings along, with strings, horns and a harp playing important parts in the arrangement. Similarly, the interplay between Eugene and the rest of the group, working perfectly, especially against a joyous and melodic sounding arrangement. By the end of the track, this track is guaranteed to leave a good memory and a smile on your face.
The tempo drops again on the sad sounding The Sound of Lonely, written by Eugene and Marshall Arrington. Again, there’s some clever interplay between Eugene and the other Chi-Lites, with the lead vocal changing hands several times. This contrast in styles adds to impact of the song, as well as adding to the drama of the arrangement. Lush, sad strings, blazing horns and a slow and thoughtful rhythm section provide a perfect backdrop for this sad, emotive and quite beautiful song, which has some thoughtful lyrics about loneliness.
Never before will you have heard The First Time (I Ever Saw Your Face) sung like this. Here The Chi-Lites give an old song a new twist, and the result is irresistible. When the track opens, there’s a dramatic combination of punchy rhythm section, chiming guitars and shimmering, quivering strings, that give way to tight harmonies, and Eugene’s spoken word introduction. Rasping horns signal the start of a heartfelt vocal from Eugene, accompanied by piano and harmonies. This combination is stunning, made all the better by the addition of piano, lush strings occasional horns and brief bursts of drama from the drums. Combine all this together, and the result is an irresistible and stunningly, soulful version of Ewan McColl’s song.
Side one of Toby closes with one of the trio of singles released from There Will Never Be Any Peace (Until God Is Seated At the Conference Table). Again, it features some clever interplay between Eugene and the rest of the group, their voices a perfect fit for each other. With a slow, but dramatic combination of sweeping strings, rasping horns, chiming guitars and rhythm section accompanying them, The Chi-Lites surpass themselves. With a heartfelt and sincere pleading lead vocal accompanied by sweet, yet dramatic soaring vocals combining with Eugene’s drama drenched arrangement, it’s no wonder the song reached number eight in the US R&B Charts. Adding just the finishing touch is a saxophone drifting above the arrangement, adding to the beauty, emotion and sincerity of the track.
Side two of Toby opens with That’s How Long that’s laden with drama and features a hugely emotive and powerful vocal from Eugene. It’s accompanied by a full arrangement, and some equally emotive, soaring harmonies from the other Chi-Lites. With a powerful and combination of rhythm section, guitars and blazing horns opening the track, before swirling, shivering strings enter. As if on cue, Eugene’s emotive and heartfelt vocal enters, as he swears to love his partner “until the end of time.” The lead vocal changes hands, before returning to Eugene. Behind him, the a sympathetic, yet powerful and dramatic arrangement has unfolded, with flourishes of strings adding to the combination of strings, horns and rhythm section. Together, they provide the perfect backdrop for The Chi-Lites heartfelt and dramatic deliver of the lyrics.
Eugene Record wrote three of the songs on Toby himself, including Happiness Is Your Middle Name. Again, a dramatic and powerful combination that includes lush, swirling strings, chiming guitars and rhythm section open the track. After this, the arrangement levels out, as Eugene’s tender, gentle vocal enters. With blazing horns and swirling strings combining, the rest of the group provide bassy sounding backing vocals, a total contrast to Eugene’s vocal. The drama grows, when backing female vocalists join The Chi-Lites, as swathes of vocals, join the pounding drums, swirling strings and braying horns. Somehow, this neither overpowers, nor overwhelms the tenderness of Eugene’s vocal as he delivers the lyrics about love, towards the woman he loves.
I Lied is the second Eugene Record penned track in a row. After an impressive, drama laden introduction where Eugene’s vocal is enveloped by harmonies, strings and rhythm section, a pensive and desperate vocal from Eugene follows. Bereft at his partner leaving him, over the lies he told, he’s helpless and lonely, which you can hear in his delivery. The sympathetic, yet dramatic arrangement is perfect for this slow ballad, adding to the sense of emotion, loss and despair in the vocal. As Eugene delivers the lead, the rest of the group add harmonies, which is just the finishing touch to a song full of sadness, despair and regret.
On I Like To Live That Love (I Sing About), Marshall Thompson takes over the lead vocal duties. He even adds a similar spoken word introduction to Eugene’s on The First Time (I Ever Saw Your Face), against a backdrop of keyboards, rhythm section, sweeping strings and blazing horns. Marshall even name-checks BB King during his his introduction, who had previously recorded the song. Once his vocal enters, you realize how talented a vocalist Marshall was, his vocal slightly throaty, but full of emotion and feeling. Behind him, the other Chi-Lites contribute lush harmonies, which combine well with the strings which are at the heart of the arrangement. Horns blaze, while punchy drums occasionally punctuate the track as it swings along, catchy and full of hooks.
Toby closes with Gettin’ Outtta Town, another mid-tempo track, with Eugene singing the lead vocal. With rasping horns, sweeping strings and punchy rhythm section combining, they provide the perfect backdrop for Eugene’s vocal. The rest of the group sing occasional lush harmonies, not playing as big a part in this track as on other tracks. However, when required, their contribution adds to the track, just like the strings, horns and drums which are key to the track’s success. Like the previous track, it’s, really catchy and isn’t short of hooks. Part of the track’s beauty is the way it sweeps along with the strings and vocal at the heart of its uplifting sound, lifting your spirits, and ending the album on high.
Although Toby suffered from a lack of advertising and promotion, because of Bruswick’s financial woes, it was a really good album from The Chi-Lites that deserved to do much better than number 181 in the US Billboard 200 and number twelve in the US R&B Charts. One wonders how the album would have fared on another label, maybe Philadelphia International, who were entering their most productive and commercially successful time. Toby deserved to do much better commercially, as it’s an album full of some majestic music, from one of the most talented soul groups of the seventies. Of the ten tracks, there isn’t a poor track. The album flows along, with one great song following its predecessor. Whether it’s the saddest of ballads or faster, uptempo joyous tracks, The Chi-Lites delivered each with aplomb. Sadly, after Toby, The Chi-Lites never found the same commercial success of the early seventies. Amongst changes in personnel, they continued to make music, but eventually split-up around 1976. They reformed in 1980, but sadly, their music was never as successful. Toby was the last of the great Chi-Lites albums, and is a fitting testament to one of the best and most successful, soul groups of the seventies. Between 1971s (For God Sake) Give More Power To the People and Toby in 1976, The Chi-Lites were at the top of the game, with one stunning album following the other. With Eugene Record at the helm, singing lead vocal, writing and producing the albums, they produced some hugely memorable albums including (For God Sake) Give More Power To the People and A Lonely Man. Like these classic albums, Toby is full of some great music, from one of the greatest soul groups of the seventies, The Chi-Lites. Standout Tracks: Toby, The First Time (I Ever Saw Your Face), There Will Never Be Any Peace (Until God Is Seated At the Conference Table) and I Lied.
THE CHI-LITES-TOBY.
THE DETROIT SPINNERS-MIGHTY LOVE.
THE DETROIT SPINNERS-MIGHTY LOVE.
When The Detroit Spinners signed for Atlantic Records and hooked up with producer Thom Bell there was a huge turnaround in their fortunes. Their first two albums, 1967s The Original Spinners and 2nd Time Around in 1970, hadn’t been commercial a success. Only 2nd Time Around had charted, reaching number 199 in the US Billboard 200 and number forty-six in the US R&B Charts. However, once they signed for their new label Atlantic, and started working with Thom Bell, five consecutive gold albums followed, with the group having three consecutive US R&B number one albums. This was a remarkable turnaround in fortune for Billy Henderson, Bobby Smith, Philippe Wynne, Henry Fambrough and Pervis Jackson, who were The Detroit Spinners.
After the huge success of Spinners, The Detroit Spinners debut album for Atlantic and their first album produced by Thom Bell, the group set about recording what would be the follow-up album Mighty Love. Spinners was going to be a hard act to follow, have reached number one on the US R&B Charts, and number fourteen in the US Billboard 200. Having sold over 500,000 copies, the album was certified gold. Suddenly, with the help of Thom Bell, The Detroit Spinners were one of the biggest soul groups in America. What everyone was wondering, was could their next album match the success of Spinners?
What would become Mighty Love was recorded at the legendary Sigma Sound Studios, with Thom Bell producing the album. Eight songs were recorded, with the famous Philadelphia International house band M.F.S.B. backing The Detroit Spinners. This included one of the best rhythm sections in music B-H-Y, bassist Ronnie Baker, guitarists Norman Harris and drummer Earl Young. Together, this hugely talented trio played on numerous albums that defined The Philly Sound. This includes The Spinners’ Atlantic albums of the early to mid-seventies. With Linda Creed, Barbara Ingram, Carla Benson and Evette Benton singing backing vocals, eight songs were soon recorded. Of these eight songs, six of the songs were co-written by the prolific triumvirate of songwriters Charles Simmones, Joseph B Jefferson and Bruce Hawkes. Another of the songs, Love Don’t Love Nobody, was co-written by Charles Simmones and Joseph B Jefferson, while the Thom Bell and Linda Creed songwriting partnership co-wrote one of the singles released from the album, I’m Coming Home. With Mighty Love recorded, it was due for release in March 1974.
After being critically acclaimed, Mighty Love was released in March 1974, reaching number one in the US R&B Charts and number sixteen in the US Billboard 200. This meant that The Detroit Spinners received their second consecutive gold disc of their careers. Little did they know back then, that they receive five in total. Adding to the success of Mighty Love was three top ten US R&B singles. The first of these Mighty Love which reached number one in the US R&B Charts and number twenty in the US Billboard 100. It was followed by the Thom Bell and Linda Creed penned I’m Coming Home which reached number three in the US R&B Charts and number eighteen in the US Billboard 100. The last single released from Mighty Love was Love Don’t Love Nobody, reaching number four in the US R&B Charts and number fifteen in the US Billboard 100. All things considered, Mighty Love had been a massive commercial success, reaching number one on the US R&B Charts and spawning three hit singles, including a US R&B number one single. By now it seemed that The Detroit Spinners could do no wrong. This success lasted until 1976, and during this time The Detroit Spinners were one of the biggest and most successful groups in soul music, releasing one great album after another, including Mighty Love which I’ll now tell you about.
Mighty Love opens with Since I Been Gone, one of six penned by Charles Simmones, Joseph B Jefferson and Bruce Hawkes. A combination of buzzing bass, piano, shimmering strings, rasping horns and punchy drums open the track, before giving way to the united vocals of The Detroit Spinners. After this, Bobby’s gentle, tender lead vocal enters, as he sings about his loneliness and how he misses his ex-girlfriend. Behind him the rest of group provide dramatic harmonies, accompanied by the rhythm section and rasping horns. Then strings sweep in, their lush sound adding to the sadness and emotion of Bobby’s lead vocal. With Thom Bell’s producing the track, his masterful arrangement manages to combine emotion, sadness and drama perfectly, resulting in a track full of heartache and regret.
The remarkable thing about Mighty Love is that three great singles were released from the album, and a track like Ain’t No Price On Happiness wasn’t one of them. That demonstrates the sheer quality of music on Mighty Love. When you hear the track you wonder why? As the track opens with the Baker, Harris and Young rhythm section combining with slow, blazing horns and the lushest of strings. It’s only then that Bobby’s beautiful vocal enters, tinged with sadness and regret. Meanwhile, the rest of the group and backing vocalists combine to contribute tender backing vocals. Swathes of strings enter, sweeping behind Bobby, while the rhythm section and horns combine. By now, the heartache and despair in Bobby’s voice is almost tangible, at the end of his relationship, as he sings that “there ain’t no price on happiness.”This beautiful, but sad and despondent vocal from Bobby is complimented by some stunning, thoughtful playing from M.F.S.B. and another emotive Thom Bell arrangement.
I’m Glad You Walked Into My Life is one of the slow songs on the album, with a beautiful, slightly dramatic introduction, where keyboards, rhythm section and lush strings combine with gently, rasping horns. They give way to a thoughtful vocal from Bobby, with the rest of the Spinners singing harmonies. There’s a mixture of joy and emotion in Bobby’s voice having finally met the woman of his dreams. Behind him, Thom Bell’s sympathetic arrangement adds to the emotion in Bobby’s vocal. Strings sweep slowly and emotively, while the rhythm section combine playing thoughtfully with short, sharp bursts of drama. As the song progresses, it just gets better and better. Bobby’s vocal grows in power and emotion, as does the arrangement, ultimately reaching an emotional and joyful crescendo.
Side one of Mighty Love closes with I’m Coming Home, co-written by Thom Bell and Linda Creed, who over the years, co-wrote so many brilliant songs together. When this track was released as the second single from the album, it reached number three in the US R&B Charts and number eighteen in the US R&B Charts. The track bursts into life, a punchy rhythm section, swirling strings and blazing horns combining with Philippe Wynne’s joyous vocal. His vocal is quicks, with him elated at returning home. Behind him, the rest of The Detroit Spinners and backing vocalists contribute equally joyful backing vocalists. Similarly, M.F.S.B. lock into this joyous sound, with strings swirling, horns braying and the rhythm section providing the song’s heartbeat. Overall, it’s an uplifting, joyous and hook laden track, which has an irresistibly catchy sound.
Side two of Mighty Love opens with He’ll Never Love You Like I Do, a mid-tempo track. It opens with piano and Norman Harris’ chiming guitar combining gently, before horns and Earl Young’s subtly drum enter. With a lovely subtle backdrop, Bobby gives a tender and heartfelt delivery of the lyrics, warning his ex-girlfriend that her new man will never love her like he does. With the other Detroit Spinners and female backing vocalists combining, this adds to the sense of sadness and loss, in Bobby’s voice. Rasping horns and drums add bursts of drama, as a heartbroken Bobby promises love and happiness, while Linda Creed and Barbara Ingram are among the backing vocalists, who gently accompany him. By the end of the track you find yourself rooting for a desperate and bereft Bobby, hoping that he’ll be given another chance by his ex-girlfriend. That’s the power of this track, and the emotion involved in both Bobby’s vocal and Thom Bell’s subtle, yet emotive arrangement.
Love Has Gone Away is a very different track, when it opens. A funk drenched and dramatic Baker, Harris and Young rhythm section combine punchy drums, buzzing bass and funky guitar, before keyboards, swirling strings and blazing horns enter, giving the track a classic M.F.S.B. sound and feel. They give way to Bobby’s searing, soaring vocal, while tight harmonies accompany him. Meanwhile, Earl’s drums drive the track along, his hi-hats, hissing, as he provides a funky and dramatic heartbeat. Horns blaze and rasp, as keyboards, chiming guitars and grand strings combine to provide a powerful, dramatic, sweeping backdrop for The Detroit Spinners. As if sensing this arrangement is something special, Bobby and the rest of the guys, up their game, producing a dynamic and energetic vocal, fitting for this drama drenched arrangement that combines a majestic combination of soul and funk.
After the welcome diversion into funky territory, things change with the gorgeous Love Don’t Love Nobody, a piano lead ballad, with one of the most thoughtful and emotional vocals on the album. The arrangement sees Bobby accompanied by the piano and rhythm section, who mostly play with subtly, but intersperse this subtly with brief bursts of drama. Mostly though, it’s just a lonely, Bobby accompanied by the rest of Detroit Spinners and backing vocalists, with the lush arrangement meandering along. Lush quivering, shivering strings join this slow, epic jam that lasts over seven minutes. When you listen to this gorgeous track, you realize just why it was so successful when released as the third single, reaching number four in the US R&B Charts and number fifteen in the US Billboard 200, and deservedly becoming a Quiet Storm classic in the process.
Mighty Love closes with the title track, Mighty Love, which was the first single released from the album, reaching number one in the US R&B Charts and number twenty in the US Billboard 100. The track opens with dramatic mixture of rhythm section, blazing horns and sweeping strings. As the arrangement becomes much more subtle, Bobby’s joyful vocal enters, with tight, sweet harmonies accompanies him. Behind him, M.F.S.B. are on top form, the dynamic rhythm section, swirling sweeping strings and rasping blazing horns combining perfectly with keyboards. On top of the arrangement sits Bobby’s powerful, soaring vocal, with the rest of the group harmonizing, and wave upon wave of the dramatic and dynamic arrangement unfolding. When this uplifting, catchy and hook laden track, ends you’re left thinking that The Detroit Spinners kept the best until last. After all, it’s best to end the album on a high.
On Mighty Love everything came together for The Detroit Spinners. It’s almost as if the stars were perfectly aligned. They had eight great songs to record, and were backed by one of the best bands of the time M.F.S.B. and were fortunate to have in Thom Bell, one of the most talented producers of all time. With that line-up, it’s no wonder that Mighty Love reached number one in the US R&B Charts and number sixteen in the US Billboard 200. Add to this three top ten US R&B singles, including the title track, Mighty Love, then 1973 had been a hugely successful year for The Detroit Spinners. Both Spinners, their first album for Atlantic and first album produced by Thom Bell and Mighty Love reached number one in the US R&B Charts and were certified gold. This successful period would continue until 1976, with 1974s New and Improved reaching number one in the US R&B Charts and number nine in the US Billboard, while Pick of the Litter reached number two in the US R&B Charts and number eight in the US Billboard 200. The final album during this successful period was Happiness Is Being With The Spinners, which reached number five in the US R&B Charts and number twenty in the US Billboard 200. Like Spinners and Mighty Love, these three albums were all certified gold. This was a remarkably successful period for The Detroit Spinners when not only did they produce some stunning music, but became one of the biggest and most commercially successful groups of this time. Although each of these five albums feature some outstanding music, Mighty Love is one of their most complete albums. Each of the eight tracks are of the highest quality and feature The Detroit Spinners at their very best. For anyone who hasn’t heard their music, one way to do so, is by buying the five disc box set The Original Spinners, which features The Detroit Spinners five best albums, starting with Spinners and ending with Happiness Is Being With The Spinners. That’s the perfect introduction to one of the biggest and best soul groups, The Detroit Spinners. Standout Tracks: Since I Been Gone, I’m Glad You Walked Into My Life, He’ll Never Love You Like I Do and Mighty Love.
THE DETROIT SPINNERS-MIGHTY LOVE.
DONNY HATHAWAY-DONNY HATHAWAY
DONNY HATHAWAY-DONNY HATHAWAY
After listening to Lala Hathaway’s album Where It All Begins, I thought that I’d revisit her father Donny Hathaway’s eponymous second album, Donny Hathaway. Previously, I’ve written about Donny’s stunning debut album Everything Is Everything, released in July 1970. On its release, the critically acclaimed Everything Is Everything reached number seventy-three in the US Billboard 200 and number thirty-three in the US R&B Charts. Considering the quality of music this must have been slightly disappointing for Donny. However, his next album Donny Hathaway was much more successful, when it was released.
Having released such a well received album, the pressure was on Donny to record his second album. Recorded at the Atlantic Recording Studios in New York, during 1970 and 1971, were nine songs. With Jerry Wexler, Arif Mardin and Donny producing the album, these nine songs were mostly cover versions of soul, gospel and pop music, which Donny gave his own unique twist. With an all-star band accompanying him, that included a rhythm section of Cornell Dupree and Chuck Rainey on bass, drummer Al Jackson Jr and guitarists Phil Upchurch and Cornell Dupree and the unique sound of tenor saxophonist King Curtis gracing the album, nine tracks were soon recorded. Adding backing vocalists were two of The Sweet Inspirations Cissy Houston and Myrna Smith, while Myna Summers and a number of other backing vocalists accompanied Donny. With the album recorded, it was scheduled for release in April 1971.
April 1971 saw Donny’s second album Donny Hathaway released. With songs by Van McCoy, Leon Russell, Billy Preston and Mac Davis on the album, plus one song co-written by Donny with Nadine McKinnor, the album was well received by critics. On its release, it reached number six in the US R&B Charts and number eighty-nine in the US Billboard 200. Sales of Donny Hathaway surpassed Everything Is Everything, although it’s considered to be Donny’s finest album.
Having released what was his second critically acclaimed and commercially successful album, Donny would enter one of the busiest times of his tragically short career. In 1972, he released a trio of albums, two of which were huge commercial successes. Roberta Flack and Donny Hathaway reached number three in the US Billboard 200 and number two in the US R&B Charts, while his Live album reached number fourteen in the US Billboard 200 and number four in the US R&B Charts. Both were certified gold, having sold over 500,000 copies. The only album from this trio that failed commercially, was the soundtrack album Come Back Charleston Blue, which reached number 198 in the US Billboard 200. Little did anyone know it, but after this Donny would only release one further album, before his life ended in tragedy.
The final album of Donny’s career was Extension of A Man, released in June 1973. Recording of the album had taken place between 1971 and 1973, and featured some of the most memorable music of Donny’s career, including the brilliant and powerful Someday We’ll All be free. When the album was released, it didn’t sell as well as it’s predecessor Donny Hathaway, only reaching number sixty-nine in the US Billboard 200 and number eighteen in the US R&B Charts, After this, Donny would release no new albums, only a Greatest Hits album in 1978, which reached number fifty-one in the US R&B charts.
Sadly, tragedy struck for Donny and his family, when in January 1979. Donny became unwell during a recording session with Roberta Flack. Having become paranoid and delusional, the recording sessions were stopped and Donny sent back to his hotel. Later he committed suicide, by jumping out of the fifteenth floor of his room at New York’s Essex House Hotel. After his death, his wife Eulaulah thought that over time, Donny had gradually become less careful about taking his medication. Tragically, the problems with mental illness that caused him problems throughout his career resulted in him taking his life. That day, music lost one its most talented singers whose musical influence is still felt over thirty years after his tragic death. One ofthe three critically acclaimed albums he released during his lifetime is Donny Hathaway, is a stunning album which I’ll now tell you about.
Donny Hathaway opens with Giving Up a song written by Van McCoy, the singer, songwriter, arranger and producer, best known for his hit single The Hustle. Giving Up had originally been sung by Gladys Knight and The Pips, but Donny transforms Van’s song, with a gospel tinged rendition of the lyrics. Not only is this a beautiful song, but one that’s hugely powerful. Against a dramatic arrangement, where a piano, rasping horns, rhythm section and searing guitars combine to accompany Donny’s vocal. Quickly, the arrangement returns to a more understated, but still dramatic sound, as Donny’s voice soars emotively, with a gospel influence present in his vocal and the arrangement. Gradually, the beauty and emotion of the arrangement, reveals itself, with flourishes of piano, powerful drums, lush, shimmering, quivering strings and King Curtis’ saxophone drenching the arrangement with its sad yet, gorgeous sound. The song continues for nearly six and a half magnificent and majestic minutes, during Donny and his band deliver the definitive version of this deeply moving and powerful track.
After such an outstanding opening track, you get the feeling that Donny set the bar high by opening the album with Giving Up, and how will A Song For You Compare? The answer to that is simple, and that’s by producing a quite inspirational version of this Leon Russell penned track. With Donny’s fingers cascading down the piano, the track opens, before giving way to his gentle, thoughtful. As he sings the lyric, “we’re all alone and I’m singing this song for you,” that’s what it feels like. There’s a sense of intimacy, with just the combination of Donny and piano, and it seems like he is indeed singing the lyrics just for you. You become enthralled, before the strings, bass and woodwind enter. They combine beautifully with Donny and the piano, the sound subtle, so much so, you can’t bear to miss a second of the track. There’s a beauty to the lyrics when Donny sings tenderly about love and his relationship and feelings, and then when sings “when my life is over”, there’s a sense of poignancy in the lyrics. Behind him, there’s mostly, a classical sound to the arrangement, but sometimes, a bluesy sound and feel. One thing that’s constant however, is the inherent beauty of both Donny’s emotive and heartfelt arrangement and the understated and thoughtful arrangement. They combine beautifully, resulting in one of the album’s highlights.
Little Girl was written by Billy Preston, who was one of a few people who worked with both The Beatles and Rolling Stones. This is a lovely slow track, with a combination of piano, wailing organ and backing vocals opening the track, before another emotional vocal from Donny enters. With the rhythm section playing slowly and carefully, there’s some clever interplay between Donny and the backing vocalists, before the song opens out. A sad sounding Donny asks why his “little girl” had to leave him, asking “where did you go.” By now, the slow arrangement builds and builds, with the emotion and sadness tangible in the song. Donny’s delivery of the lyrics is outstanding, with the emotion rising as she sings “you don’t know how it’s been without the baby.” Adding to the sense of emotion and loneliness are blazing horns, which punctuate the track. This is just the finishing touch to a song that Donny brilliantly to life, delivering thoughtfully and emotionally.
Having heard many indifferent versions of He Ain’t Heavy, He’s My Brother, it’s a welcome change to hear the song sung so beautifully. With a piano, chiming guitars and rhythm section subtly accompanying Donny, he tenderly sings the lyrics about brotherhood, with bells subtly used to augment the arrangement. They combine perfectly with the piano and later the drama laden strings. Again, Donny succeeds in bringing the lyrics to life like no other singer I’ve heard can. What is usually an overblown, middle of the road standard, is transformed into something quite beautiful, and almost spiritual. One thing that helps the song is the slow, with a mostly understated arrangement. Combined with a gentle, tender vocal from Donny the song’s transformation is complete, becoming a thoughtful, moving and quite beautiful song, that closes side one of Donny Hathaway.
Side two of Donny Hathaway opens with Booker T and The MGs drummer Al Jackson Jr providing the heartbeat to Magnificent Sanctuary Band, while Donny almost raps about the thrill and excitement of seeing a good marching band live, not on television. With handclaps, rhythm section and backing vocalists barking out 1-2-3-4, Donny remembers the excitement of seeing the marching band for the first time. Horns rasp behind him, while flourishes of piano and supremely, soulful backing vocalists accompany Donny’s sweet vocal. Although very different from the other tracks on the album, this is a really uplifting, joyous and catchy track, especially when Donny and the backing vocalists unite, transforming the song into an almost swinging, spiritual track with a gospel flavour.
When you hear the stunningly, beautiful She Is My Lady, you wouldn’t imagine that this was written by George Clinton. It’s the diametric opposite of George’s Funkadelic and Parliament music. Instead, it’s a beautiful, slow ballad with backing gospel tinged backing vocalists accompanying Donny. From the opening bars, you realize that you’re privileged to hear something as special as this. A piano gently plays, before Donny slowly and thoughtfully sings of his love for the woman who makes his life worthwhile and meaningful. Gradually, the arrangement builds, with strings sweeping in, before the rhythm section and piano add a sense of drama. They give way to the gospel tinged backing vocalists who add to the sense that this song’s roots are an in the church. They help the song to grow, as do rasping horns and lush strings, which combine perfectly with the piano and add a sense of drama. As the song grows and grows, the emotion and beauty grows, reaching a dramatic and gospel drenched crescendo.
I Believe In Music was written by Mac Davis, who also wrote In the Ghetto. Again, the song features some gospel inspired backing vocals. With the rhythm section, piano and backing vocalists accompanying Donny, he sings about his belief in music to stop conflict and inspire people. Quivering, shivering strings enter, as Donny’s voice soars, while the backing vocalists contribute a combination of soul and gospel styled vocals. Later, a flute floats briefly above the arrangement, and is replaced by tambourine and flourishes of piano, while Donny and his backing vocalists joyously deliver the lyrics.
Just a combination of piano and rhythm section opens Take A Love Song, the only song written by Donny, with Nadine McKinnor. The lyrics are beautiful, Donny’s delivery thoughtful and filled hope and emotion. Behind him, the arrangement grows to include shimmering strings, rasping horns and backing vocalists, whose united voices soar impressively. With Donny playing piano with a flourish, and his voice emotive and powerful, he combines perfectly with the female backing vocalists, as the arrangement builds and builds, strings and horns at the heart of this dramatic arrangement.
Donny Hathaway closes with the spiritual Put Your Hand In the Hand, which features an understated arrangement with just Donny, piano and arrangement combining. The only time the arrangement grows is when the backing vocalists sweep in, with their gospel influenced vocals combining perfectly with Donny. This understated and sympathetic arrangement seems totally in keeping with the religious lyrics. It’s a joyful and uplifting way to end what’s been a stunning album, one of the best soul albums of 1971, which was great year for soul music.
To me, Donny Hathaway’s eponymous second album, Donny Hathaway is one of these rare albums, that doesn’t have a bad song on it. This is unusual, as usually, there’s a song that lets an album down. Not here. There are neither any bad songs, nor any filler, just nine great tracks. These tracks demonstrate how hugely talented a singer and musician Donny Hathaway was. Although he only released three studio albums as a solo artist, there’s more quality in these three albums than there is in twenty albums by other artists. From the opening bars of Donny Hathaway until the final notes, you’re enthralled, taken on a stunning and magical musical journey that encompasses soul and gospel music, with Donny as your guide. You find yourself transfixed, awaiting the next song with anticipation, listening to every subtlety and nuance. When the album ends, you can’t help but listen again, just in case you missed anything the last time. What happens is that each time you listen to the album, the more you grow to love it. It quickly becomes like a trusted friend, and you’re drawn to it time and time again. That’s what’s happened to me. Over the years I’ve grown to cherish Donny Hathaway, and his two other albums Everything Is Everything and Extensions of A Man. On this trio of albums is some of the best, most healing and uplifting music that you’ll ever be privileged to hear. If you’ve never heard Donny Hathaway, or any of Donny’s other albums, then now is the time to let his stunning music enter your life. Once you’ve done so, you’ll never regret it, and like me, cherish the music of the late, great Donny Hathaway, a true legend of soul music. Standout Tracks: Giving Up, A Song For You, She Is My Lady and I Believe In Music.
DONNY HATHAWAY-DONNY HATHAWAY
DJ ROGERS-ON THE ROAD AGAIN.
DJ ROGERS-ON THE ROAD AGAIN.
Some time ago, I wrote about DJ Rogers debut album for RCA Records It’s Good To Be Alive, released in 1975, which gave him a hit album, reaching number thirty-six US R&B charts. Sadly, the story of DJ Rogers is one of an artist with a huge amount of talent, whose music sadly, never reached the commercial heights it deserved. During a four year period between 1975 and 1978, DJ released three highly regarded albums for RCA Records, two of which gave him minor chart success. For such a gifted and talented singer, songwriter and multi-instrumentalist, this was a disappointing result. Like so many other gifted and talented artists, like Bettye Swann, Doris Troy and OV Wright, DJ Rogers joins the list of artists whose talents hugely outweigh their commercial success.
Since his career started in 1973, DJ has only released six studio albums, the last of these in 1979. From his eponymous debut album released in 1973, entitled DJ Rogers, DJ’s career has been beset by bad luck and unlucky breaks. His debut album DJ Rogers, released on Shelter Records, progress was hampered by distribution and marketing problems, and the album failed to chart. DJ’s big break came when he signed a contract with one of the biggest labels of the time, RCA.
Between 1975 and 1978, three albums were released. It’s Good To Be Alive was the first of this trio, released in 1975, which reached number thirty-six on the US R&B Charts. On the album was a song that for many people, is synonymous with DJ Rogers, Say You Love Me. When it was released as a single, it reached number ninety-eight in the US Billboard 100 and number fifty-one on the US R&B Charts. This gentle and beautiful piano lead ballad gave DJ one of the biggest hits of his career, signed to Columbia, where he released Love Brought Me Back, in 1978, which reached number fifty-four in the R&B charts. Once again, DJ changed label, signing to ARC Records, releasing one album, Trust Me in 1979 and was his only single to enter the US Billboard 100. Things improved for DJ with the release of his next album, On the Road Again, which this review is about.
On the Road Again was recorded during 1976, at studios B and C of RCA’s Music Centre of the World Studios. With what was an all-star band accompanying DJ. Ten songs eight of which DJ wrote himself, and two with Lonnie Simmons were recorded, on album that was a combination of soul and funk. Accompanying DJ on the album were drummer Harvey Mason, whose trademark drum sound graced so many albums during the seventies. Also playing drums, was Jeff Porcaro, founder of Toto, and who as a session musician played with artists ranging from Steely Dan and Pink Floyd to George Benson and Diana Ross. With trombonist George Bohannon, pianist Jerry Peters, organist Michael Wycoff and The Gap Band all contributing to the album, DJ cut the ten tracks which made up On the Road Again.
When On the Road Again was released later in 1976, it reached number 175 in the US Billboard 200, and was the only one of DJ’s six albums to enter the US Billboard 200. Meanwhile, the album only reached number forty-nine in the US R&B Charts, failing to match the number thirty-six of its predecessor, It’s Good To Be Alive. Only one single was released from the album. This was Let My Life Shine which reached number seventy-eight in the US R&B Charts. Having had an album that entered the US Billboard 200 and US R&B Charts, a minor hit single, DJ must have thought that his career was on the up, when he contemplated recording his third album for RCA. However, that wasn’t to be the case.
Love, Music and Life was recorded and released in 1977, and again saw DJ work with some hugely talented musicians on the album. Musicians Kenni Burke, Wah Wah Watson and Jeff Porcaro all played on the album, while Cheryl Lynn and Deniece Williams were just two of the backing vocalists on the album. However, when Love, Music and Life was released in 1977, it failed to chart. This was hugely disappointing for DJ, given the quality of music on the album. Sadly, this was the last album DJ recorded for RCA. After this, DJ would release just two further albums.
Having left RCA, DJ signed to Columbia Records, where he released Love Brought Me Back, which reached number fifty-four in the R&B charts. Two singles were released from the album All My Love, which reached number eighty-seven in the US R&B Charts. The second single released from the album was Love Brought Me Back, the title track. This gave DJ the biggest hit single of his career, reaching number forty in the the US R&B Charts. Even after a relatively successful album and two singles, DJ left Columbia, signing for Maurice White of Earth, Wind and Fire ARC Records label, for whom he released just one album Trust Me, in 1979. Sadly, this proved to be the last album DJ Rogers released, during his career. He’d later collaborate with a number of artists, including Patrice Rushden an R&B singer and keyboard player, in 1980. Towards the mid to late eighties, DJ worked with a number of gospel singers, including Keith Pringle. However, DJ Rogers never returned to secular music, and the three albums he recorded for RCA, are considered to be the best work of his short career. One of these albums was On the Road Again, which I’ll now tell you about.
On the Road Again opens with the title track, On the Road Again, one of eight tracks DJ wrote himself. It’s a track with an unusual opening with a spoken word sample giving way to beautiful combination of the lushest of strings and a choir of soulful backing vocalists. They’re followed by DJ’s vocal which is full emotion and frustration as he sings about life on the road as a singer and musician. If this song is autobiographical then the life of a singer and musician is neither glamorous, nor well paid . Against a slow and beautiful backdrop of rhythm section, guitars, slow strings and the backing vocalists, DJ gives a heartfelt delivery of the lyrics, displaying a voice that’s one part raw emotion to part frustration.
One More Day has similarities to the opening track, with a guitar, funky bass and Harvey Mason’s drums combining, before strings and backing vocalists enter. DJ’s vocal is strong, yet soulful, and the backing vocalists provide a contrast to his vocal, amidst the blazing horns and funk drenched rhythm section. Later DJ adds a wailing Hammond organ to the arrangement, which by now is combining elements of funk and soul with the gospel influenced backing vocalists. The result is an excellent song that swings along.
The tempo drops on Love Can Be Found, a slow and sad sounding track, that features backing vocalists sweeping in tenderly. With a combination of rhythm section, chiming guitars and keyboards accompanying him, a optimistic DJ believes that somewhere love can be found. As the song progresses, the hope and passion in voice grows, as he almost growls the lyrics, against a much more understated arrangement. This is perfect for the song, allowing one of the most powerful and passionate vocals from DJ on the album to shine and take centre-stage.
Let My Life Shine Part 1 opens with tinkling keyboards giving way to a backing vocalist singing the refrain from the opening track, On The Road Again. After this a moody and dramatic combination of flourishes of piano and keyboards combine. the drama builds and builds, as strings sweep in, with the track having a cinematic quality, that would work well at the dramatic climax of a film. However, regardless of how good this sounds, it seems out of place here, and doesn’t quite fit with the rest of the album.
Logically after Let My Life Shine Part 1, comes Let My Life Shine Part 2. This is a very different and much better track. Swirling strings, a funk drenched rhythm section and guitars accompany gospel tinged backing vocalists, before DJ’s impassioned and sad vocal enters. As the track flows along, a series of funky breakdowns occur, before the backing vocals and then DJ’s vocal enters. Each vie for centre-stage, the other taking turns at outdoing the other on what’s a quite brilliant and hugely moving, especially DJ’s vocal which is laden with emotion and totally heartfelt.
Secret Lady is one of these what if songs, about a lady who could’ve been someone, achieved things and gone on to greatness. With a lovely slow and melodic arrangement where the rhythm section, chiming, shimmering guitars and keyboards accompany DJ’s vocal, the song gradually unfolds, revealing its beauty. Later blazing horns enter, then soulful backing vocalists unite, adding to this smooth, gently funky track. Meanwhile, DJ’s vocal grows in passion and emotion, venting his frustration at the what might have been queen he’s singing about, during this lovely track.
A philosophical DJ greets the listener on Holding On To Love, as DJ ponders the material things he’s owned and enjoyed, clothes, houses and jewellery but remembers the one constant in his life, love. During another slow track, where guitars, rhythm section and keyboards provide a meandering and thoughtful backdrop for DJ’s vocal, an almost lovestruck DJ sings how he’s a slave to his partner’s love, and never sees himself free. The arrangement has a subtle, understated sound, guitars shimmering and quivering, while DJ half-speaks the lyrics. This is effective, and later, and when his voice soars powerfully, he’s joined by backing vocalists, who together with guitars and the rhythm section accompany him to the songs emotive and dramatic crescendo.
After the philosophical Holding On To Love, DJ decides it’s time for a love song, Girl, I Love You. With a gently funky combination of chiming guitars, funky rhythm section and keyboards DJ tenderly sings about how despite his faults, he loves and needs his partner. As the song meanders beautifully along, the track is catchy and has a really smooth sound. Later, DJ and his band decide the time is right for a short funk masterclass, with DJ and a talented band briefly displaying their considerable talents. Blazing horns join the track, as the guitars and rhythm section strut their stuff. This is an impressive display and like the rest of the track sounds fantastic, so much so, it’s one of the album’s highlights.
Only While It Lasts sees a a pessimistic and sad DJ, sing about how nothing lasts, and everything is temporary. With just a combination of piano and guitar accompanying DJ the song has a sad and pensive sound, but the lyrics ring true, and many people will be able to relate to them. Although the arrangement is particularly spartan, it’s perfect for the lyrics. So is DJ’s thoughtful and pensive delivery of them, and the result is a track that can’t fail to make you think.
On the Road Again closes with a short track Say You Love Me One More Time. After announcing that time’s running short, DJ the delivers a short and hugely catchy, swinging track. With joyous sounding, gospel tinged backing vocalists accompanying him, DJ then throws a curve ball, with everything then changing. What follows is the track starts to swing along, with a funk drenched rhythm section and guitars, accompany a testifying DJ, with the backing vocalists accompanying him. With horns braying and blazing, the track swings along, with the pity being that the track lasts only two and a half fantastic minutes. As the track ends, you find yourself thinking what a way to end the album.
The story of DJ Rogers career is one of unfulfilled potential, and of an artist who through no fault of his own, had a few bad breaks along the way. After the lack of success of the single Say You Love Me on RCA Records, DJ issued one of several angry responses to his label’s treatment of his music. These featured in the pages of Soul Magazine, and were the result of what DJ saw as a lack or promotion of his music. One wonders whether if he’d been with a label that had done more to promote his music whether he’d have been a much bigger success. Certainly DJ Rogers was a hugely successful singer, songwriter and musician, who was able to arrange and produce his own music. How many other artists were as talented as this? The three albums he recorded for RCA featured the best music of his sadly, short career. Of these albums On the Road Again is my favorite album of the three. On the album, DJ masterfully fuses soul, funk and even elements of gospel brilliantly. With a talented band and what sounds like a choir of backing vocalists backing him, ten great songs were recorded for On the Road Again, a hugely underrated album. Thankfully, you can now hear On the Road Again, along with DJ Rogers two other RCA albums, It’s Good To Be Alive and Love, Life and Music. These three albums are available as part of a two disc set on the BMG label. This is the perfect introduction to the music of a hugely talented singer, songwriter and multi-instrumentalist DJ Rogers, a man who deserved to be a huge star. Standout Tracks: One More Day, Love Can Be Found, Girl, I Love You and Only While It Lasts.
DJ ROGERS-ON THE ROAD AGAIN.
THE O’JAYS-IDENTIFY YOURSELF.
THE O’JAYS-IDENTIFY YOURSELF.
The O’Jays 1979 album Identify Yourself was the last in a series of eight albums the group released on Philadelphia International Records that was either certified gold or platinum. This remarkable sequence of hugely commercial and critically acclaimed albums started in November 1972, with their debut album for Philadelphia International Back Stabbers, which reached number ten in the US Billboard 200 and number three in the US R&B Charts. This lead to the group receiving what would be the first of four gold discs. Back Stabbers also featured the groups first two number one singles, Back Stabbers and Love Train. However, things got even better the following year, 1973.
Ship Ahoy, released in November 1973, fared even better reaching number eleven in the US Billboard 200 and number one in the US R&B Charts. Not only did this result in the first of their four platinum discs, but the first of four number one US R&B albums. Now eight years after their debut album Comin’ Through The O’Jays patience and persistence had been rewarded, and little did they know that this would continue and that they were entering one of the most successful periods of their career.
1975 proved to be the biggest year of The O’Jays career, releasing two critically acclaimed and commercially successful albums. When Survival was released in April 1975, it gave The O’Jays their second number one US R&B album, which reaching number eleven in the US Billboard 200. This resulted in gold disc number two. By now, the Gamble and Huff partnership with The O’Jays was proving extremely fruitful, with Survival featuring the group’s third number US R&B single Give the People What They Want. Later in 1975, The O’Jays released Family Reunion, which became their most successful album to date, reaching number seven in the US Billboard 200 and number one in the US R&B Charts. Having sold over a million copies, the album was certified platinum. Adding to this success were two US R&B number one singles, the joyful I Love Music and Living For the Weekend. By now The O’Jays were one of the jewels in the Philadelphia international crown, with 1975 being the group’s most successful year.
After the huge success of 1975, it was always going to be difficult to replicate that success. The O’Jays only released one album that year, Message In the Music, which reached number twenty in the US Billboard 200 and number three in US R&B Charts. It was certified gold, and one of the songs on the album not only gave the group another number one, but became one of the group’s most popular songs. This was Darlin, Darlin’ Baby (Sweet, Tender, Love). However, during this year, tragedy struck for The O’Jays. William Powell, one of the original members died of cancer, in May 1975.
Having lost William Powell, the group Sammy Strain was brought onboard to replace him, and Travellin’ At the Speed of Thought was the first album to feature his vocals. Released in May 1977, the album reached number twenty-seven in the US Billboard 200 and number six in the US R&B Charts. This resulted in another gold disc for The O’Jays, the fourth of their career. Although the loss of William Powell had been a huge blow, new member Sammy Strain had fitted in well and his first album with the group had been well received and a commercial success. However, the next two albums would see The O’Jays receive two further platinum discs.
The first of these albums was So Full of Love, released in 1978. It became the group’s most successful album, reaching number six in the US Billboard 200 and number one in the US R&B Charts. With their third number one US R&B album and platinum disc, things got even better when Use Ta Be My Girl gave The O’Jays their eighth number one US R&B single. This success continued to their next album Identify Yourself, which this article is about.
Identify Yourself was recorded during 1978 and 1979 at the Sigma Sound Studios in Philadelphia, where so many of the great records of The Philly Sound era were recorded. With four songs written and produced by Gamble and Huff, one written and produced by Thom Bell and three by two of The O’Jays Eddie Lever and Walter Williams, Identify Yourself was full of some great music. Also working on Identify Yourself were some of the most creative and talented people at Philadelphia International. This included arrangers John R Faith, John Usry Jr and Dexter Wansell, it seemed that Gamble and Huff were determined that The O’Jays incredible run of success would continue. Their gamble paid off, with the album well received by critics and reaching number sixteen in the US Billboard 200 and number three in the US R&B Charts, resulting in platinum disc number four. Two singles were released from the album Sing A Happy Song and Forever Mine. Sing A Happy Song only reached a disappointing 102 in the US Billboard 100, but fared better in the US R&B Charts reaching number seven. Forever Mine reached number four in the US R&B Charts and number forty-nine in the US Billboard 100, becoming the last of The O’Jays singles to reach the top fifty.
Sadly, after Identify Yourself, The O’Jays never reached the same heights commercially on Philadelphia International, and their only album to match their earlier success was Emotionally Yours, on EMI America which reached number seventy-three in the US Billboard 200 and number two in the US R&B Charts, and was certified gold. However, when The O’Jays released Identify Yourself they’d no idea that this remarkable run of hugely successful albums was ending. It seems almost fitting that this run ended with such as good an album as Identify Yourself, which I’ll now tell you about.
Identify Yourself opens with the first of four Gamble and Huff penned tracks Sing A Happy Song, one of the singles released from the album. A combination of fast pounding drums and keyboards open the track before The O’Jays combine to contribute joyous harmonies. These give way to a combination of rhythm section, guitars and percussion, before Eddie’s vocal soars, a mixture of joy and power. Behind him, Walter and Sammy sing backing vocals, while strings sweep, horns rasp and flourishes of piano add to what’s a fast, joyous and catchy track, where as usual with a Gamble and Huff penned and produced track, hooks are certainly not in short supply. One things that’s noticeable is the drum sound, and how many house producers have either deliberately or inadvertently used the drum sound on tracks like this for inspiration. They all owe the many drummers, including Earl Young who played on many early Philadelphia International albums, a huge debt of gratitude.
Although Get On Out and Party isn’t as quick as the opening track, it’s still one of the many dance-floor friendly tracks on the album. Co-written by Walter Williams with Terry Stubbs, Leroy Simmons and Mike Jackson, it’s a track that gives no indication of it direction or intention when it begins. After a combination of rhythm section and guitars combine before the vocal enters, you get the idea that something special is about to unfold. You’re not disappointed when a combination of sweeping, swirling strings, blazing horns, chiming guitars and punchy, driving rhythm section combine with The O’Jays. The lead vocal changes hands several time, with Eddie, Walter and Sammy combining well, the contrast in their voices working well. With punchy drums, rasping horns and handclaps accompanying them, they provide some good time party music, that combines elements of soul, funk and disco. This combination works well, resulting in a track that not only sounds great, but is so catchy it’s almost infectious.
Identify is the second Gamble and Huff penned and produced track, featuring a great arrangement from one of the best arrangers at Philadelphia International, John Usry Jr. His stomping arrangement features the rhythm section, braying horns and sweeping strings at its heart, while a searing guitar solo cuts through the track. Meanwhile flourishes of piano add contrast as the drums are fast and punchy, and key to the arrangement. Meanwhile, the song features some clever interplay between The O’Jays, with them singing the song in a call and response style. Eddie sings one line, with Walter and Sammy replying in the next. As their powerful, emotive voices sing about identity, and how there’s no middle ground, with friendship and conflict, peace and war, the right and left politically all examples of this. Perfect for these almost angry lyrics is the stomping drumbeat that plays such a vital part throughout this thoughtful and intelligent song.
Closing side one of Identify Yourself is So Nice I Tried It Twice, a love song. The tempo remains the same as the previous track, with lush, swirling strings playing an important role in the arrangement. They combine with a funk drenched bass and soaring guitar before Eddie’s joyful vocal enters, with Walter and Sammy singing harmonies. With percussion augmenting the sound, the sings sweeps and flows along, with a rocky sounding guitar drifting in and out of the track, while keyboards and that funky bass contribute towards this fast, furious and funky track. Like Get On Out and Party, this track merges the best of soul and funk with elements of disco, resulting in another joyful, uptempo track from The O’Jays, that must have filled many a dance-floor back in 1979.
Side two of Identify Yourself sees O’Jays Eddie Levert and Walter Williams combine with Mike Jackson to write the beautiful Hurry Up and Come Back. When the track opens, a hesitant combination of chiming guitars and rhythm section give no indication of what will unfold. Against a backdrop of lush strings, rhythm section, chiming guitars and keyboard Eddie gives a heartfelt and sad vocal, as he pleads for his lover to come back. Behind him, Walter and Sammy contribute some of the best harmonies on the album, that matches the emotion and beauty of Eddie’s lead vocal. Like the vocal, the arrangement has a really emotive and sometimes, dramatic sound, which builds and builds. By the end of the what’s one of the best tracks on the album, Eddie and Walter deserve credit not just for their songwriting ability, but for their production skills, as they co-produced the album. Credit must also be given to Dunn Pearson, for his stunning arrangement.
It seems that album is on a roll now, with Forever Mine, another of the Gamble and Huff songs another of the album’s highlights. John R Faith’s arrangement and Gamble and Huff’s production, combined with some beautiful, tender and thoughtful vocals from The O’Jays all play their part in the song’s success. The arrangement has an almost understated sound for much of the track, developing into a more powerful, dramatic sound later. For much of the track, it meanders along with chiming, shimmering guitars, sweeping strings and rhythm section combining beautifully. Later, blazing horns and the rhythm section combine powerfully, adding a dramatic element to the arrangement. However, what really makes the track are some lovely, gentle vocals from Eddie, Walter and Sammy, as they swear undying love to the woman they love and want to spend their lives with. When they’re combined with the arrangement, the result is one of the best songs on Identify Yourself.
After a brilliant Gamble and Huff penned and produced track, they provide yet another fantastic track, I Want You Here With Me. With John R Faith arranging the track, another great track reveals itself and reveals how prolific Gamble and Huff were when it came to writing and producing quality songs. A punchy and hooky combination of rhythm section and guitars, gives way to Eddie’s lovestruck, emotive vocal WWalter and Sammy accompany him, as he pleads for his partner to return to him, as he can’t stand being so far away from her. Adding to the emotion and beauty of the track are slow, lush strings, percussion, keyboards and organ. Later horns punctuate the track, as the arrangement takes a dramatic turn, matching the heartache and longing in Eddie’s vocal. This masterful combination results in the third great track in a row, with the Gamble and Huff and Jack R Faith partnership demonstrating just how to produce and arrange a track properly.
Identify Yourself closes with a track written by Thom Bell and Joseph Ericksen, One In A Million (Girl). This is the only Thom Bell produced track on the album, and was arranged by Anthony Bell. It’s a mid-tempo track that opens brightly with strings swirling dramatically, a powerful rhythm section and guitars giving way to Eddie’s dramatic and emotional vocal as he sings about having found a girl who he loves so much and how she’s one in a million. Behind him, William and Sammy contribute subtle harmonies, allowing a heartfelt vocal from Eddie to take centre-stage. As the strings sweep and swirl, rasping horns and punchy drums dramatically punctuate the arrangement, adding to the emotion of the vocal and song. After such a beautiful, dramatic and emotive song, you realize that this is the perfect song to end the album. It would be a hard track to better, and it’s always best to finish an album on a positive note. This is the case here, a great song to end what’s been an excellent album.
Little did The O’Jays know it at the time, but Identify Yourself was the last of their Philadelphia International albums to result in either a gold or platinum disc. Although their next two albums 1980s The Year 2000 and My Favorite Person released in 1982, both sold well, reaching numbers six and seven respectively in the US R&B Charts, their hugely successful commercial period had ended. However, a total of four gold discs, four platinum discs and four number one US R&B albums between 1972 and 1979 made The O’Jays one of the most successful soul groups in musical history, In fact, records show that they’re the sixteenth most successful artist or group in the history of soul music. During that period however, they were fortunate to be on one the greatest labels in America, Philadelphia International Records. With Gamble and Huff guiding their career, The O’Jays went from a group who previously, had never had a hit album, to a group who released eight critically acclaimed and commercially successful albums in a seven year period. They became one of Philadelphia International’s most successful acts, recording music which is not only stunning, but timeless. Over thirty years later, their music sounds just as good as it did when it was released. This includes Identify Yourself, an album crammed full of some fantastic music, including four great tracks from Gamble and Huff, who must go down in musical history as one of the greatest and most prolific songwriting and production partnerships ever. Along with Thom Bell they gave the world The Philly Sound. One of these groups were The O’Jays who produced so many fantastic albums for Philadelphia International, including Identify Yourself, which features some wonderful joyous and emotive music, sung by Eddie Levert, Walter Williams and Sammy Strain. Together they were The O’Jays, one of the finest purveyors of The Philly Sound. Standout Tracks: Sing A Happy Song, So Nice I Tried It Twice, Hurry Up and Come Back and Forever Mine.
THE O’JAYS-IDENTIFY YOURSELF.
ESTHER PHILLIPS-YOU’VE COME A LONG WAY, BABY.
ESTHER PHILLIPS-YOU’VE COME A LONG WAY, BABY.
Not only did Esther Phillips have one of the most distinctive voices in music, but she was one of the most versatile vocalists of her generation. Whether it was soul, jazz, blues or even funk or disco, she could handle a song with aplomb, and deliver it with her own unique style. During a recording career that spanned four decades, Esther she recorded twenty studio albums, for labels that included Atlantic, Kudi and Mercury, where she recorded the album this article is about You’ve Come A Long Way, Baby. Sadly, during her career, Esther suffered from drug abuse, which eventually contributed to her death in August 1984, when she died aged just forty-eight.
By the end of the sixties, Esther’s music had fallen out of favour. She’d recorded at total of five albums for Atlantic, during two periods with the label. Only her 1970 live album Burnin’, released during her second period with Atlantic charted, reaching number seven in the US R&B Charts. After leaving Atlantic for the second time, Esther would record for Kudi where she’d experience an upturn in her fortunes, and record some of the best and most successful music of her career.
Between 1970 and 1976, there was a resurgence in Esther’s career when she recorded some of her best and most commercially successful work for the Kudi label. Albums like 1972s From A Whisper To A Scream and Alone Again (Naturally), 1974s Black Eyed Blues and What A Difference A Day Makes in 1975, saw Esther’s music reach the top twenty in the US R&B Charts, becoming the most successful period of her career. After leaving Kudi, Esther recorded four albums for Mercury, which although they feature some great music, weren’t as commercially successful as the music she recorded for Kudi.
The first of four albums Esther recorded for Mercury was You’ve Come A Long Way, Baby, which was released in 1977. Although the music on the album was different to that of the last couple of albums she’d recorded for Kudi, one constant was arranger and producer Alfred Pee Wee Ellis. He’d previously, arranged Esther’s debut album for Kudu, From A Whisper To A Scream and played on two tracks on her final Kudu album Capricorn Princess. With Alfred arranging and producing Esther’s debut for Mercury, Esther, Alfred and her band headed to The Hit Factory, in New York. Among the musicians that played on You’ve Come A Long Way, Baby, were drummer Harvey Mason, whose distinctive drum sound features on so many albums of this time. Along with bassist Nathan Phillips a tight and experienced rhythm section born, and joined by a horn and string section. With the rest of the band, nine tracks were recorded. These were a mixture of uptempo, disco style tracks and beautiful ballads. One of the ballads was In A Soft and Subtle Way, while Somewhere Along the Way, co-written by Dinah Washington with Walter Merrick has a lovely bluesy style. On the album were cover versions of Rodgers and Hammerstein If I Loved You and Van Morrison’s Into the Mystic. You’ve Come A Long Way, Baby truly was an album full of variety, with something for everyone.
When You’ve Come A Long Way, Baby was released, it failed to chart and neither did the single Love Addict. This must have come as a huge disappointment to everyone involved, given the standard of music on the album. Sadly when Esther released her other three albums for Mercury neither 1978s All About Esther nor 1981s Good Black Is Hard To Crack charted. Only 1979s Here’s Esther, Are You Ready charted, reaching just number forty-seven in the US R&B Charts. After the commercial success of her albums for the Kudi label, it seemed that Esther couldn’t replicate this success for Mercury. Why is that? That’s what I hope to discover when I review You’ve Come A Long Way.
You’ve Come A Long Way, Baby opens the only single released from the album Love Addict, co-written by Denise La Salle and James Wolfe. Straight away, when the track opens a punchy rhythm section, guitars, keyboards and blazing horns accompany Esther, whose voice is laced with humor as he delivers the lyrics about being a love addict. Later strings sweep in joining the arrangement, helping the track to swing along. With chiming guitars, swirling strings and braying horns combining with the tight but punchy, rhythm section and Esther accompanied by backing vocalists, a hugely catchy, hooky track unfolds that sounds great.
After such a great opening track, the quality continues on You’ve Been A Good Ole Wagon, a much slower track. Chiming guitars and piano open the track, before Esther’s sultry, bluesy vocal enters. Esther interprets the song that Bessie Smith cowrote with John Henry, Perry Bradford and Stuart Balbomb, thoughtfully, while an organ adds a atmospheric sound. This track perfectly suits Esther’s voice, with her delivers of the lyrics in a slow, dramatic bluesy style quite beautiful,especially with the piano and guitar playing such an important role in the track.
If I Loved You is an uptempo, almost disco version of the Rodgers and Hammerstein song, with the piano, rhythm section and guitar combining, before Esther’s sassy vocal enters. As the arrangement sweeps along, with strings playing an important role in the track with the rhythm section and piano. Later in the track, the band combine jazz and funk, before driving the track along in a dance-floor friendly direction. By the end of the track, you realize that you’ve just heard Rodgers and Hammerstein arranged and sung in a way you’d never, ever have imagined. Although it sounds a good enough track, to me it just doesn’t quite work, the song neither suiting the arrangement, nor Esther’s vocal style
When the jazzy Somewhere Down the Line opens, a piano meanders beautifully along before Esther’s vocal enters. She delivers the song with a lovely jazzy style bringing to life Dinah Washington with Walter Merrick’s lyrics. Rasping horns enter later, adding to the song’s beauty, and not spoiling the understated quality of the arrangement. This song is much more suited to Esther’s voice, and her delivery of the lyrics is not only quite beautiful, but subtle and thoughtful, resulting in the best track on the album.
In A Soft and Subtle Way is by far the fastest song on the album, and sees a combination of tinkling keyboards, thoughtful rhythm section and gently, chiming guitars accompanying a restrained and subtle vocal from Esther. As the song meanders and floats along gentle, backing vocalists accompany Esther, before rasping horns enter. By then the track quickens, guitars chiming and shimmering, combining with keyboards and the rhythm section while horns punctuate the track, and Esther’s vocal occasionally grows in strength. However, mostly, her vocal has a subtlety and restrained delivered against a beautiful meandering arrangement from Alfred Pee Wee Ellis.
Unselfish Love bursts into life with swirling strings, a driving rhythm section and blazing horns accompanying Esther’s emotive and powerful vocal. Backing vocalists accompany her throughout this fast, furious and driving track. With horns braying, lush strings sweeping and swirling and flourishes of piano all playing important roles in the arrangement, this provides the perfect backdrop for Esther to be transformed into a disco diva. With the help of her backing vocalists, swathes of strings and blazing horns, this transformation is soon complete on what’s a hugely, catchy and great sounding, driving track.
During I’ve Never Been A Woman Before Esther ad-libs her way through the song, turning back the clock to remember her younger days and her first love, against a backdrop of soaring, chiming guitars and rhythm guitars. The track has a spacious sound, the band playing around and above Esther’s vocal as the song gradually reveals itself. Her half-spoken vocal gives way to a heartfelt delivery of the lyrics that sees keyboards join the guitars and rhythm section as Esther sings about her love for partner. Her voice soars, full of emotion, while the arrangement meanders along slowly. The interplay between Esther and the band works really well, they provide the perfect backdrop for her vocal to take centre-stage and shine during a heartfelt, emotive delivery of Ron Miller and Tom Baird’s lyrics. The result is one of the album’s highlights.
Demonstrating the sheer variety of music on the album is a cover version of Van Morrison’s Into the Music. It’s a very different version of the track, delivered thoughtfully by Esther, against a backdrop of slow, lush strings, blazing horns, chiming guitars and rhythm section. Although the arrangement stays true to parts of the original track, the two vocal styles are very different. Here, the arrangement veers between a slow, gentle style, to brief bursts of drama, while Esther’s sultry, searing vocal reinterpreting the track sympathetically. She doesn’t resort to any dramatics or theatricals, instead, giving an interesting and sometimes poignant and slightly jazzy delivery of Van Morrison’s track.
You’ve Come A Long Way, Baby closes with My Prayer. This isn’t the original track that was on the album, instead, it’s a nine minute extended version. When the track opens, a funk drenched rhythm section and guitars drive the track quickly along. Against fast drumbeats, a lilting, gentle vocal from Esther is joined by subtle, strings and rasping horns. A rock style guitar plays a prolonged solo when Esther’s vocal drops out, but is replaced by horns, strings and rhythm section when Esther’s vocal returns. Over nine minutes, this really catchy song sweeps along, with Esther’s voice growing in power. With backing vocalists accompanying her, this fast disco track sweeps brilliantly along, and by the end of the nine minutes you’re not only left with a smile on your face, but you want to hear more of its catchy, hook laden sound.
Like All About Esther, You’ve Come A Long Way, Baby is an album full of some great music. Sadly, it failed to match the commercial success of the albums Esther Phillips released for Kudi Records. With Alfred Pee Wee Ellis arranging and producing the album, and a talented group of musicians backing Esther, there was nothing wrong with the quality of music on the album. There’s everything from blues and jazz to ballads and disco on the album, even a cover of a Van Morrison track. Maybe the sheer variety of music on the album was part of the problem, because who was the album aimed at? Usually an artists can be categorized as a jazz, soul or blues singer, but here, Esther was trying to appeal to a number of different types of record buyer. The problem was though, if you’re a jazz fan, would you buy an album that only had a couple of jazzy tracks on it, especially when there was several disco tracks. Maybe the answer would’ve been to record an album of say jazz tracks, and appeal to fans of jazz music. After all, how many music fans have eclectic tastes that range from jazz, blues and disco? Regardless of why the album wasn’t a commercial success, You’ve Come A Long Way, Baby is still a great album, albeit one of the underrated Esther Phillips albums. Now it had been rereleased by soulmusic.com as part of a two albums on one disc series, with another disc featuring Here’s Esther, Are You Ready and Good Black Is Hard To Crack. This allows anyone who never heard these albums the first time round, to hear the majestic music of one of the most talented and versatile vocalists in the history of music, Esther Phillips. Standout Tracks: You’ve Been A Good Ole Wagon, Somewhere Down the Line, In A Soft and Subtle Way and I’ve Never Been A Woman Before.
ESTHER PHILLIPS-YOU’VE COME A LONG WAY.
GLADYS KNIGHT AND THE PIPS-ALL I NEED IS TIME.
GLADYS KNIGHT AND THE PIPS-ALL I NEED IS TIME.
Although Neither One of Us was Gladys Knight and the Pips final album released while they were signed to Motown, one further album was released after they’d signed to their new label, Buddah Records. This was All I Need Is Time, a hugely underrated and excellent album, that features some wonderful music. It was the result of a large team of songwriters, arrangers and producers collaborating with Gladys Knight and the Pips, on the nine songs on All I Need Is Time. Sadly, on its release, it somehow, failed to replicate the success of their three previous albums, 1971s If I Were Your Woman, and 1972s Standing Ovation and Neither One of Us.
All I Need Is Time was released just four months after Neither One of Us, in June 1973. It had been recorded during 1972 and 1973, and saw a number of producers work on the album. All of these producers had previously worked with Gladys Knight and The Pips on Neither One of Us. Helping produce the album were Johnny Bristol, Clay McMurray, Joe Porter and Hal Davis. While Johnny and Clay produced three tracks each, Joe produced two and Hal just one. Clay McMurray and Johnny Bristol contributed three songs for the album. The track that opened the album I’ll Be Here (When You Get Home), was written by Johnny with Wade Brown and David Jones Jr. Of the two songs written by Clay, he cowrote The Only Time You Love Me When You’re Losing Me with Pamela Sawyer and Martin Foster, while he wrote Here I Am Again with Patricia Foster. One of the most surprising choices on the album, was a cover of Sly and The Family Stone’s Thank You (Falettin Me Mice Elf Again). This choice raised eyebrows when it became know that Gladys Knight and The Pips had covered it. However, their funk drenched interpretation demonstrated the group’s versatility. The rest of the material on the album was perfect for Gladys, allowing her to use her full vocal range. With such strong material on the album, and critics giving the album a positive reception, everything looked good for the release of All I Need Is Time.
When All I Need Is Time was released in July 1973, Gladys Knight and The Pips were no longer contracted to Motown. They’d left for Buddah Records, where they’d release some stunning singles and albums. On its release, All I Need Is Time reached number seventy in the US Billboard 200 and number fourteen in the US R&B Charts. This must have been a disappointment, after their previous album Neither One of Us had reached number nine in the US Billboard 200 and number one in the US R&B Charts. Only one single was released from the album, the title track, All I Need Is Time, which reached number sixty-one in the US Billboard 100 and number twenty-eight in the US R&B Charts. A second single Here I Am Again, was scheduled for release, but cancelled. This was the penultimate Gladys Knight and The Pips single released by Motown, with Between Her Goodbye and My Hello released in 1974. It reached number fifty-seven in the US Billboard 200 and number forty-five in the US R&B Charts. Both this single and the album All I Need Is Time, marked the end of a long relationship between Gladys Knight and The Pips and Motown. However, All I Need Is Time was a fitting end to their relationship, and it’s that album I’ll now tell you about.
All I Need Is Time I’ll Be Here (When You Get Home), co-written and produced by Johnny Bristol. It’s a slow song, which sees strings, keyboards and rhythm section combine with chiming guitars before Gladys and The Pips sing subtle harmonies. This gives way to an emotive, heartfelt vocal from Gladys, while The Pips contribute tight harmonies. A bass sits at the front of the mix, while drums provide the track’s heartbeat and lush strings and rasping horns are key to Johnny Bristol’s hugely moving arrangement. However, what makes this such a great track, is Gladys’ stunning vocal which grows in power and emotion, enveloped by swathes of strings and blazing horns. All this results in a fantastic song, one of the album’s highlights and a great way to open the album.
The title track, All I Need Is Time, was the only single released from the album, and is a lovely tender song, where a thoughtful, understated arrangement from Joe Porter combines beautifully with Gladys’ gentle, but sad and emotive vocal, to get over the failure of her relationship. Against a backdrop of the saddest sounding, lush strings, piano and chiming, shimmering guitars, The Pips sing harmonies, before Gladys vocal enters. There’s a fragility in her voice, perfect for the lyrics, while strings sweep behind her, adding to the sense of loss and heartache. Her vocal grows in power, but still there’s a sense of sadness and hurt in her voice. Meanwhile, the arrangement grows from its understated sound to a powerful peak, before quickly returning to a slow, meandering and beautiful style. What helps make this such a moving, sad but quite beautiful track is Gladys’s vocal and the use of strings throughout the track. This adds to the track’s beauty and emotion, resulting in a fantastic track.
After such a moving and beautiful track, Gladys throws a curveball, changing style completely on Heavy Makes You Happy, a track originally recorded by The Staple Singers, that combines elements of soul, funk and Latin music. It opens with a combination of rhythm section, percussion and blazing horns that drive the track along, and give it a Latin tinge, with just a pinch of funk present. After Gladys and The Pips enter, swirling strings, percussion, rasping, braying horns and the rhythm section combine to accompany them, with the interplay between Gladys and The Pips, playing an important part in this catchy track. Here, Merald, William and Edward, The Pips, help Gladys transform the track into fast and furiously funky, Latin tinged track, that’s still got the important ingredient, soul. Towards the end of the track, the band demonstrate their considerable talents, mixing genres furiously, with wah-wah guitars, and a funky rhythm section sitting comfortably beside Latin influenced percussion, and later rock guitars. By the end, you can only marvel at the melting pot of styles and influences present during what’s a furiously, fast and really catchy track.
The Only Time You Love Me When You’re Losing Me sees Gladys return to what she does so well, singing another dramatic ballad, that allows her to demonstrate her wide and vocal range. A gentle combination of keyboards and percussion, gives way to lush strings and blazing horns. With a punchy and dramatic flourish, Gladys’ powerful and frustrated vocal enters, as she sings about how the only time her lover loves her, is when he thinks she’s leaving him, and he’s losing her. As the song progresses, her voice grows in power, frustration and ever despair, while The Pips sing subtle harmonies, strings add to the emotion and drums and horns add to the drama. A dramatic and emotive arrangement combines perfectly with the anger and frustration in Gladys’ vocal, to bring the lyrics to life, so much so, that you end up sympathizing and empathizing with the character in the song’s plight.
Side one of All I Need Is Time closes with Here I Am Again, written by Clay McMurray and Patricia Foster, and produced by Clay. Straight away, the lushest of strings float in, accompanying piano, rasping horns, chiming, shivering guitars and rhythm section, before a tender, thoughtful vocal from Gladys enters. She’s accompanied by The Pips, who contribute their subtle, tight harmonies, before Gladys’ vocal grows in strength and emotion. This she does against an arrangement that’s grown in drama, with swirling strings, blazing horns and punchy drums combining. Atop this arrangement sits Gladys’ hugely powerful and equally emotive vocal, which reaches a dramatic crescendo as the track closes. Of all the tracks on side one, this one demonstrates brilliantly the power and raw emotion that Gladys Knight was capable of. After such a stunning performance, on another of the album’s highlights, it also begs the question, why didn’t Motown do more to make Gladys Knight a superstar like Diana Ross?
Side two of All I Need Is Time opens with There’s A Lesson To Be Learned. When the track begins, there’s no indication of what’s about to unfold and reveal itself. A combination of rumbling bass and dramatic strings, give way to a beautiful combination of lush strings, piano and rhythm section, before The Pips sing gentle harmonies. By the time Gladys’ vocal enters, the arrangement is a combination of a lovely sweeping sound and drama. Meanwhile, Gladys uses a mixture of power and drama as she delivers the lyrics, against a backdrop of sweeping strings and piano which combine perfectly and beautifully. This contrast and combination works well, and is a pleasant, and sometime drama laden way to open side two.
The album goes up a gear on Oh! What A Love I Have Found. It opens with an acoustic guitar and keyboards combining before strings enter and then a tender and thoughtful vocal from Gladys. Against an understated arrangement she carefully sings the lyrics, with a gentleness. Slowly, the arrangement meanders along, before The Pips enter, with backing vocalists augmenting their sound. It’s then that the arrangement and vocal grow, with the rhythm section and keyboards subtly playing, while Gladys vocal grows slightly stronger, with the backing vocalists the perfect accompaniment for her tender vocal. Although quite a different track from others on the album, this much more restrained vocal and arrangement works well, showing us a very different and very beautiful side of Gladys Knight.
From one lovely song we progress smoothly to a very different sounding track, The Singer, written by Elliot Willensky. It has a much bigger, fuller and dramatic arrangement and vocal. Here, the arrangement has an understated, subtle sound as the track opens, but quickly, this disappears, with the rhythm section, grand strings and blazing horns combining to produce an almost grandiose sounding arrangement. On top of the arrangement sits a dynamic and dramatic vocal from Gladys, which builds and builds, eventually soaring high when it reaches a series of dramatic crescendos. Although both the arrangement and vocal are an impressive combination of drama, power and emotion, I don’t think the song works. Its arrangement almost reminds me of a show tune, something you’d hear in a musical, and is slightly overblown. To me, it’s the weakest song on All I Need Is Time, and lets the album down slightly.
All I Need Is Time closes with a cover of Sly and The Family Stone’s Thank You (Falettin Me Mice Elf Again). A funk drenched combination of rhythm section, chiming, reverberating guitars and blazing horns signal the entrance of Gladys’ vocal. She handles the song well, giving it her own twist, with the help of The Pips, who play an important part in the track’s success. The interplay between Gladys and The Pips, helps the songs stay true to the original version, which features Sly Stone and a number of other vocalists. During the track, Gladys name-checks a number of other Sly and The Family Stone songs, while behind her, her band demonstrate that they’re just as capable of playing the funkiest music, as they are the smoothest soul. As the songs ends after four funk laden minutes, Gladys and The Pips have given a funk classic a new twist, one that sounds fantastically funky, but soulful. What a great way to end a great album.
Although Gladys Knight and The Pips had left Motown by the time All I Need Is Time was released and it never replicated the success of their previous album Neither One of Us, it’s an album full of some great music. Apart from The Singer, which isn’t to my taste, because of the somewhat overblown arrangement, the other eight songs demonstrate what a loss to Motown Gladys Knight and The Pips were. I’ve always felt that Gladys Knight never got the attention she deserved, and undeservedly, had to remain in the shadow of Diana Ross. Even though Gladys Knight and The Pips had nine consecutive top twenty US R&B albums, including Neither One of Us which reached number one, they never seemed to get the same star treatment they truly deserved. On signing for Buddah Records Gladys Knight and The Pips they had four number one US R&B singles, three number one US R&B albums and saw four of their albums certified gold. However, that was all still to come, and whether once Motown regretted their decision to allow Gladys to leave, is open to speculation. What I do know, is that All I Need Is Time is an excellent and underrated album, one of Gladys Knight and The Pips finest Motown albums. If you’re either a fan of Gladys Knight and The Pips or soul music, this album deserves a place in your record collection. Along with Neither One of Us, All I Need Is Time was rereleased by Universal Records on one disc, with three bonus track added. This will allow you to hear two great albums from Gladys Knight and The Pips, the woman know as The Empress of Soul. Standout Tracks: I’ll Be Here (When You Get Home), All I Need Is Time, The Only Time You Love Me When You’re Losing Me and Oh! What A Love I Have Found.
GLADYS KNIGHT AND THE PIPS-ALL I NEED IS TIME.
THE JONES GIRLS-GET AS MUCH LOVE AS YOU CAN.
THE JONES GIRLS-GET AS MUCH LOVE AS YOU CAN.
Over the years, The Jones Girls have been compared favorably with such luminaries of soul music as The Emotions, The Three Degrees and The Supremes, and their backing vocals have graced albums by some of the biggest names in music, including Betty Everett, Teddy Pendergrass, Lou Rawls, Aretha Franklin and Diana Ross. The career of three sisters of Detroit, Michigan, Brenda, Valerie and Shirley Jones started back in the sixties, when they recorded for a small Detroit based Fortune label. After success eluded them at Fortune, they moved to the label formed by Holland-Dozier-Holland Hot Wax-Invictus towards the end of the sixties. Sadly, again sales of their records were slow, and this lead to The Jones Girls becoming session singers, where they’d work for some of the biggest stars in music.
After The Jones Girls spent much of their time working as backing singers, by 1973 they were signed to the Gemigo label, a subsidiary of Curtis Mayfield’s Curtom Records. Gemigo had been set up for Leroy Hutson’s work as arranger and producer and it was for Gemigo that they recorded If You Don’t Love Me No More. This single wasn’t particularly successful, but paved the way for the follow-up single Will You Be There, which proved fortuitous for The Jones Girls, albeit in a round about way. Although Will You Be There wasn’t a commercial success, Gil Askey who arranged the single, and was also working with Diana Ross.
Gil Askey recommended The Jones Girls as backing singers for Diana Ross’ forthcoming tour. This lead to The Jones Girls working with Diana Ross for two years, and gave them valuable experience and publicity. Ironically, before embarking on the tour with Diana Ross, The Jones Girls had recorded an album for Curtom, but it was never released. One of the tracks, Hey Lucinda was released as a single, but failed to do as well for The Jones Girls as it did for Betty Everett. She recorded her vocal over The Jones Girls’ backing track, and the single gave Betty a hit single. After working with Diana Ross, The Jones Girls worked with Linda Clifford on her 1978 album If My Friends Could See Me Now, which was the most successful album of Linda’s career. However, the two years they’d spent with Diana Ross, and working with a number of other artists helped The Jones Girls secure a contract with one of the biggest record labels of that time, Philadelphia International Records.
The Jones Girls recorded their first album entitled The Jones Girls for Philadelphia International Records in 1979. With Gamble and Huff contributing three songs for the album, and the Dexter Wansel and Cynthia Biggs songwriting partnership contributing two songs, it seemed that some of the most creative people at Philadelphia International were working on the album. This extended to the production of the album with Gamble and Huff and Dexter Wansel all involved. On the album was a track that would give the sisters their first million selling single, You Gonna Make Me Love Somebody Else. The single reached number thirty-eight in the US Billboard 100, number five in the US R&B Charts and number twelve in the US Dance Charts. When The Jones Girls was released, it reached number fifty in the US Billboard 200 and number eight in the US R&B Charts. After a million selling single and top ten US R&B album, The Jones Girls and everyone at Philadelphia International must have been overjoyed at the success of their latest signing.
A year later in 1980, The Jones Girls released their second album At Peace With Woman, which saw many of Philadelphia International biggest names collaborate on the album. Gamble and Huff contributed three songs, Dexter Wansel and Cynthia Biggs two songs and Thom Bell and Linda Creed one song. Teddy Pendergrass, Lou Rawls, Dexter Wansel and Cynthia Biggs all collaborated on one track, Let’s Celebrate (Sittin’ On Top of the World). Like their debut album, production duties were shared around with Gamble and Huff, Dexter Wansel and Cynthia Biggs and Jack Faith all involved. The result of this all-star line-up and The Jones Girls was an album that reached number seven in the US R&B Charts and number ninety-six in the US R&B Charts. Two singles were released from the album, with Dance Turned Into A Romance reaching number twenty-two in the US R&B Charts while I Just Love the Man reached number nine in the US R&B Charts. Although the album hadn’t reached the same heights in the US Billboard 200, a top ten US R&B album and single must have pleased Brenda, Valerie and Shirley Jones, who after over ten years of trying, had seen their career finally reach the heights their talent deserved.
During 1981, The Jones Girls headed for the Sigma Sound Studios, Philadelphia, to record what would be their third album, Get As Much Love As You Can, which this article is about. As well as recording at Sigma Sound Studios, new producer, arranger and pianist McKinley Jackson recorded three tracks on the West Coast. These three tracks were ASAP (As Soon As Possible), Let’s Be Friends Then Lovers and The World Will Sing Our Song, all produced by McKinley.
Back at Sigma Sound, the other five songs were recorded for the album, including a track that would become synonymous with The Jones Girls, Nights Over Egypt. Penned by Dexter Wansel and Cynthia Biggs, Nights Over Egypt was released as the second single from the album in 1982, reaching number twenty-three in the US R&B Charts. Since then, Nights Over Egypt has become not only one of the most popular Jones Girls song, but one of the most popular songs in soul music, often featuring on radio and compilation albums. Incognito covered the song on their 1999 album No Time Like the Future and was released as a single. Later the song was remixed by Masters At Work, and became one of their classic remixes. However, regardless of cover versions, the definitive and best version of Nights Over Egypt is by The Jones Girls.
Nights Over Egypt wasn’t the only single released from the album. It was preceded by (I Found) That Man of Mine reaching number twenty in the US R&B Charts. On the album’s release, it only reached number 155 in the US Billboard 200 and number twenty-five in the US R&B Charts, which was disappointing given the standard of material on the album. After the disappointment of the lack of success of Get As Much Love As You Can, and their failure to turn The Jones Girls into the major stars their talent deserved, Gamble and Huff and The Jones Girls decided to dissolve their recording contract by mutual consent. Upon leaving Philadelphia International, they signed to Victor Records where they’d release just one album.
Two years after the released of Get As Much Love As You Can, The Jones Girls released their fourth album in 1983. Entitled On Target, the album failed to reach the heights of their previous album, reaching just number fifty-nine in the US R&B Charts. The style of music on the album was dance-floor oriented and the myriad of synths and drum machines smothered Shirley’s vocals. Although this style of music wasn’t really suited to The Jones Girls it yielded two US R&B hit singles, with On Target reaching number forty-three and 2 Win U Back reaching number forty-seven. However, after the modest sales of the album, Victor chose not to offer The Jones Girls another contract. However, two familiar faces would reenter their lives, Gamble and Huff.
1984 saw The Jones Girls released their fourth album for Philadelphia International, after an absence of three years. Sadly, Keep It Comin’ an album with some fine music on it, reached just number 201 in the US Billboard 200. After just one album, The Jones Girls left Philadelphia International, and wouldn’t release another album for eight years.
The final album The Jones Girls released was Coming Back in 1992, on the ARP label. Like their previous album, Coming Back failed to enter the charts. After this, The Jones Girls returned to doing session work, before Shirley decided to pursue a solo career. In 1986, Shirley released the top ten US R&B album Always In the Mood. On the album was Do You Get Enough Love, which was released as a single. When it was released, it reached number one in the US R&B Charts.
Although The Jones Girls only released six albums, the music they released on Philadelphia International demonstrates just how hugely talented Brenda, Valerie and Shirley Jones were. Of these six albums, my favourite is 1981s Get As Much Love As You Can, which i’ll now tell you about.
Get As Much Love As You Can opens (I Found) That Man of Mine, a Gamble and Huff penned track, which gave the sisters their biggest US R&B hit to date, number nine in the charts. It’s a mid-tempo dance track with piano, organ and rhythm section accompanying the sisters, before Shirley sings lead vocal. Their voices are sweet, while the catchy arrangement sweeps along with the organ, piano, swirling strings and rasping horns playing important parts in the arrangement. On guitar Cecil Womack, drenches the arrangement with his funky playing. As the sisters, sing tight harmonies, the punchy arrangement is punctuated by bursts of dramatic horns and organ over four minutes. This stomping arrangement, catchy and hook laden is the perfect backdrop for The Jones Girls to strut their stuff, and deliver their joyous and sometimes sassy vocals beautifully.
Like the opening track Get As Much Love As You Can is a Gamble and Huff track, written and produced by them, while Richard Rome arranges the track. It features a quite beautiful, thoughtful and heartfelt vocal from Shirley, while Brenda and Valerie contribute backing vocals, as the lushest of strings sweep, Cecil’s guitar chimes and a bass meanders gently, while flourishes of piano add to the emotion and drama. As the track progresses, Shirley demonstrates her huge talent as a vocalists, her powerful voice soaring, as she delivers a stunning lead vocal. Behind her, her sisters play their part, matching the emotion and beauty in Shirley’s voice. When Shirley’s vocal, her sisters harmonies and a beautiful arrangement from Richard Rome are combined, the result is a graceful and tender ballad, that’s one of the album’s highlights.
Probably the best known track on Get As Much Love As You Can is the seminal Nights Over Egypt. Written by Dexter Wansel and Cynthia Biggs and arranged and produced by Dexter, it’s one of the most memorable songs The Jones Girls recorded. Even over thirty years later, it retains the magical, timeless sound it had back in 1980. Opening with a mystical, meandering introduction where a combination of synths, rhythm section, harp and acoustic piano combine. The funkiest of basses plays its part before the sisters unite to sing gentle, tight harmonies. Their voices grow in strength and power, as the the arrangement peaks, before giving way to a lush, almost mystical and exotic sound, before lush strings sweep and swirl, as the vocal rejoins. Jack Faith plays flute on the track, while gentle, rasping horns escape from Dexter’s sublime arrangement. By the end of the track, you realize that you’ve been fortunate enough to hear a classic track, one where a number of hugely talented people help The Jones Girls create a track that would become synonymous with them in years to come.
Dexter Wansel and Cynthia Biggs cowrote Love Don’t Come Easy, while Dexter arranged and produced it. This was the final track on side one of the album, and like Nights Over Egypt and (I Found) That Man of Mine, is a mid tempo track. It opens with Grover Washington playing soprano saxophone, while Leon Huff plays acoustic piano and Miguel Fuentes contributes percussion. After this gentle, introduction a slightly, jazzy but heartfelt vocal from Shirley enters, as she asks her lover never to leave her, to be loyal and never say goodbye. It’s accompanied by Valerie and Brenda who contribute harmonies, while Grover drenches the arrangement with his saxophone and strings sweep in. As the song progresses, it just gets even better, and the combination of Leon’s piano and Grover’s saxophone combine beautifully with the strings. They provide the perfect backdrop for Shirley’s gorgeous vocal, which brings out the best in the song’s lyrics, especially when sung against such a lovely arrangement.
SIde two of Love Don’t Come Easy opens ASAP (As Soon As Possible), a track Shirley cowrote with McKinley Jackson, and one of the tracks recorded on the West Coast. It’s another love song, with a lonely Shirley asking her estranged partner to come home as soon as possible, as they can’t live apart. She sings the lyrics against a quicker, funk laden arrangement, where the rhythm section and blazing horns combine to drive the song in the direction marked funk. When the vocal enters, it’s sung in a near falsetto style, with the other sisters singing harmonies, during what becomes fast, funky dance track. The smooth, flowing and funky arrangement is very different from the previous tracks in style and sound. It features a driving rhythm section, chiming guitars, braying horns and a myriad of keyboards and synths that turn it into a hugely catchy, almost infectious track, with hooks aplenty.
After a very different sounding, but hugely catchy track, the style changes on a beautiful thoughtful ballad Let’s Be Friends (Then Lovers). It’s a much slower track, with a lovely vocal from a cautious Shirley, who sings about becoming friends first, and getting to know each other, before becoming lovers. Valerie and Brenda contribute gentle, backing vocals while the arrangement features slow, lush strings, piano and guitars, that are key to Gene Page’s arrangement. It has a slow, wistful sound, that builds and builds, reaching a dramatic, yet beautiful crescendo after five and a half magical minutes.
The World Will Sing Our Song is the last in a trio of consecutive McKinley Jackson produced tracks, with Gene Page again arranging the track. This is by far, the fastest track on the album, but you wouldn’t realize when the track begins. It has a gentle almost Caribbean influence as the track opens with the rhythm section and guitars combining. When the vocal enters, the sisters combine to sing with a tender, sweet style, while swirling strings and percussion join the arrangement. It’s a gentle, lilting and pleasant track, made all the better by the inclusion of strings that accompany the vocals. Their inclusion combines well with the vocal and gives the track a lovely, lush sound that’s joyous and uplifting.
Love Don’t Come Easy closes with the third Gamble and Huff penned track You’re Breaking My Heart, a track they also produced, with Richard Rome arranging it. It has a sweeping arrangement, with the lushest of strings accompanying Leon Huff on piano, while Cecil Womack’s guitar chimes and the rhythm section provide the song’s gentle heartbeat. Atop the arrangement sits Shirley’s heartfelt, sad vocal as she pleads with her partner not to break her heart. Adding to the drama, are Brenda and Valerie’s harmonies and the drums, while strings, piano and guitar add to the emotion and heartbreak. This results in one of the saddest and emotive songs on the album, thanks to Shirley’s vocal and the interplay between her sisters. Add to that Richard Rome’s sweeping and dramatic arrangement, and it’s the perfect way to end what has been a great album from three hugely talented sisters from Detroit, The Jones Girls.
I’ve long been a fan of The Jones Girls music, and out of the six albums they released, Love Don’t Come Easy is my favorite. It’s an album with a wide range of different styles of music, everything from heartbreaking ballads like You’re Breaking My Heart and Get As Much Love As You Can, to the seminal, almost mystical Nights Over Egypt and the infectiously funky, dance-floor friendly ASAP (As Soon As Possible). Add to this the Gamble and Huff penned US R&B hit single (I Found) That Man of Mine, and you begin to realize that this is an album long on quality and short on filler. There are neither any bad tracks or filler here, just eight great tracks from three hugely talented sisters from Detroit, Michigan, Brenda, Valerie and Shirley Jones, who together were The Jones Girls. With the help of Gamble and Huff, Dexter Wansel and Mckinley Jackson, they released a great album in Love Don’t Come Easy, which sadly, wasn’t the commercial success it deserved to be. With so many great songs on the album, it deserved to do so much better than number 155 in the US Billboard 200 and number twenty-five in the US R&B Charts. Sadly, as regular readers of this blog will know, great music doesn’t always equate to commercial success. Although over thirty years old, Get As Much As You Can still sounds great, with some of the songs on the album having a timeless quality. On the album, Shirley Jones demonstrates just how talented a vocalist she is, handling the slow ballads as comfortably as the quicker dance tracks. With the help of Brenda and Valerie’s harmonies, the three sisters produced music that rivalled groups like The Emotions, Three Degrees and The Supremes. That Jones Girls never found the fame and fortune of these groups is almost unjust. Nowadays, groups with only a modicum of the talent that The Jones Girls had, sell millions of records, and that seems equally unfair. However, unlike these groups, The Jones Girls’ their legacy is some wonderful music which is both brilliant and timeless, and cherished by their many fans worldwide. If you’ve never heard Love Don’t Come Easy, you can now buy it as part of a two album set released on one disc by Edsel. As well as Love Don’t Come Easy, you also get Keep It Comin’, The Jones Girls 1984 album on Philadelphia International. This allows you Valerie, Brenda and Shirley Jones, who were The Jones Girls, at their very best. Standout Tracks: (I Found) That Man of Mine, Get As Much Love As You Can, Nights Over Egypt and You’re Breaking My Heart.
THE JONES GIRLS-GET AS MUCH LOVE AS YOU CAN.
MELBA MOORE-MELBA.
MELBA MOORE-MELBA.
In a recent article on Deniece William’s album My Melody, I explained how sometime, I bought an album because of who’d either produced or played on an album. With Deniece William’s album My Melody, Thom Bell had produced the album, and I’ve always been a fan of Thom’s work on the many Philly Sound albums he produced during the seventies. Along with Gamble and Huff, Thom Bell produced some of the most memorable Philly Soul albums ever, working with among others, The Delfonics and The Stylistics.
Another important partnership had been formed back in the seventies in Philadelphia, Gene McFadden and John Whitehead, one of the most prolific songwriting and production partnerships on the Philadelphia International label. Apart from arranging and production, Gene and John were successful recording artists, best known for the seminal hit single Ain’t No Stopping Us Now. This was but one of many great songs the duo recorded during the seventies, when the Philly Sound was at its most popular. During that time, they worked with the biggest names on the Philadelphia International label including The O’Jays, Harold Melvin and The Blue Notes, Teddy Pendergrass, The Three Degrees and MFSB. However, it’s not just Philadelphia International acts that McFadden and Whitehead worked with, with roll call of recording artists reading like a who’s who of soul music including, Stevie Wonder, Gladys Knight, James Brown, Gloria Gaynor and The Jackson 5. One other artist they worked with was Melba Moore, on her first album for Epic Records Melba, released in 1978.
By the time Melba Moore signed for Epic Records and met with McFadden and Whitehead, she had released seven previous albums, none of which had reached higher than number 145 in the US Billboard 200 or number eighteen in the US R&B Charts. Melba had some success with singles, with 1972s This Is It reaching number two in the US Dance Charts and Make Me Believe In You reaching number six in the US Dance Charts. Now it seemed that Melba’s career needed a boost.
Melba’s career had started well, when her 1970 debut album on Mercury Records I Got Love, was nominated for a Grammy Award in 1971, for best new artist. Sadly, the album wasn’t a commercial success, failing to chart. Her second studio album 1971s Look What Your Doing To the Man fared better, reaching number 157 in the US Billboard 200 and number forty-three in the US R&B Charts. The final album Melba released for Mercury Records was Melba Moore Live! released in 1972. Like her debut album, it too, failed to chart. After leaving Mercury Records, Melba signed to Buddah Records where she’d release four albums.
The first of the four albums for Buddah Records was the highly regarded Peach Melba, released in June 1975. It reached number 176 in the US Billboard 200 and number forty-nine in the US R&B Charts and featured the minor hit I Am His Lady, which reached number eighty-two in the US R&B Charts.
This Is It was Melba’s second album for Buddah, released in April 1976, reaching number 145 in the US Billboard 200 and number thirty-two in the US R&B Charts. On the album was the Van McCoy penned track This Is it, which gave Melba her biggest hit single, reaching number eighteen in the US R&B Charts and ninety-one in the US Billboard 100.
Melba ’76 was released in December 1976 and reached number 177 in the US Billboard 200 and number thirty in the US R&B Charts.
The final album Melba released on Buddah was A Portrait of Melba, produced by McFadden and Whitehead. It was released in November 1977, but like her final album for Mercury, this album failed to chart. After four albums, Melba decided to move labels, to Epic Records, but not before recording one of her best known hit records Standing Right Here with McFadden and Whitehead. This single reached number sixty-two in the US R&B Charts and number fifty-three in the US Dance Charts. Since then, Standing Right Here is regarded as a disco classic, and still fills dance-floors even today. When Melba left Buddah, she she was accompanied by McFadden and Whitehead, who’d produce her next album.
Having signed with Epic, McFadden and Whitehead headed to familiar territory with Melba, the Sigma Sound Studios in Philadelphia, where so many great Philadelphia International albums had been recorded. In total, eight tracks were recorded, including You Stepped Into My Life, which would give Melba the biggest hit single of her career. When You Stepped Into My Life was released as a single, it reached number forty-seven in the US Billboard 100, number seventeen in the US R&B Charts and number five in the US Dance Charts. Not only was the song a hit single, but it was also a staple on Larry Levan’s Paradise Garage playlist. Like another four tracks on the album, it had been co-written by McFadden and Whitehead.
With a variety of writing partners, McFadden and Whitehead contributed a total of five songs to the album. Melba Moore wrote one of the tracks on Melba Together Forever. On the album, were two cover versions. One of them was a cover of The Bee Gees song You Stepped Into My Life, from their 1975b album Main Course. There were other cover versions on the album. Two of these were tracks There’s No Other Like You and It’s Hard Not To Like You which McFadden and Whitehead had recorded with Archie Bell and The Drells on their 1977 album Hard Not To Like.
Dexter Wansel who like McFadden and Whitehead, played an important role in the success of Philadelphia International Records wrote one of the tracks on Melba, Where Did You Ever Go. He wasn’t the last person from Philadelphia International to collaborate on the album. Barbara Ingram who sung backing vocals on many Philadelphia International record, was one of a trio of female backing vocalists, that also included Carla Benson and Yvette Benton. Also singing backing vocals were another Philadelphia International group, The Futures. With such a proliferation of talent working on the album, everyone hoped that this would prove to be the album that transformed Melba Moore’s career.
When Melba was released in 1978, it gave Melba her highest chart placing in the US Billboard 200, reaching number 114. On the US R&B Charts, the album reached number thirty-five. Although the album wasn’t a huge commercial success, it was well received by critics. Of the two singles released from the album You Stepped Into My Life was the most successful, reaching number forty-seven in the US Billboard 100, number seventeen in the US R&B Charts and number five in the US Dance Charts. The second single Pick Me Up and Dance only reached number eighty-five in the US R&B Charts and number twenty-two in the US Dance Charts. Overall, Melba’s first album for her new label had been a relative success. Since then the album is considered one of Melba’s best albums, which I’ll now tell you about.
Melba opens with You Stepped Into My Life which opens with a killer bass line, fast and funky, with the drums and percussion accompanying it, before guitars enter. It’s only then that the track starts to unfold, with strings joining the mix, sweeping and swirling, followed by rasping horns. By now, it’s an arrangement that’s made in Philadelphia, perfect for Melba’s joyous, sweet vocal. It’s enveloped by swathes of swirling, strings, rasping horns and chiming guitars and a crack rhythm section that help drive the dramatically and joyfully track along. During the track there are a number of breakdowns where the rhythm section get the chance to shine, showcasing their considerable talents with a series of funk drenched masterclasses. After nearly eighty hook-laden and catchy minutes, the transformation of Melba to disco diva is complete on this masterful mid-tempo track. However, credit must go to producers McFadden and Whitehead, and co-producer Jerry Cohen, as well as John Luongo who also helped produce this track. Without their talents, this track wouldn’t sound half as good.
After such a strong opening track, Melba covers a song written by the McFadden and Whitehead co-wrote with Victor Castarphen, There’s No Other Like You. This is one of two tracks previously recorded by Archie Bell and The Drells. The track has a big, dramatic introduction with chiming guitars, rhythm section, braying horns and lush strings combining before Melba’s emotive and beautiful vocal enters. She’s accompanied by backing vocalists, who contribute equally beautiful and subtle backing vocals. As the song slowly progresses, lush strings, chiming guitars and rasping horns add to the emotion and beauty of the song, as Melba sings about how nobody can make her feel like her new lover makes her feel. Later in the track, flourishes of piano add to the stunning sounding arrangement, adding to the Philly Sound influence of the track. Combined with a heartfelt and emotive vocal from Melba, this is a beautiful track, one that benefits from a stunning arrangement from McFadden and Whitehead.
The second song from Archie Bell and The Drells 1977 album Hard Not To Like, covered by Melba is It’s Hard Not To Like You. Like the previous track, it was co-written by McFadden and Whitehead, but with Frankie Smith and Harold Preston. Straight away, a funky combination of guitars and the rhythm section are joined by blazing horns and swirling strings, before Melba’s powerful, sassy vocal enters. Quickly, the arrangement speeds up, horns, rhythm section and guitars punctuating the sound, giving it a catchy, hooky sound, that swings along. Backing vocalists sweetly and soulfully accompany and assist Melba, as she uses her full vocal range on the track, as the strings swirl and sweep above. After just under four swinging minutes, where Melba and her band majestically combine soul, jazz and disco, the song is over, leaving a smile on your face at another hook laden, catchy track that sounds just fantastic.
After songs from the Gibb Brothers and McFadden and Whitehead, Melba sings the one song she wrote on the album Together Forever, which closes side one of Melba. A combination of rhythm section, guitars and lush, sweeping strings precede Melba’s slow, dramatic and thoughtful vocal. Behind her, a piano enters, while what sounds like a choir of backing vocalists accompany Melba. This is a big, dramatic ballad, with Melba using a combination of drama and power, as she swears to be together forever with her lover. Her delivery is impressive, displaying a hugely powerful voice that soars high above the arrangement, with her emphasising notes, holding them for impact and effect. As the songs ends in a dramatic crescendo with Melba’s voice soaring and her holding the note for what seems an age, you can’t help but be impressed by her talent and versatility as a vocalist, and songwriter.
Side two of Melba opens with the best known track on the album Pick Me Up, I’ll Dance co-written by McFadden and Whitehead with Ronald Rose. It’s a classic disco track, with everything you could want in this type of track. It has a fantastic arrangement from McFadden and Whitehead, the tempo is perfect, 127 disco heaven the speed of all great disco tracks. With a combination of pulsating drumbeats, chiming guitars and swirling disco strings, accompanied by bursts of rasping horns, Melba gives a joyous delivery of the lyrics. She seems to have taken to her role as disco diva beautifully, delivering the vocal with a mixture joy, emotion and just a little drama. Meanwhile behind her guitars, horns and strings are key to this great sounding track, as are backing vocalists who accompany Melba, their voices the perfect accompaniment. Later, as if adding just the finishing touch, a piano cuts in, joining the disco strings and blazing horns to complete what is an all-time disco classic from Melba, one that’s timeless sound, and sounds just as good today as in 1978.
It’s a hard act to follow such an outstanding track, so Melba decides to change the style on Happy, another of the McFadden and Whitehead penned tracks. This time, they collaborated with co-producer Jerry Cohen, on what’s a lovely, uplifting and quite joyful sounding track. When it opens there’s no indication of what’s to come. However, quickly, the keyboards and rhythm section give way to swirling strings, and then Melba’s beautiful, joyous vocal. Behind her a punchy rhythm section, slow lush strings and shimmering guitars are augmented by subtle backing vocalists, while Melba’s vocal combines drama and joy, as she promises to make her lover happy. During a breakdown, horns gently rasp, backing vocalists and swirling strings combine beautifully. Once all this is combined with Melba’s vocal the result is a gorgeous track, the latest in a long of similar tracks.
The tempo increases on I Promise To Love You another McFadden, Whitehead and Cohen penned track. Although it doesn’t quite reach 127 disco heaven, it’s not far away. Here the track has a similar warm, beautiful, joyous sound to its predecessor, thanks to another classy vocal from Melba. She’s accompanied by another arrangement that has it’s roots in Philadelphia, with swirling, sweeping disco strings, rasping horns and a driving rhythm section. As she sings, guitars chime and sweet sounding, soulful backing vocalists accompany her, as waves of the dramatic arrangement unfolds. Again, it’s another track that’s perfect for the dance-floor, and one that thirty-three years later still sounds just as good.
Melba closes with the Dexter Wansel penned ballad, Where Did You Ever Go. It’s quite different from the rest of the album, but is the perfect song to close the album. It has a big, dramatic arrangement with piano, slow sad strings, keyboards and the rhythm section combining before a thoughtful, sad vocal from Melba enters. This is the slowest song on the album, with the arrangement growing and becoming dramatic, strings and piano playing an important role in the arrangement. Here she Melba can again,demonstrate the power in her vocal, which is transformed into raw emotion. She sings the song thoughtfully and emotively, with a lovely arrangement from McFadden and Whitehead accompanying her, making this a perfect way to end what has been an outstanding album.
Having spent some time listening to Melba Moore’s eighth album Melba, it seems my decision to buy the album because of McFadden and Whitehead producing the album was a good decision. Before this, I’d never really heard a whole Melba Moore album, so didn’t quite know what to expect. I’d previously heard a number of her disco hits, but that was all. However, I knew that anything McFadden and Whitehead produced was bound to be good quality. I wasn’t wrong, and Melba is an outstanding album, with each of the eight tracks of the highest quality. From ballads, jazz, soul and disco, there’s everything here. Not only does the album feature a variety of material and styles, but it allows Melba to demonstrate her versatility and talent as a vocalist. She was blessed with a powerful and wide vocal range, that was perfect when delivering several of the songs on the album. What really helped make this album so good, was three things. Each of the eight songs were good quality, written by talented songwriters. WIth writers like McFadden and Whitehead, Victor Castarphen, Jerry Cohen, Dexter Wansel and the brothers Gibb, the standard of music was of the the highest standard. These songs were played by a crack team of hugely talented musicians, with some equally talented backing vocalists accompanying Melba. Finally, with McFadden and Whitehead producing the album with Jerry Cohen, you’d some of the most experienced and talented producers working on the album. Add to this John Luongo who helped with additional production on You Stepped Into My Life and Pick Me Up, I’ll Dance and the stage was set for an album that should’ve transformed Melba Moore into a bigger star. Sadly, that didn’t happen, and the album only reached number 114 on the US Billboard 200 and number thirty-five in the US R&B Charts. However, since then, the album is seen as one of Melba Moore’s finest albums. Recently, Melba has been remastered and rereleased by BBR Records. The sound quality is excellent and the album features three bonus tracks, and extensive sleeve notes where Melba Moore is interviewed. This is a welcome return for what is an outstanding album Melba, from Melba Moore, one of the original disco divas. Standout Tracks: You Stepped Into My Life, There’s No Other Like You, It’s Hard Not To Like You and Pick Me Up, I’ll Dance.
MELBA MOORE-MELBA.
THE STYLISTICS-HURRY UP THIS WAY AGAIN.
THE STYLISTICS-HURRY UP THIS WAY AGAIN.
The story of The Stylistics has some similarities with that of The Delfonics. Both groups were among the finest purveyors of the Philly Sound and both were produced by Thom Bell. However, when Thom stopped working with each group, their music never had the same depth or quality. Even though The Stylistics found success in Europe and the UK, their music wasn’t neither as successful commercially in the US, nor was the material of the quality they recorded with Thom Bell. After working with a series of producers including Van McCoy, things came full circle in 1980, when The Stylistics were reunited with Thom Bell at Philadelphia International Records. It was a very different group Thom encountered in 1980, from the one he’d last worked with six years earlier in 1974. James Dun and James Smith had both left the group, after disagreements regarding the group’s direction. A new member had been recruited, Raymond Johnson, for what would be their next album Hurry Up This Way Again.
Since The Stylistics split with Thom Bell, they’d found success hard to come by in the US. Gone were the gold discs of the Thom Bell era, with the five albums the preceded Hurry Up This Way Again all failing to enter the US Billboard 200. Apart from 1976s Once Upon A Juke Box and 1978s In Fashion, none of the five previous albums had even entered the US R&B Charts. Even then they’d only reached number forty-three and forty-five in the US R&B Charts respectively. However, that was all about to change when Hurry Up This Way Again was released, and their career received a boost from the collected creative minds at Philadelphia International Records.
However, a year previously, The Stylistics career seemed to have come to an abrupt halt. As 1979 started, The Stylistics were without a recording contract. Their career needed a boost, their problem was that who would help give their career this boost? It was around this time that The Stylistics encountered Gamble and Huff. Although back then, Philadelphia International Records had many great artists, there was still room at the label for one of the greatest vocal groups of the seventies. By June 1979, The Stylistics had signed a recording contract with Philadelphia International, who they’d record three albums for. These were 1980s Hurry Up This Way Again, Closer Than Close released in 1981 and 1982s 1982. Of this trio of underrated albums, Hurry Up This Way Again was the most successful, giving the group their highest chart placing in the US BIllboard 200 since 1976.
Recording of Hurry Up This Way Again, took some time, with some of Philadelphia International’s most experienced, creative people working on the project. Pre-production was a lengthy affair, with a number of writers, arrangers and producers working with The Stylistics. Dexter Wansel played an important part in pre-production and would write, arrange and produce tracks on the album. Also involved with the album were Cynthia Biggs, Dexter Wansel’s songwriting partner, arranger John R Faith, who arranged four tracks on the album and John Usry Jr. Between them, and with James Ingram, Sherman Marshall and Joseph B Jefferson the project was completed and would be released in September 1980. However, the fans were in for a surprise when the album was released. The album had a slightly harder sound, and instead of the traditional strings used on previous Philadelphia International albums, synthesized strings were used on some tracks. Would these changes affect sales of the Hurry Up This Way Again?
Hurry Up This Way Again release was preceded by the release of the title track as a single. It fared well, reaching number eighteen in the US R&B Charts, where it spent twenty-weeks. This was the group’s highest chart placing since 1976s You Are Beautiful. Two weeks later, the album Hurry Up This Way Again was released. Again this proved more popular, giving the group their highest US R&B Chart placing since 1975s You Are Beautiful, reaching number eleven. The album also gave the group their highest US Billboard 200 chart placing since 1976s Fabulous, reaching number 127. Although this was a long way from the heights The Stylistics scaled in the early seventies, this was a vast improvement in their recent fortunes. Two further singles were released from Hurry Up This Way Again, with And I’ll See You No More reaching number seventy in the US R&B Charts, while Driving Me Wild failed to chart. All things considered, the hoped for upturn in the group’s fortunes had been achieved. A top twenty US R&B single and album was a return to form for The Stylistics. Sadly, since then, Hurry Up This Way Again has become a somewhat forgotten and underrated album in both The Stylistics and Philadelphia International back catalogue. However, although it isn’t of the quality of their early Thom Bell produced albums, it still features some quality music.
Hurry Up This Way Again opens with the title track Driving Me Wild which straight away signals a different sound to the “vintage” Stylistics sound. There’s a slight electronic sound to the introduction courtesy of the rhythm section. Swathes of strings sweep in, joined by rasping horns and guitars, before giving way to the falsetto vocal of Russell Thomkins Jr’s sweet, falsetto vocal. Behind him, Raymond Johnson, Airrion Love and Herb Murrell sing tight backing vocals, while the quick arrangement sweeps along. By now, the “new” Stylistics sound is revealing itself, and doesn’t disappoint. Even with the slightly electronic sound from Dexter Wansel’s synths, the swirling strings, chiming guitars and bursts of rasping horns combine well, with Russell’s faster, emotive vocal, resulting in a track that’s catchy and laden with subtle hooks.
After such a strong opening track, things look good for The Stylistics “comeback” album, with Russell Thomkins Jr and Raymond Johnson co-writing And I’ll See You No More, a tale of a relationship between a bewitching woman and man ending, because of the way she treats him and makes him feel and behave. Arranged by John Usry Jr with Dexter Wansel and Russell Thomkins Jr producing the track, it’s a slow sad track. A synth combines with the rhythm section and guitars before Russell’s vocal enters, full of sadness and regret, while the rest of the group contribute subtle and gentle backing vocals. The arrangement has an understated but slightly dramatic sound, with lush strings sweeping in adding to the sense of sadness, while the synth plays a central role to the sound. The synth has a slightly dated sound, but doesn’t really detract from the track’s beauty. What makes the track is the heartache and regret in Russell’s vocal, and John Usry Jr’s slow, dramatic arrangement.
The tempo increases on Found A Love You Couldn’t Handle, to 127 disco heaven, the tempo all disco tracks were back in the seventies. Written by James and Billy Ingram with Sherman Marshall, it has a lovely, lush sounding sweeping arrangement that could only be on a Philadelphia International track. One of the difference is there isn’t a synth in sight, with a swirling strings, bursts of rasping horns, rhythm section and chiming guitars giving way to Russell’s soft falsetto vocal. As the drama builds, the rest of the group sing backing vocals, while the arrangement gets even better. It’s almost vintage Philly Soul with flourishes of piano joining the strings and rhythm section in driving the track along. By the end of another hugely catchy, almost infectious sounding track, with one of the best arrangements on the album, you can’t help but wonder why the track wasn’t released as a single. After all, surely a track that sounds so good, might have given The Stylistics a hit single.
The final track on side one of Hurry Up This Way Again is Maybe It’s Love This Time. It’s another slow, smoochy track, with the lead vocal changing hands as The Stylistics wonder whether this time, it’s love. It has a beautiful slow arrangement, with the lushest of slow strings, combining with keyboards, chiming, shimmering guitars and the rhythm section. When Russell takes over the lead vocal, he gives a heartfelt rendition of the lyrics, while strings sweep along, combining with occasional flourish of harp and brief bursts of horns. The result is a gorgeous track, one full of hope and optimism, yet tinged with sadness and regret that love’s passed by before.
Side two of Hurry Up This Way Again opens with the track that gave The Stylistics their biggest US R&B hit single since 1975 reaching number eighteen, the title track Hurry Up This Way Again. After a lengthy introduction where the rhythm section, keyboards and guitars combine, with short bursts of drama as the arrangement meanders along, slowly revealing itself, a thoughtful, sad vocal enters. The vocal grows in power, drama and emotion, at the long, lonely nights spent alone while his lover is with her husband. As the track progresses, the use of synths becomes noticeable. Although they don’t sound quite as dated as some albums of this time, they sound of their day. Their addition means it’s possible to tell the song’s musical DNA, accurately placing it at circa 1979-1980. However, although it would be a better track without them, it doesn’t hugely detract from the heartache, drama and emotion in Russell’s vocal on this almost epic track, lasting nearly six minutes.
Whereas Dexter Wansel arranged and produced the previous track, Jack R Faith arranges It Started Out, while Douglas Brown, Terry Price and Darnell Jordon produced the track. They chose not to use synths, instead relying on “traditional”, some might say “real” instruments. This results in a much better track, with a fantastic lengthy keyboard solo during the swirling arrangement. When this mid-tempo track opens, the arrangement builds and builds, as the track opens. Once the track starts to reveal itself with the rhythm section, guitars, keyboards and percussion accompanying the vocal which changes hands several times. The contrast in styles works well, from a thoughtful, gentle style to Russell’s slightly dramatic, soaring vocal. Behind them, strings quiver constantly, while bursts of rasping horns enter, but leave quickly, as the track builds and builds, a combination of drama and emotion revealing itself. Overall, it’s a much better track, one of the album’s highlights, thanks to the contrasting vocal styles and Jack R Faith’s excellent arrangement.
I Have You, You Have Me sees John R Faith arranging the track, with Cynthia Biggs and Dexter Wansel taking over in the producer’s chair. This means a return of Dexter’s synths. Thankfully, they aren’t overused, with Dexter paying heed to the less is more motto. Jack’s arrangement is perfect for this slow, emotive and quite beautiful track. As the track opens, we hear a burst of synth as the rhythm section and horns combine dramatically, giving way to Russell’s tender vocal. While the rhythm section, guitars and seabass combine synth’s augment the sound, while lush, shivering, strings sweep in, adding to the sadness of the lyrics about how a couple may lack materially, but they’ve got each other. Russell delivers the lyrics with a tenderness, while the arrangement grows in drama, with the rest of the group contributing backing vocals. Of all the tracks on the album Dexter Wansel arranged or produced, this is the best of them. He plays his part in making this a beautiful sounding track, albeit one that would’ve sounded better without the synths. However, they neither detract from the tenderness of the vocal nor the beauty of the slow arrangement.
Hurry Up This Way Again closes with Is There Something On Your Mind sees the Douglas Brown, Terry Price and Darnell Jordon partnership producing the track, while Jack R Faith is entrusted with arranging the track. Neither the arranger nor producers disappoint, helping The Stylistics to produce one of the album’s highlights. As often seems to happen, an artist or group leave one of the best track until last. This is the case here, with Russell producing one of his most emotional and beautiful vocals, while the rest of the group contribute some equally beautiful backing vocals sung against a stunning arrangement. When the track opens, with short bursts of distant horns, there’s a Thom Bell feel and sound immediately noticeable. The arrangement is slow, with a combination of the lushest strings, chiming guitars and rhythm section combining with keyboards, while female backing vocalists augment the sound. When all this is combined with the emotion, drama and beauty of the vocal the result is a fantastic track, which allows The Stylistics to finish their return to the Philadelphia fold on a beautiful high.
After a prolonged lull in their career in America, Hurry Up This Way Again proved to be a welcome return to form for The Stylistics. Although the music on the album wasn’t as good as their early Thom Bell produced albums, there are a number of great songs on the album. The reason for this is simple. Once The Stylistics had been signed to Philadelphia International, all the songwriters, arrangers and producers at the label asked to do their very best for the label’s newest signing. This is why so many of the label’s heavyweight, creative talents featured on the album. Of the many people who played their part there were Jack R Faith is one of the unsung heroes of the album. His arrangements are among the best on the album, especially on It Started Out, I Have You, You Have Me and Is There Something On Your Mind. He had a wealth of experience, having worked on a number of other albums for Philadelphia International. Along with Dexter Wansel and Cynthia Biggs, Douglas Brown, Terry Price and Darnell Jordon, Jack R. Faith and everyone else who either played, arranged or produced tracks on this album, all played their part in trying to resurrect The Stylistics career. The new look Stylistics played their part, producing some beautiful vocals throughout the album. Russell Russell Thomkins Jr vocals rolled back the years, his falsetto vocal variously full of emotion and joy, and sometimes, sadness and regret. New member Raymond Johnson fitted in well, sounding as if he’d been a member of The Stylistics for many years. The result was a relatively successful album, albeit one that failed to hit the heights of their earlier albums. It saw an upturn in their career in America, albeit one that they failed to sustain. Their next album 1981s Closer Than Close only reached number 210 in the US Billboard 200 and number forty-four in the US R&B Charts, while 1982 their next album failed to chart. However, like Hurry Up This Way, both albums are vastly underrated and feature some wonderful music, from one of the finest vocal groups Philadelphia has produced, The Stylistics. Standout Tracks: Found A Love You Couldn’t Handle, Maybe It’s Love This Time, It Started Out and Is There Something On Your Mind.
THE STYLISTICS-HURRY UP THIS WAY AGAIN.
JERRY BUTLER-THE BEST LOVE.
JERRY BUTLER-THE BEST LOVE.
Jerry Butler’s role in the Philadelphia International Records story was more than just a singer. Over the years, he wrote songs a number of songs either with Gamble and Huff, or on his own and worked as a producer for the label. This he did during the two periods he was involved with Philadelphia International Records. This was the latest in a long line of labels Jerry recorded for during a career that stretched fifty years. During his career, Jerry worked with some of the biggest names in music, including Curtis Mayfeld, when both Jerry and Curtis were members of The Impressions. Another legend of soul music that Jerry worked with, was Otis Redding, with whom he co-wrote I’ve Been Loving You Too Long, one of Otis’ most memorable tracks. As a solo artist, Jerry released a number of successful and critically acclaimed albums, including 1968s The Ice Man Cometh and Ice On Ice released in 1970. However, during the seventies, Jerry Butler collaborated on many hugely successful albums with Gamble and Huff on the Philadelphia International label, helping make the Philly Sound famous worldwide. It was on Philadelphia International Records that Jerry Butler recorded what would be the final album of his career The Best Love.
The Best Love was released by Jerry Butler in the spring of 1980, and was the follow-up to Nothing Says I Love You Like I Love You, which although it featured some wonderful music, wasn’t a commercial success. Before The Best Love was released, the Gamble and Huff penned title track was released as a single. This was one of just two Gamble and Huff tracks on the album. When it was released, it peaked at number forty-nine in the US R&B Charts, during a nine week stay on the charts. Following on from the single, The Best Love was released, but spent three weeks on the charts reaching number seventy-one in the US R&B Charts.
Given the quality of music on the album, this was a huge disappointment. For The Best Love, some of Philadelphia International’s most talented songwriters, arrangers and producers were called upon. Gamble and Huff, Dexter Wansel and Cynthia Biggs contributed songs to the album, while Jerry only co-wrote two of the songs on the album. Dexter Wansel, John Usry Jr and Gamble and Huff all arranged or produced songs on The Best Love, so there were some hugely talented and creative people involved in the album. Sadly, even with such a vast amount of creative, talented people involved in its creation, The Best Love wasn’t a commercial success. Neither was the second single released from the album Don’t Be An Island, the sumptuous, sensual duet with Debra Henry, who was a member of another Philadelphia International group Silk. So highly regarded was the single, that it was compared favorably with his sixties duets with Betty Everett, or his seventies duets with Brenda Lea Eager. This didn’t help the single reach number seventy-five in the US R&B Charts, where it spent just four weeks. After the failure of both the singles and album, Jerry Butler retired from the music industry, concentrating in local politics in his home-town of Chicago. However, given that The Best Love was Jerry’s farewell album, it was fitting that it was such a great album, which I’ll now tell you about.
The Best Love opens with the uptempo version of The Best Love I Ever Had, one of just two Gamble and Huff penned tracks on the album. When the song was released as a single, people saw it as an attempt to rewrite Don’t Leave Me This Way, The Harold Melvin and The Blue Notes classic. It has a similar structure, gradually building up to a dance-floor friendly tempo, which is powered by a groove. This uptempo version opens the album, while a slower version closes the album, acting like a musical bookend. A combination of rhythm section, keyboards and guitars combine to accompany Jerry’s sultry vocal, before a piano enters. Gradually, the song builds, the tempo quickening while a keyboard leads the track, before the lushest of strings enter. With drums providing a steady heartbeat Jerry sings the lyrics beautifully as he remembers the lover he once knew and loved. As the song progresses, Jerry’s delivers an impassioned, heartfelt vocal against John Usry Jr’s stunning arrangement. Add to this some classic Gamble and Huff production, and the result is a beautiful song, one that’s full of emotion and sadness, and one of the album’s highlights.
Would You Mind is a much slower track, with the lushest of slow, strings and sweet backing vocalists accompanying Jerry’s seductive vocal. The track is co-written by Jerry and John Usry Jr, who the track. Against a slow, lush arrangement from John Usry Jr, where shivering, shimmering strings are at the heart of the arrangement, while guitars chime and backing vocalists accompany Jerry throughout the track. This combination is hugely effective, with Jerry’s vocal sitting atop the arrangement as he seductively asks would his lover mind spending the night in, after too many nights on the town. Instead he sings “they can ride on the wings of tender love song.” Both the slow tempo and the string laden combine beautifully with Jerry’s seductive vocal, resulting in a gorgeous love song.
Don’t Be An Island is a duet with Debra Henry which was compared favorably with Jerry’s duets with Betty Everett or Brenda Lea Eager. This is very definitely the case from the opening bars, when Debra sings the lead against slow, chiming guitars and rhythm section while strings quiver, lushly above the arrangement. There’s a sense of hurt, sadness and longing in Brenda’s voice, while Jerry’s voice is full of emotion, understanding and love. They combine beautifully, their voices contrasting perfectly, with the hurt in Brenda’s voice contrasting with warmth and love in Jerry’s. Behind them, backing vocalists add to the sense of drama and emotion, their voices soaring in unison, with a gospel influence present. Meanwhile the arrangement meanders along, with the strings adding to the sadness and hurt in Brenda’s vocal. It’s a hugely emotive, sensual sounding track, where the whole gambit of emotions are displayed. Everything from sadness, hurt and betrayal to a sense of love, longing and understanding is present, during just under five minutes of sensual music.
A sultry saxophone and piano open Tell Me Girl (Why Has It Got To End), with backing vocalists and slow, lush strings entering before a melancholy, almost heartbroken Jerry enters. His relationship has ended, he’s been blind to the fact that his girlfriend never loved him. He pleads with her, heartbroken, almost desperate at what’s happening to him. The arrangement has a subtle, understated sound, with the rhythm section, piano and gently rasping horns combining with the saddest of strings and sympathetic sounding backing vocalists. When all this is combined, it’s a hugely sad, but quite beautiful sounding track, Jerry Butler at his absolute finest, singing his heart out. It’s quite simply a stunning track, one you could never, ever tire of.
Side two of The Best Love opens with Reach Out For Me a quite different sounding version of the Bacharach and David track. John Usry Jr’s arrangement transforms the track into mid-tempo dance-floor friendly track, with Jerry’s gentle vocal enveloped by sweet sounding backing vocalists. Shimmering strings, rasping horns and the rhythm section all play an important part in the success in the sound of this of the track. Later, a saxophone sails above the arrangement, while Jerry joyously delivers the lyrics with a smile on his face. The result is a very different, but very good rendition of one Bacharach and David’s classic tracks.
The second duet on the album is We’ve Got This Feeling Again, with Debra Henry of Silk accompanying Jerry. Written by Dexter Wansel and Cynthia Biggs, the song was previously entitled I’ve Got This Feeling Again, but was changed so the song could be sung as a duet. Again, Debra’s vocal sits well with Jerry’s, with the contrast in sound and style working. Against a slow backdrop where keyboards, rhythm section, searing guitar and rhythm section accompany Debra, it’s a very different sounding arrangement from Don’t Be An Island. An electric guitar is used in an almost rocky style, which sounds slightly out of place in the arrangement. It only makes a brief, but repeated appearance, giving way to an emotive and impassioned duet between Jerry and Debra. As the track flows along, it just isn’t as good a track as Don’t Be An Island. It isn’t a bad track, quite the opposite. Both vocals are good, but the arrangement isn’t quite up to the standard of others on the album. Strangely, its the only arrangement to feature a Moog Synthesizer or the rocky sounding guitar. Neither add to the arrangement, which is a shame, given the emotion and passion in Jerry and Debra’s vocal.
Thankfully after the slight disappointment of the previous track, Gamble and Huff ride to the rescue with Angel Face which they wrote and produced, while John Usry Jr arranged it. An organ opens the track, while keyboards, guitars and rhythm section accompany a sultry sounding vocal from Jerry as he sings about the beautiful woman he loves. Behind him, the arrangement is slow, with the organ punctuating the track while strings sweep and guitars chime. This is a much better sounding arrangement, one that meanders along, with short dramatic peaks. As good as the arrangement is, Jerry’s vocal is its equal, resulting in a tender, and beautiful track.
The Best Love close with the slow version of The Best Love I Ever Had, which is very different from the quicker version. The arrangement sees the same combination of instruments used, with slow, lush strings and piano featuring throughout the track, while the rhythm section plays with a subtly, sometimes adding drama, while guitars chime as Jerry gives a beautiful, emotive and heartfelt delivery of the lyrics, especially towards the end of the track when the song reaches its dramatic crescendo. This is the perfect way to close the album, with Jerry giving one of his best vocals on the album.
Although The Best Love wasn’t a commercial success, it was still an album that featured some great music on it. Of the eight tracks on The Best Love, the only track that disappointed was We’ve Got This Feeling Again, because of the arrangement, which sadly, didn’t work and let down the vocals from Jerry and Debra. Apart from that, the other seven songs on were of the highest quality, especially The Best Love I Ever Had, Would You Mind, Tell Me Girl (Why Has It Got To End) and Angel Face. Both versions of The Best Love I Ever Had work really well, with the slower version especially, featuring a sultry vocal from Jerry. On the album, a number of Philadelphia International creative heavyweights featured on the album. As well as Gamble and Huff, Dexter Wansel and Cynthia Biggs and John Usry Jr all played their part in making this such a great sounding album. Sadly, by 1980 when The Best Love was released, a new generation of soul singers were dominating the market. Fellow Philadelphia International artist Teddy Pendergrass and Luther Vandross were now among the most popular soul singers, whereas artists like Jerry Butler and Bobby Womack, their music was no longer commercial or fashionable. Thankfully, over thirty years after the release of The Best Love, people are recognizing that it is indeed a top quality album featuring some wonderful music. It was the last album in Jerry’s long and illustrious career, and although not a commercial success, is a fitting finale to such a successful career. Standout Tracks: The Best Love I Ever Had, Would You Mind, Tell Me Girl (Why Has It Got To End) and Angel Face.
JERRY BUTLER-THE BEST LOVE.
MINNIE RIPERTON-COME TO MY GARDEN.
MINNIE RIPERTON-COME TO MY GARDEN.
Although I’ve previously written about Minnie Riperton’s music, with articles on Adventures In Paradise and Perfect Angel, I’ve as yet, to write about her debut solo album Come To My Garden. Today is an opportunity to revisit what was Minnie’s first album after leaving Rotary Connection. Come To My Garden saw her music change, transformed into something almost ethereal and quite beautiful, Gone was the soul-rock fusion sound that had been prevalent in Rotary Connection’s music. Replacing it was a sound that was a combination of soul, jazz and even pop music. On the album were some sumptuous, lush orchestral arrangements arranged by Minnie’s husband, producer Charles Stepney. These arrangements allowed Minnie’s voice to shine, and take centre-stage. Of the ten songs on the album, most are recorded in minor keys with wistful, melancholy ballads full of elegant, expressive lyrics that have a sensitivity and beauty when sung by Minnie. Eight of the album’s songs were written or co-written by Charles Stepney, with Richard Rudolph contributing five tracks. Charles Stepney and Richard Rudolph collaborated on four tracks, one of which was the album’s best known songs, the incredible Les Fleurs. It was these ten songs that Minnie recorded at the Ter Mar Studios, in Chicago, where so many great artists had previously recorded.
Over a three day period between 24 and 26 April 1969, Minnie entered the Ter Mar Studios in Chicago, where artists like Howlin’ Wolf, Muddy Waters and Marlena Shaw had all previously recorded album. During this three day session, Charles Stepney arranged and conducted what was an all-star band. On drums was Earth, Wind and Fire’s Maurice White. Guitarist Phil Upchurch had previously recorded with BB King, Jimmy Reed and as the Phillip Upuchurch Combo, sold over one million copies of the single You Can’t Sit Down, earning him a gold disc. Ramsey Lewis the jazz pianist, famous for the million selling singles The In Crowd, Wade In the Water and Hang On Sloopy played beautifully on the album. With a band that included such talented players, accompanying Minnie, the ten track were recorded and set for release the in 1970.
Minnie previewed some of the sings on Come To My Garden on 26 December 1969, at Chicago’s famous London House. She was introduced by Ramsey Lewis, who had played piano on Come To My Garden. During her performance, she previewed a number of the songs from her forthcoming debut solo album. Come To My Garden was released in April 1970, on the GRT label, to critical acclaim. However, even though the critics loved the album, it somehow, only reached number 160 in the US Billboard 200. This must have been a huge disappointment for Minnie and everyone concerned, given the quality of music on the album. As of this wasn’t disappointing enough, when Les Fleur was released as a single, it failed to chart. After the failure of Come To My Garden, Minnie headed to Gainesville, Florida where she entered semi-retirement, becoming a housewife and mother of two children. It would be four years before Minnie would record another album, Perfect Angel which reached number five in the US Billboard 200 and number one in the US R&B Charts, transforming her life and career. That was all still to come. Like Perfect Angel, Come To My Garden is a great album and it’s Come To My Garden that I’ll now tell you about.
Come To My Garden opens with probably the best known track on the album Les Fleur, written by Charles Stepney and Richard Rudolph. When the track opens it’s a subtle combination of piano, guitars and rhythm section that accompanies Minnie’s ethereal vocal. Strings sweep in as the track grows in power and drama. Backing vocalists help grow the track’s sound, developing it into gorgeous dramatic soundscape that gradually, unveils itself. Rasping horns, the rhythm section and strings combine with the backing vocalists and Minnie’s sweet but powerful vocal as the song heads to its drama drenched, but sumptuous and near spiritual crescendo.
Completeness is a beautiful paean about love with Minnie’s five and a half octave vocal soaring high above Charles Stepney’s arrangement. Again, the song develops from a gentle, understated sound, with Minnie’s vocal soaring high, while shivering, shimmering strings, piano and rhythm section combine. As the song progresses, both arrangement and Minnie’s vocal and the arrangement grow. Blazing horns enter, while the piano, bass and strings are key to the arrangement’s success. Atop the arrangement sits Minnie’s emotive, passionate vocal. Later, Ramsey Lewis’ piano provides a perfect for accompaniment to Minnie’s powerful vocal. It adds drama, while the vocal glides elegantly above the arrangement. Both Minnie’s vocal and the arrangement combine beautifully, resulting in a heartachingly beautiful track.
Richard Rudolph wrote the title track Come To my Garden, which has a grand, dramatic piano lead introduction. It gives way to a beautiful, tender vocal from Minnie, whose phrasing is perfect, emphasizing the lyrics in such a way that she makes you aware of their beauty. After that, the arrangement unfolds, with strings joining Ramsey Lewis piano, that plays a key role in the arrangement. Space is left within the arrangement where strings shimmer, and a bass meanders, accompanying Minnie and then her backing vocalists. Wave upon wave of music slowly, reveals itself, spacious one minute, dramatic the next. The one constant is the gentle, ethereal quality of Minnie’s stunning, tender vocal as she almost breathlessly sings some gorgeous lyrics. Like it’s predecessor, it’s gorgeous track, and has always been one of my favorite tracks on the album.
Memory Band has a much more understated sound for much of the track, with Minnie’s vocal given the opportunity to shine. Against a backdrop of Phil Upchurch’s guitar Minnie tenderly sings the lyrics, with backing vocalists subtly accompanying her with punchy, sharp backing vocals. Later when the arrangement grows, it includes some lush strings, rasping horns and powerful rumbling drums, before giving way to a much more understated sound. Charles Stepney seems to know just when to grow the arrangement, then gradually return to the more understated sound. He takes care never to overpower Minnie’s gentle vocal as she sings Charles Stepney’s almost dreamlike lyrics. They’ve a poetic quality to them, that transport you to a journey deep into your imagination, especially when sung by Minnie against Charles Stepney’s cascading arrangement.
The final song on side one of Come To my Garden is Rainy Day In Centreville, another love song. Set against a backdrop of a rainy day, similar to when she met her partner, she reminisces about back then, and how now, they can’t live without each other. Like many of the songs on the album, the lyrics have a wistful, melancholy sound when sung by Minnie. When the track opens the arrangement has a full, slightly dramatic sound, with blazing horns key to this. Like the previous track, it gives way to a much more gentle, understated sound. This continues throughout the track, with the piano, bass strings and horns all playing important parts in the arrangement. Similarly, Minnie’s vocal veers between a tender style, to one where she’s able to demonstrate her power and five and a half octave range. However, she’s just as effective when she sings tenderly, resulting in a wistful, melancholy sound. Later in the track, there’s some clever interplay with the piano and horns, with the strings floating above a crescendo of drama builds and builds, giving way to Minnie’s powerful, yet ethereal and beautiful vocal. This was a masterstroke on Charles Stepney’s, resulting in a hugely, memorable and impressive ending to the song.
Side two of Come To my Garden opens with another of my favorite track Close Your Eyes and Remember, another Charles Stepney and Richard Rudolph penned track. Against a harpsichord Minnie’s gentle vocal enters, with subtle, strings and backing vocalists accompanying her. A piano joins the strings, combining flourishes of piano and strings with bursts of rasping horns. This is one of the best arrangements on the album. It meanders along with strings floating high, combining with Minnie’s vocal as she sings the poetic lyrics about first love. Towards the end of the track, the arrangement becomes slightly dramatic, but not overdramatic. It’s just perfect, and concludes a quite beautiful, lush sounding track.
Oh, By the Way has some teasing, wistful lyrics from the Charles Stepney and Richard Rudolph partnership. The arrangement is very different as the track opens, with flourishes of shimmering strings, booming drums accompanying Minnie’s vocal before the arrangement floats along. A piano, backing vocalists and drums play a vital part in the track, with occasional bursts of dramatic drums punctuating the track, as Minnie slowly reveals her love in the lyrics. Here, the tempo is quicker, the arrangement louder and fuller, with drama a constant companion to Minnie’s vocal. Although very different from previous tracks, both the arrangement and vocal keep up the quality of the preceding tracks.
On Expecting, Minnie gives one of her best vocals on the album. It’s combination of restrained power and her vocal range that lead to the emotion and ethereal beauty she displays here. Against an arrangement that soars, elegantly like her vocal, the effect and combination is breathtaking. When the track opens with Phil Upchurch and the backing vocalists accompanying Minnie there’s no indication of what will follow. It’s only when the rhythm section and strings combine, before giving way to Minnie and guitar, that you get a glimpse of what’s forthcoming. Thereafter, the track just gets so much better, with horns rasping, drums rumbling and Minnie’s glacial vocal floating elegantly above them all. By the end of this stunning track, it’s almost impossible not to be overwhelmed by the song’s innate beauty.
Only When I’m Dreaming opens with Minnie’s understated, tender vocal accompanied by a gentle combination of guitar and piano. Backing vocalists, piano and rhythm section join the arrangement as Minnie contemplates her love for her partner, and the way he makes her feel. As the arrangement unfolds, there’s some clever interplay between Minnie and her backing vocalists, while drums, brief bursts of rasping horns and lush strings play important roles in the track. Mostly, there’s an understated sound, but sometimes, you get the sense that the continued, brief bursts of drama that threaten, will develop. However, they never do, allowing Minnie’s tender vocal to dominate the track, with the arrangement helping her to shine.
Come To my Garden closes with Whenever, Wherever a song with a jazzy sound throughout. Lush strings, rhythm section and piano accompany Minnie as her vocal slowly and gently begins. The song floats along beautifully, before taking a detour into jazz territory, when Minnie’s vocal and the arrangement quickens. Drum and piano punctuate the quicker arrangement, with the sound growing in drama, but still has a floaty quality. When the backing vocalists enter, their delivery is quick, in short, sharp staccato bursts and combine perfectly with Minnie’s vocal. Later, the horns and piano take turns to dominate the sound, when Minnie’s vocal drops out, adding a sense of presence and drama to the track. When the arrangement and vocal are combined, they work well, with Minnie’s voice perfectly suited to the change in style, handling it with aplomb and energy. Although it’s a quite different jazz tinged song, it works well and is a good way to end what has been a stunning debut solo album from Minnie Riperton.
Since I started writing about music, it’s always amazed me how many great albums fail to be a commercial success when they’re released. When Come To my Garden was released, it was to critical acclaim. Critics welcomed the new sound of Minnie Riperton, one that was very different from the fusion and soul of Rotary Connection. In its place, it was replaced by lush, orchestral soundscapes, with Minnie’s ethereal, beautiful voice sitting above them. With musicians like Phil Upchurch, Ramsey Lewis and Maurice White backing Minnie and Charles Stepney producing the album, a hugely talented group of people worked hard to make the album a success. With ten great songs, many of which were written by Charles Stepney and Richard Rudolph, everything was set for a successful album. Sadly, on its release in April 1970, Come To my Garden peaked at number 160 on the US Billboard 200. Since then, the album has been called a masterpiece, which it is. Maybe the album was too sophisticated, with the orchestral soundscapes and Minnie’s glacial voice fusing perfectly. Regardless of the reasons, the album now is recognized as the musical masterpiece it truly is. Thankfully, four years later, Minnie’s second album Perfect Angel became a huge commercial success, with the American public recognizing albeit, belatedly, the beauty and brilliance of Minnie Riperton. However, the album that launched her solo career was Come To my Garden, a magical, musical masterpiece full of the lushest orchestral soundscapes, with the graceful, elegant and ethereal voice of Minnie Riperton taking centre-stage. Standout Tracks: Les Fleur, Completeness, Memory Band and Expecting.
MINNIE RIPERTON-COME TO MY GARDEN.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
Recently, I’ve come to the conclusion that the most overused word in the English language is the word “classic.” Nowadays, something can’t just be good, it must be a classic. It doesn’t matter if someone is talking about a book, cuisine, technology, a building or piece of art. Each and every one of these things which are now either popular, or populist, are now referred to as a classic. Everything from a vacuum cleaner and computer to paintings and books are classics. Nowhere is the word classic more overused than in music. Anyone who has the misfortune to read what passes for supposed cutting edge music journalism nowadays, will hear the word classic both overused and misused in each and every issue of these publications. In truth, very few of the hundreds of thousands of albums ever recorded, deserve to be called classics. However, one album that certainly deserves that accolade, is Aretha Franklin’s breakthrough album I Never Loved A Man the Way I Loved You.
By the time Aretha Franklin recorded I Never Loved A Man the Way I Loved You, she was not only a hugely experienced singer and recording artist, having released ten previous albums. Three of those albums Running Out of Fools released in 1964, 1965s Yeah! and Soul Sister, released in 1966, had all reached the top ten in the US R&B Charts. That however, was the extent of her commercial success. Her previous album 1966s Take It Like You Give It had failed to chart. All this would change considerably, in 1967, when she took a trip to Muscle Shoals to record her next album.
Aretha Franklin’s destination was the legendary Fame Recording Studios, where she recorded with the Muscle Shoals Rhythm Section who’d graced numerous Southern Soul hits. Once there, she recorded a track that would change her career I Never Loved A Man the Way I Loved You, a track where Aretha’s gospel influence shines through. On returning to New York, she cut the B-side of what would be her next single, I Never Loved A Man the Way I Loved You. The B-side Do Right Woman, Do Right Man. On the single’s release, I Never Loved A Man the Way I Loved You reached number nine in the US Billboard 100 and number one in the US R&B Charts, resulting in the first gold disc of Aretha’s career.
Following this success, an album was released, I Never Loved A Man the Way I Loved You, which had been recorded at the Fame Recording Studios n Muscle Shoals and Atlantic Recording Studios in New York, during January and February of 1967. With the Muscle Shoals Rhythm Section Aretha recorded a total of eleven tracks, including a cover of Otis Redding’s Respect and Sam Cooke’s A Change Is Gonna Come. On its release in March 1967, I Never Loved A Man the Way I Loved You reached number two on the US Billboard 200 and number one in the US R&B Charts. This lead to the album being certified platinum, having sold over one million copies.
Although most critics loved the album, Rolling Stone magazine had a number of criticisms. Amazingly, they criticized the Muscle Shoals Rhythm Section’s “lack of versatility,” with the drums and guitar incurring their wrath. Another person coming in for criticism was producer Jerry Wexler. His “production lacked polish,” was their opinion. Whether any of this either reached or bothered the Muscle Shoals Rhythm Section, Jerry Wexler or even Aretha Franklin, is unknown. After all, everyone concerned had just played their part in a platinum selling album. However, after a volte-face in 2002, the same magazine made the album number one in their Women In Rock: 50 Essential Albums list. A year later, after their volte-face they included I Never Loved A Man the Way I Loved You at number eighty-three in their list of the 500 Greatest Albums of All Time. Since its release, back in 1967, I Never Loved A Man the Way I Loved You is still perceived as one of the greatest albums Aretha Franklin ever released, and it’s that album I’ll now tell you about.
I Never Loved A Man the Way I Loved You opens with a cover version of the Otis Redding track Respect, albeit with a change in the lyrics. Whereas, Otis’ version was from the perspective of a desperate man, willing to do whatever it takes to please his woman, Aretha sings the song from the perspective of a confident, independent woman. She knows what he wants, never does him wrong and demands his respect. Making her point, she spells out R-E-S-P-E-C-T, while behind her, backing singers unite to sing “sock it to me.” The song became an anthem to the feminist movement, and earned Aretha two Grammy Awards in 1968. When the songs opens, it’s a combination of blazing horns, chiming, searing guitars and driving rhythm section that accompany Aretha’s sassy, confident vocal. Behind her, The Sweet Inspirations, Aretha’s backing vocalists unite soulfully. Their contribution really lifts the track, their voices a contrast to Aretha’s power and confidence. Together with the Muscle Shoals Rhythm Section, they help drive the track quickly, along. The result is not only a fantastic sounding timeless, track, but one that became a feminist anthem. On its release as a single Respect reached number one in both the US Billboard 100 and the US R&B Charts, earning Aretha another gold disc.
Drown In My Own Tears was a track previously covered by Dinah Washington and Ray Charles. Here, Aretha reinterprets the track written by Henry Glover. It’s just a piano that opens the track, giving way to a hugely powerful and emotive vocal from Aretha. Drums join the piano, played gently, as they should be on this track, while Aretha injects both beauty and emotion into the lyrics. Later, rasping horns enter, and like The Sweet Inspiration, punctuating the rest of the track. Jerry Wexler’s arrangement is perfect, allowing Aretha’s vocal to take centre-stage, where it soars emotively and beautifully, as she offers up a beautiful interpretation of the song.
The track that really launched Aretha’s career after eleven years and ten albums of trying was I Never Loved A Man (the Way I Loved You). Written by Ronny Shannon, and with the Muscle Shoals Rhythm Section backing her, it gave Aretha her first US R&B number one single. It’s that familiar combination of piano, organ and drums that open the track, before Aretha’s frustrated, angry vocal enters. She’s despairing at being in love with a no-good, good cheating guy, who treats her badly, but can’t leave him because of how he makes her feel. Rasping horns punctuate the track, while, the piano is key to the track and in the background the Hammond organ sits. Occasionally The Sweet Inspirations accompany Aretha, adding to the already emotive and dramatic sound. This is quickly added to when the horns accompany Aretha’s energetic, desperate soaring vocal as she sings how she’s never loved a man like him. In just under three minutes, Aretha covers a gambit of emotions from angry and frustrated, to lovestruck and desperate and everything in between. It’s a very real story the mistreating, cheating guy and the woman who would and should leave him, but can’t because she loves the way he makes her feel. However, no-one can tell the story like Aretha, her way is the best, on this seminal, career changing track.
After the brilliance of I Never Loved A Man (the Way I Loved You), Aretha changes things on Soul Serenade, which has a lovely tender vocal from Aretha. The track opens with just Aretha and the piano combining, before blazing horns and the rhythm section enter. They almost enter into call and response with Aretha. At the end of each line, they respond to Aretha’s vocal, with the horns at the heart of the sound. This is really effective and works really well, resulting in a great sounding track, albeit very different from its predecessor.
Don’t Let Me Lose This Dream sees Aretha’s vocal much stronger than on the previous track. Aretha co-wrote this track with her husband Ted White. It’s just a combination of the rhythm section, guitars and backing vocalists that accompany Aretha. Whether this song is autobiographical one wonders, given the lyric “if I lose this dream, it’s goodbye love and happiness.” That is but a matter of speculation, but if so, then everything was riding on the success of this album. Although the lyrics are good enough, they and the song don’t quite match the quality of its predecessors. It has the sound of 1967, and can be dated by that sound. Overall, it’s a pleasant enough track, thanks to Jerry Wexler’s arrangement and Aretha’s vocal but sadly is neither up there with Respect nor I Never Loved A Man (the Way I Loved You).
Side one of I Never Loved A Man the Way I Loved You closes with Baby, Baby, Baby a track Aretha and sister Carolyn Franklin co-wrote. It opens with a combination of piano and Hammond organ that accompany Aretha’s hugely emotive and sad vocal. She’s desperately sad that she’s hurt the man she loves. The rhythm section enter, as do The Sweet Inspirations who gently accompany Aretha on this slow, sad song. This is a far better track than the previous one, with the emotion and passion in Aretha’s voice almost tangible when she sings about the love she has for her man. There’s also a sadness and desperation that’s added to by the arrival of the rasping, blazing horns and the dynamic backing vocals who accompany Aretha. Overall, it’s a powerful track, full of emotion and energy thanks to Aretha’s realistic rendition of some hugely sad, but tender lyrics.
Side two of I Never Loved A Man the Way I Loved You opens with another track Aretha and Ted White penned. Dr Feelgood (Love Is A Serious Business). Straight away, there’s a real Southern Soul feel to the arrangement, with a Hammond organ and piano combining, before the rhythm section and Aretha enter. They’re accompanied by bursts of horns and guitar, while Aretha gives a thoughtful, slightly angry vocal. She seems angry as she sings about neither wanting anyone, nor anything, to come between her and her man. Neither her family, nor friends. Again whether this is autobiographical, is open to speculation, but remember, Aretha had been in the public eye since an early age, and the constant intrusion in her life must have been frustrating. This track gets across the frustration and anger this must cause, perfectly. Aretha sings the lyrics with frustration, anger and passion, with her style and that of the arrangement combining soul and jazz wonderfully.
Aretha covers two Sam Cooke tracks on the album, the first of these is Good Times, where Aretha makes the song swing with the help of a brilliant backing band the Muscle Shoals Rhythm Section. Together, they and some blazing horns combine with Aretha who gives a sassy, swinging rendition of Sam Cooke’s lyrics which she delivers in a jazzy style, albeit with soul. Accompanying her is a searing, chiming guitar solo which together with the piano helps the song swing. Add to this the blazing horns, and the result is a stunning, swinging track.
Another of the best know and best tracks on the album is Do Right Woman, Do Right Man, co-written by Dan Penn and Chips Moman. Although this track has been covered by hundreds, if not thousands of singers, Aretha’s version is to me, the definitive version. Part of what makes the track so brilliant, is the gospel influence, which continues to the bridge. it’s just the piano, Hammond organ played by Aretha, rhythm section and guitars that accompany Aretha’s gospel tinged vocal. Behind her, The Sweet Inspiration contribute their best backing vocals on the album. They sing tight, united gospel drenched backing vocals throughout. During the song, Aretha urges men to treat women as their equals, as well as treating them well, not cheating on them or abusing them, and certainly, never to take them from granted. The other theme is temptation, and how women can be tempted towards infidelity, but resisting temptation, it can have its rewards. This fidelity should be a two way thing though, with a man respecting a woman, and staying faithful. Not only is Do Right Woman, Do Right Man one of the best tracks Aretha ever recorded, but a song with a message to both men and women, that follows on from the message of Respect penned by Otis Redding. When the song was released as a single, having previously been the B-side to I Never Loved A Man (the Way I Loved You), it reached number thirty-seven in the US R&B Charts. Why the song was only considered good enough for a B-side by Atlantic, astounds me. If it had been released as a single on its own, it would’ve given Aretha another huge hit.
Save Me is another track that Aretha and Carolyn Franklin co-wrote, this time with Curtis Ousley. Searing guitars and rhythm sections accompany Aretha’s pleas, as she almost screams for someone to save her, to love her and take away her hurt. Later, short, sharp bursts of horns punctuate the arrangement, while the guitars and rhythm section drive the track along. As the track progresses, Aretha’s pleas become even more desperate, full of emotion, sadness and passion. This results in a track that’s drenched in drama, emotion and desperation.
I Never Loved A Man the Way I Loved You closes with the second Sam Cooke on the album, A Change Is Gonna Come. Of all the songs Sam Cooke wrote, this is a song that became hugely important for the hope it spoke about, especially the lyrics that although “it’s been a long time coming, but I know a change in gonna come.” These powerful words came to exemplify the rise in the civil rights movement with brave people like Dr Martin Luther King Jr willing to risk his life to bring about change, right wrongs and fight injustice. Although the song was only a minor hit for Sam Cooke in 1963, the song’s impact was huge and important. When it’s sung by either Sam Cooke or Aretha Franklin, it has the capacity to bring a multitude of emotions to the surface. It makes you sad, frustrated and angry at the injustice of the early sixties when the song was released by Sam Cooke, but happy and joyous that by 1967, slowly change was indeed coming. Fast forward just over forty years, and change had come with Barrack Obama the United States President. However, when Aretha sings the song, it’s just piano that accompanies her tender, but determined, thoughtful vocal, before the Hammond Organ enters as her voice soars. Joining it and the piano and the rhythm section and guitars, as Aretha brings life and meaning to Sam Cooke’s lyrics, her voice soaring from tender to a powerful, emotive and impassioned style. The effect is hugely emotional and very beautiful, with the song having a spiritual quality among the hope in its lyrics. Here, The Muscle Shoals Rhythm Section really surpass themselves, playing with a similar emotion and passion as Aretha. By the end of the this outstanding, hugely emotional paean of hope, you can’t failed to be moved and be uplifted by this beautiful song, which is a fitting way to end the album. Nothing else could come close to this.
Of all the many albums Aretha Franklin has recorded over her long career, and among the many great albums she recorded for Atlantic Records I Never Loved A Man the Way I Loved You is my favorite, it’s a stunning album, with some hugely powerful music on it. Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come. Four outstanding tracks that feature some of the best vocals on the album. Witness her sassy performance on Respect, and compare the confident, independent Aretha, to the Aretha on Never Loved A Man (the Way I Loved You) that’s been mistreated, cheated on, but still can’t stand to leave and the difference is huge, but the portrayal very real. Then there’s the message of equality on Do Right Man and the positivity and emotion of A Change Is Gonna Come, and you see how Aretha Franklin could bring a song to life, make to you believe in the lyrics and emotions behind it. Although I’ve just mentioned these four songs, there are many other great tracks on the album. Aretha’s interpretation of Henry Glover’s Drown In My Own Tears is both emotive and very beautiful. Overall, the album is one of the few that deserves to be rightly called a classic album. Nowadays, this accolade is given to too many unworthy albums. However, I Never Loved A Man the Way I Loved You richly deserves the accolade. On the album her vocals were stunning, The Muscle Shoals Rhythm Section played brilliantly and Jerry Wexler’s production plays an important part in the album’s success. With their help and some wonderful songs, Aretha Franklin recorded I Never Loved A Man the Way I Loved You, which transformed her career and deserves to be called a classic. Standout Tracks: Respect, I Never Loved A Man (the Way I Loved You), Do Right Woman, Do Right Man and A Change Is Gonna Come.
ARETHA FRANKLIN-I NEVER LOVED A MAN THE WAY I LOVED YOU.
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