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.
EDDIE HAZEL-GAMES, DAMES AND GUITAR THANGS.
EDDIE HAZEL-GAMES, DAMES AND GUITAR THANGS.
A few years ago, in 2006, I was listening to an Atlantic Records box set What It Is! Funky Soul and Rare Grooves 1967-1977, when I came across an Eddie Hazel track California Dreamin.’ Wow, the Mama and Papas song never sounded like this I remember. I started trying to get across a copy of the album this track was from Games, Dames and Guitar Thangs. The original album from was long out of print and all I could find was an extremely rare copy of the album on compact disc released by Rhino Records in 2004. Thankfully, I was able to get a copy and when I first played it, I was blown away by the former Funkadelic and Parliament guitarists performance. Not only did he transform California Dreamin’ into something it had never been before, nor had ever been envisaged, but he did the same to Lennon and McCartney’s I Want You (She’s So Heavy). To say that this was a virtuoso performance is underselling Eddie’s playing on the seven tracks. After hearing Games, Dames and Guitar Thangs, I set about finding out about the album, an album that somehow, had escaped my attention until then.
Games, Dames and Guitar Thangs was Eddie Hazel’s only solo album, released in 1977. It was co-produced by Parliament and Funkadelic leader, Georg Clinton and Eddie Hazel. Together, they added the necessary P-Funk into the album, which is only seven songs long, but a seminal demonstration of Eddie Hazel’s guitar playing. Of the seven songs, George Clinton co-wrote Frantic Moment and What About it with Eddie, while Bootsy Collins joined the pair in writing So Goes the Story. George Clinton contributed another song he’d co-written, Physical Love, which he’d co-written with Bootsy Collins, Gary Cooper and Garry Shider. Overall, Games, Dames and Guitar Thangs was very much an album where Eddie’s bandmates from Parliament and Funkadelic played an important role in its production. On the album were guitarists Mike Hampton, Garry Shider and Glenn Goins. Add to this almost the complete Parliament and Funkadelic rhythm section of Bootsy Collins, Billy “Bass” Nelson and Corden Mosson on bass, while Jerome Brailey, Bootsy Collins and Tiki Fulwood on drums and in impressive and funky selection of personnel is unfolding. On keyboards was P-Funk veteran Berrie Worrell. With such an array of talent joining Eddie, you’d have thought the album would be a huge success.
Sadly, Although Games, Dames and Guitar Thangs was well received when it was released, it wasn’t a commercial success, and now, original copies are scarce and collector’s items. Even the edited version of California Dreamin’ that was released as a single didn’t sell well and what would be Eddie Hazell’s only solo album passed almost unknown. Since an episode of Homicide: Life On the Streets used one of Eddie’s songs from Games, Dames and Guitar Thangs interest in the album has been rekindled, with the album being rereleased in 2004 and 2010, much to the delight of funk and soul fans everywhere. This allows many of them to hear Games, Dames and Guitar Thangs for the first time. It’s that album that I’ll now tell you about.
Games, Dames and Guitar Thangs opens with Eddie’s reinterpretation of the Mama and Papas’ California Dreamin.’ A searing, chiming guitar reverberates and is joined by a piano and the funkiest of rhythm sections as Eddie Hazel and friends transform the anodyne California Dreamin’ into a slice of psychedelic funk. Eddie’s voice isn’t strong, but has a warmth and is accompanied by backing vocalists. However, what steals the show is his guitars solo. It’s fast, intricate and he never misses a note. Meanwhile, behind him, the rhythm section allow Eddie to take centre-stage, remembering that here, there merely side men. Their playing is frugal, but still furiously funky. Although recorded in 1977, the track has a real sixties sound and vibe, especially when he’s joined by a choir of backing vocalists. By the end, the transformation of the track is complete. This is a real life Cinderella story, with California Dreamin’ becoming queen for a day.
Frantic Moment has a slight hesitant start, with it seeming nobody wanting to take the lead. Step forward Eddie, with his guitar chiming, shimmering and searing, accompanied by an understated rhythm section and backing vocalists. Keyboards play in the background, while Eddie and the choir of backing singers take charge. Quickly, Eddie is left to solo, while the rest of the band play round him. He must have thought at last, here was his chance to be the main man, with George and Bootsy staying in the background. This track is quite different from the previous one, and apart from Eddie’s solos, the arrangement is quite understated but tight. The addition of the backing singers more than made up for this, with their addition giving the song focus, whereas without it, it would just be a Eddie showcasing his virtuoso guitar skills.
When So Goes the Story opens there’s a real Parliament and Funkadelic sound, while the backing vocalists bring to mind early Sly and the Family Stone albums. Against a backdrop of a quick, screaming, guitar solo, the backing vocalists deliver some surreal sounding lyrics that could’ve been written by Salvador Dali. Augmenting this combination is the rhythm section who like Eddie, combine elements of funk, rock and even free jazz. A combination of funk laden rhythm section, wah-wah guitars and flourishes of keyboards combine brilliantly, the tempo quick, the lyrics spare and surreal. By the end of a track played at breakneck speed, but with accuracy and passion, you’re almost exhausted just listening. How the musicians felt after this masterclass in combining musical genres masterfully is anyone’s guess. What I do know, is that if you love Parliament, Funkadelic or funk music, then you’ll love this track.
Of the seven tracks on Games, Dames and Guitar Thangs, my favorite has to be the epic version of I Want You (She’s So Heavy). I was never a great fan of the original, but this is something very different. A combination of rhythm section and slow, searing guitars combine as the track opens, and until the backing singers enter, it’s not entirely obvious how the track will unfold. With drums punctuating the sound dramatically, accompanying the vocal the track slowly reveals itself. Keyboards enter, joining the rhythm section and Eddie’s guitar solo that snakes and soars its way through Lennon and McCartney’s song. Technically Eddie was a hugely talented guitarist, but also was able to inject soul and emotion into the track. With the keyboards accompanying him they take the song on a Homer-esque musical journey that resembles The Odyssey, taking the song to places it’s never before visited, or will visit again. Later, effects are used by Eddie to add a sense of drama, when he slows things down and the bass lopes alongside him, while the drums play slowly and powerfully. Things get even better when multi-tracked vocals sit high in the mix, adding to the almost overblown, drama of the track as it heads to end of its majestic and almost mystical journey at the hands of Eddie Hazel.
After the the epic drama of the previous track, you’d think anything else would be an anticlimax. That isn’t the case with Physical Love a track with a much more mellow sound. It’s just the rhythm section, keyboards and Eddie’s guitar that combine on this track. Eddie’s playing is much more gentle, not as overpowering as on previous tracks, as if realizing that it would be hard to surpass what’s just preceded this track. Similarly, it seems that everyone playing on the track has a more relaxed, laid back style. This results in a track where the playing is much more thoughtful. The addition of a horn briefly is a welcome addition, but its visit was but brief. Meanwhile, Eddie has locked into a groove with the bass and keyboards. The bass keeps up with Eddie, while the keyboards are played more sparingly. This means you tend to focus on just Eddie and the bass, but when the keyboards enter, they help fill out the sound and provide a musical contrast. Although this track is quite different from its predecessor, it shows a different side of Eddie and his band, who play in a very different way, but play with the same professionalism and passion.
What About it? is a quicker track with Eddie’s guitar at the heart of the sound. It chimes, soars and screams producing a funk drenched sound, while the rhythm section play at a similar breakneck speed. A myriad of wah-wah guitars, punchy drums and looping bass combine with keyboards to produce a track that takes a groove and builds around it. Again, Eddie’s left to take centre-stage while George, Bootsy and company are content to play the role of backing band. This they do wonderfully, playing both sparingly and with funky flourishes, resulting in nearly four minutes where funk, rock and jazz music are mixed together magnificently and the result being a stunning track, that sounds incredible.
Games, Dames and Guitar Thangs closes with a short reprise of California Dreamin’ that allows you another chance to hear the irresistible track that opens the album. For just over ninety-seconds, Eddie and his band give the track a new twist, with backing vocalists accompanying Eddie and the rhythm section. Sadly, just as you’re beginning to really enjoy this new take on an old song, it’s all over, and all your left with is the funky memory, of a track that although short, is sweet.
Although Eddie Hazel and all the musicians who played on the album are funk musicians, you really don’t have to be a huge funk fan to enjoy this album. Even people who love rock music will enjoy the album, given Eddie’s considerable, virtuoso guitar skills. Although he’s a hugely talented guitarist, he never resorts to being showy or flashy. If anything, Eddie’s playing is understated and sometimes subtle. He never plays four notes where one or two will suffice. It would be fair to say that Eddie Hazel was a guitarist’s guitarist. Sadly, Eddie never lived to see the resurgence of interest in his only solo album Games, Dames and Guitar Thangs. He died in 1992, aged just forty-two. However, along with the many albums he recorded with Parliament and Funkadelic, Eddie Hazel left behind some wonderful music, including the brilliant Games, Dames and Guitar Thangs. Standout Tracks: California Dreamin,’ So Goes the Story, I Want You (She’s So Heavy) and What About it?
EDDIE HAZEL-GAMES, DAMES AND GUITAR THANGS.
MARLENA SHAW-SPICE OF LIFE.
MARLENA SHAW-SPICE OF LIFE.
Recently, I wrote a review of Marlena Shaw’s 1977 album Sweet Beginnings, and in that article mentioned an album that featured two songs that will forever be associated with Marlena Shaw. These songs are Woman of the Ghetto and California Soul, both of which were on Marlena’s 1969 Spice of Life. Spice of Life was Marlena’s second album for the Cadet label, a subsidiary of Marshall Chess’ legendary Chicago label Chess Records. Cadet was originally called Argo Records, a label that had been set up for Chess Records’ jazz artists. When the name was changed to Cadet, the label featured artists like Terry Calier, Etta James, The Dells and Rotary Connection. It was to Cadet Marlena was signed after being spotted singing in Chicago’s Playboy Club. After her debut album Out of Different Bags was released in 1967, the follow-up two years later would feature two songs that even today, are synonymous with Marlena Shaw.
Spice of Life saw recorded during sessions in February and July of 1969, at Chicago’s Tel Mar Studios. Although many more tracks were recorded, only ten made it onto Spice of Life. Marlena was guided by the experience of producers Charles Stepney and Richard Evans. Charles Stepney had plenty of experience, previously working with Rotary Connection, Ramsey Lewis, The Dells and Muddy Waters on his Electric Mud album. During these sessions, Marlena, Charles Stepney and Richard Evans recorded songs by songwriters that included Carole King and Gerry Goffin, Barry Mann and Cynthia Weil, T-Bone Walker and Ashford and Simpson. It was Ashford and Simpson who wrote California Soul, and Marlena Shaw that made it her song, with some stunning production by Charles Stepney and Richard Evans. Little did they know then, but the song would become a classic, and one that would be recorded my a huge number of artists. The other song that became synonymous with Marlena Shaw was Woman of the Ghetto, which Marlena cowrote with Richard Evans and Bobby Miller. Like California Soul, Charles Stepney and Richard Evans’ production on the track transforms the song into a brilliantly, overblown epic, that again, became a classic. Of the other eight tracks, T-Bone Walker’s Call It Stormy Monday was transformed by Marlena, with Charles and Richard’s help into a slinky slice of jazz. With such great music on Spice of Life, you’d have thought that this would turn Marlena Shaw into a huge star. Sadly that wasn’t the case, the album wasn’t a commercial success, but was well received by critics. Since then Spice of Life is seen as one of Marlena Shaw’s best albums, which I’ll now tell you about.
Spice of Life opens one of the album’s best tracks Woman of the Ghetto. As the song begins, the arrangement starts to build, with just the rhythm section accompanying Marlena scatting. This gives way to her vocal, with backing vocalists constantly repeating the same phrase. Meanwhile, the arrangement repeats constantly and builds and builds. Keyboards then percussion cut in joining what’s not only an intriguing and wonderfully repetitive, arrangement but one that sounds angry and powerful. The lyrics are full of social comment, frustration and anger at the poverty and hardship of bringing up a child within the ghetto. Later, an almost psychedelic sounding harmonica wails its way above the arrangement. Joining this are wah-wah guitars and percussion, joining the rhythm section and keyboards. Overall, the effect is an amazing soundscape, with Marlena’s stunning voice, full of compassion anger, as she sings the lyrics with passion and anger. After six minutes of majestic and seminal music, you realize you’ve just a heard classic track, one that forevermore will be synonymous with Marlena Shaw.
Over the years, I’ve heard many versions of (They Call It) Stormy Monday, but I always love Marena’s slinky, jazzy version of T-Bone Walker’s classic. With a wailing harmonica blowing as the track opens, accompanied by a small jazz band with an upright bass, chiming guitars and drums accompanied by a Hammond organ they provide the perfect backdrop for Marlena’s slow, swinging vocal. With the harmonica accompanying her during the track, and the Hammond organ playing a similar important role in the track, Marlena demonstrates her versatility as a vocalist. Both the harmonica and Hammond’s sounds compliment each other, especially when the vocal drops out. Meanwhile, Marlena really accentuates T-Bone Walker’s lyrics, brings them to life, in her own way. No longer is this a hugely sad, slightly sombre track, no it swings along beautifully, thanks to Marlena’s joyousm jazz tinged vocal and the tight jazz band accompanying her.
Where Can I Go is very different from the previous track, with the arrangement combining elements of jazz and funk from the rhythm section and guitar before the vocal enters. When Marlena’s powerful thoughtful vocal enters, the arrangement grows to include to percussion, Hammond organ, chiming guitars and the rhythm section who all lock into a jazz groove. The arrangement is full, with bursts of harmonica accompanying Marlena’s emotive vocal. She’s happy her wandering days are over, and at last, she’s free. Here, Charles Stepney and Richard Evans have surpassed themselves again, their arrangement and production complex yet powerful and jazz drenched, and a fitting accompaniment for Marlena’s emotive and powerful vocal.
A wailing gospel influence Hammond organ accompanies Marlena’s harmonies on I Wish I knew, before the track is transformed into a swinging track that combines jazz and gospel brilliantly. With the Hammond joined by a harmonica, and guitars that set of at breakneck speed Marlena gives a joyous delivery of the vocal. Against this backdrop Marlena’s vocal is softer, full of joy and happiness as she sings about freedom, somehow managing to keep up the tempo set by the guitars. By the time the track ends, it’s almost impossible not to be swept along by this jazz and gospel influenced arrangement and of course the joy in Marlena’s gentle, tender vocal, on the track the ends side one of Spice of Life.
Side two of the Spice of Life opens with another track Marlena is always associated with, Liberation Conversation. Again, the Hammond organ opens the track, joined by quick, chiming guitars that reverberate and an equally quick rhythm section. When Marlena’s vocal enters, it strong and powerful, as she sings and scats her way through the track. Her vocal soars powerfully and quickly, while effects are used occasionally on her voice. During the song she demonstrates just how talented a jazz singer she really is. One minute she’s singing the lyrics, the next scatting, then improvising, changing the words and dropping in lyrics and phrases from other tracks. It’s a wonderful demonstration of a jazz singer’s craft, with an arrangement that sounds just as energetic and stunning.
Probably the best know song of Marlena’s career is the Ashford and Simpson penned California Soul. It’s the type of song that once you hear it, it blows your mind. It’s a brilliantly overblown epic of a track, that benefits the big production given the track by Charles Stepney. Marlena was the perfect person to sing this track, making it her own and providing the definitive version. Nothing else comes close. From the swirling strings, rasping horns, punchy rhythm section, piano and guitars that open the track, your taken on a majestic musical journey. Marlena’s voice is powerful, but passionate, while behind her, strings sweep, horns blaze and the rhythm section provide the song’s heartbeat. By now the song is swinging, with Marlena testifies, vamping it up, her vocal sitting splendidly atop the arrangement. Behind her, the arrangement just gets even better, a myriad of horns, strings, handclaps and drums. However, in just under three minutes later, this magical musical journey is over. Although the joyous journey was short, it was brilliant and well worthwhile. After hearing the track, your spirits are lifted, you rejoice and give thanks to everyone who made the journey worthwhile.
Following a real classic track is a difficult thing to do. One way to approach it, is by following it with something very different. That’s the case here, Marlena follows California Soul with the gently jazzy Go Away Little Boy. Her rendition of the track starts off tender, against a small traditional jazz band, augmented by a flute. It’s just stand up bass, piano, drums and guitars that accompany Marlena, until blazing horns enter. By then, Marlena’s voice becomes powerful and full of passion. Later, her band decide to swing, with horns a blazing, joining Marlena in bringing the track to its brilliant, jazz drenched conclusion.
Looking Through the Eyes of Love opens with rasping horns, piano, chiming guitars and rhythm section accompanying Marlena’s emotive vocal. Her voice soars above the arrangement as she tells the story of an unlucky man, a loser in life, who although nothing goes right for him, is a hero in his wife’s eyes. There’s a sense of sympathy and empathy in Marlena’s voice as she sings the lyrics. Behind her the arrangement meanders along, with dramatic peaks, where strings swirl and horns rasp accompanying Marlena’s soaring voice. The arrangement has a real sixties feel, but is full of emotion and sadness, and with Marlena’s vocal atop it, quite beautiful.
Spice of Life closes with Anyone Can Move A Mountain a track that begins with a slightly dramatic, string lead sound before the drums, piano and rasping horns accompany Marlena’s slow and thoughtful vocal. Her voice becomes strong, with backing backing vocalists accompanying her, while the arrangement grows, with lush strings, piano and drums playing an important role as Marlena sings about the importance of belief, and how with belief, anything is possible. The result is an impressive, fuller sounding track that brings the album to a satisfying end.
Of all the Marlena Shaw albums I own, Spice of Life is by far, my favorite. After all, it features two classic tracks Woman of the Ghetto and California Soul, two of the best tracks Marlena ever recorded. Both tracks have become synonymous with Marlena Shaw, with her versions the definitive versions. However, there are more than two great songs on the album, with Where Can I Go, (They Call It) Stormy Monday, Liberation Conversation and Go Away Little Boy all stunning tracks. In fact, there isn’t a bad track on the album. Spice of Life must be the most complete album Marlena Shaw has ever released. It brought her to the attention of many people, and since then, many other great albums have followed for labels like Blue Note and Columbia. Recently, she hasn’t produced many new albums, but has a back catalogue that many artists would envy. Previously, I reviewed her 1977 album Sweet Beginnings, a great album, full of wonderful music, but for anyone wanting to hear Marlena Shaw at her very best, Spice of Life is the album to buy. The best way to buy the album is as part of a two disc Chess remasters series, which also features her debut album for Cadet, Out of Different Bags. These two albums are the perfect introduction to one of the best and most versatile female vocalists of the past fifty years. Whether it’s jazz, soul, or even funk Marlena Shaw sings it with aplomb, emotion and passion. Standout Tracks: Woman of the Ghetto, (They Call It) Stormy Monday, Liberation Conversation and California Soul.
MARLENA SHAW-SPICE OF LIFE.
BILLY PAUL-ONLY THE STRONG SURVIVE.
BILLY PAUL-ONLY THE STRONG SURVIVE.
After Billy Paul released his hugely successful and critically acclaimed Let ‘Em In album in 1977, he was under pressure to deliver a worthy successor to such a great album. By then, Billy had become Philadelphia International Records first male superstar. His star had been in the ascendency since he’d released 360 Degrees of Billy Paul in 1972, which gave him a US R&B number one album and reached number seventeen in the US Billboard 200. Since then, he’d released a number of successful albums and had become not just one of the most successful artists on Philadelphia International Records, but in soul music.
Although Let ‘Em In had reached number twenty-seven in the US R&B Charts and number eighty-eight in the US Billboard 200 there was some wonderful music on the album. This included a cover version of the title track Let’ Em In, that transformed Paul McCartney’s song, turning it into something much better and quite brilliant. Overall, Let ‘Em In was a much bigger success than his previous album, Love Is New was released. It had reached number seventeen in the US R&B Charts, but only number 136 in the US Billboard 200.
Now that the Let ‘Em In album was over, Gamble and Huff decided to look to the past for inspiration for Billy Paul’s next album. They decided that a track that previously, had provided them one of their earliest hits of their nascent partnership as songwriters, arrangers and producers. The track was Only the Strong Survive, which previously, had been a hit for “The Iceman,” Jerry Butler. Instead of slavishly sticking to Jerry’s brilliant version and interpretation of the song, Gamble and Huff transformed the track into a slightly quicker track, with slightly different lyrics. What Jerry Butler thought of this is unknown, but they could easily have asked him, as he’d returned to Philadelphia International after an absence of six or seven years. Only the Strong Survive became one of three singles released from the album, reaching just number sixty-eight in the US R&B Charts. Neither of the two other singles released from Only the Strong Survive even charted, a huge disappointment to Billy and everyone involved. Once the recording had started in late 1977, it didn’t take long to complete Only the Strong Survive.
January 1978 saw Billy Paul’s seventh studio album for Philadelphia International Records Only the Strong Survive released. When the album was released, there was disappointment for everyone concerned, with the album only reaching number thirty-six in the US R&B Charts, where it only spent five years. This became Billy Paul’s least successful album, since 1973, when a rerelease of Ebony Woman stalled at number forty-two in the US R&B Charts. Considering the standard of material on Only the Strong Survive, this was a disappointing result. The Gamble and Huff partnership contributed three songs on the album, with Jerry Butler co-writing Only the Strong Survive with them, and Dexter Wansell wrote or cowrote two songs. Apart from a cover version of Don’t Give Up On Us, previously a hit for David Soul, the material was strong. Maybe Billy Paul was another victim of disco’s popularity, and that the album was just released at the wrong time. Two or three years earlier, it might have been more successful. However, did Only the Strong Survive deserve to do better, was it a good album? That’s what I’ll now tell you.
Only the Strong Survive opens with the Gamble, Huff and Butler penned title track Only the Strong Survive. Covering this track was no easy thing to do, with Jerry Butler’s original very much laying down the marker as the definitive version. Like he did with Let ‘Em In, Billy decided to reinterpret the track, giving it a whole new twist. Against a backdrop of blazing horns, lush strings, chiming guitars and funky rhythm section sits Billy’s vocal. His voice begins quietly, growing in power, while tempo is quicker than the original, with a piano, sweeping, swirling strings and bursts of rasping horns accompanying a driving rhythm section. Billy transforms the track, commenting on the social problems and encouraging people to get an education and better themselves. He reminds them that only the strong survive, and if you’re not smart and strong, you’ll “fall by the wayside.” As he almost preaches, the arrangement grows, flowing along, with strings, piano and rhythm section sweeping you along in the song’s catchy and hook laden wake. By the end of the track, Billy’s reinvented the track, which not only sounds great, but deserved to do much better than it did when released as a single.
Michael McDonald wrote Take It To the Streets, another track that’s full of social comment, with Billy again spreading a message. “A mind is a terrible thing to waste,” sings Billy, waste in you risk a lifetime of poverty and despair. As horns blaze dramatically rasp, Billy half-speaks the introduction, while a piano, chiming shivering guitars and the rhythm section accompany him. Together, they provide a dramatic backdrop for his almost angry, vocal, with strings sweeping in, combining well with the piano and guitar. During the track, the tempo slows down, getting across the impact of the lyrics. Then when the tempo quickens female backing vocalists accompany Billy, while horns blaze and strings swirl. By now, the arrangement is full, laden in drama thanks to Jack Faith who arranged and produced the track. When the arrangement and Billy’s almost angry, staccato delivery of the lyrics, the result is an excellent track, that packs a message.
Sooner Or Later has a smooth as silk sound when it begins. The tempo is quicker, with bursts of horns drenching the arrangement, while chiming guitars and the rhythm section combine beautifully. There’s a tenderness in Billy’s voice as his voice sits atop the mid-tempo floater. Meanwhile, lush strings combine with horns and guitars which punctuate the sound. Dexter Wansell provides one of the best arrangements on the album, while Billy scats and hollers his way through the lyrics, sure that someday soon, his new lady will succumb to his charms. When both the arrangement and vocal are combined, the result is a fantastic track, just what made Philadelphia International famous worldwide.
Side one of Only the Strong Survive closes with One Man’s Junk, written and produced by Gamble and Huff, and arranged by Bobby Martin. Here, the Philadelphia International big hitters are unleashed, and the result is another great track. Against a backdrop of chiming, shimmering guitars, rhythm section, piano and bursts of rasping horns Billy tenderly sings the lyrics. Billy promises to take care of a woman abandoned by her partner, as he sings that his loss is Billy gain and fortune. Backing vocals and sweeping strings play an important roll in the track, along with the piano and rhythm section. As the arrangement unfolds and reveals itself, it just gets so much better, ending up a with a vintage performances from arranger Bobby Martin and producers Gamble and Huff’s. Add to this Billy Paul’s vocal and does it get any better than this?
Side two of Only the Strong Survive opens with a beautiful ballad Everybody’s Breaking Up. After short bursts of horns, Billy’s melancholy vocal enters, with a saxophone wailing above the arrangement, while sweet strings are key to the beauty of the arrangement. Drums dramatically punctuate the track, while the saxophone, lush strings and chiming, quivering guitar dips in and out of the track. Billy’s vocal grows in power and emotion, with backing vocalists accompanying him. Above the arrangement floats the wailing, sad saxophone, while the strings add to the sadness and emotion. When all of this is arranged by Jack Faith, and produced by Gamble and Huff the result is a very, beautiful but melancholy sounding song.
Dexter Wansell wrote and produced The Times of Our Lives, another gorgeous, love song, with a sparse arrangement from Jack Faith. A piano, rhythm section and slow, sweeping strings combine with guitars to produce an understated sound. Billy’s vocal is tender and thoughtful, meandering along, with a bass and backing vocalists accompanying him. As the song progresses, Billy’s voice grows stronger, while the strings play a bigger part in the song, and horns gently rasp. Although a very different sounding track, because of the subtle arrangement, the track has an understated and modest beauty.
Don’t Give Up On Us is a vast improvement on David Soul’s 1974 version of the track. However, there’s always the thought that regardless of how good a version Billy or anyone else gives, the song will forever be associated with Soul’s anodyne version. Here, Roland Chambers is given the task of trying to make the song work, and with his arrangement and Gamble and Huff’s production, transforms the track. Billy sings the song with emotion and passion, accompanied by backing singers, while the rhythm section, rasping horns, woodwind and percussion combine with flourishes of piano and shimmering guitars. The arrangement meanders along, with drums playing an important in the sound throughout. Later, strings sweep and swirly lushly, adding and improving the arrangement. Whereas the only thing soulful about the 1974 version, was the singer’s name, this is much better. My only concern is that the song doesn’t “fit” the rest of the album. It seems out place, and isn’t as good as the other tracks, although it’s far from a bad song.
Only the Strong Survive closes with Where I Belong a Cynthia Bigg and Dexter Wanell penned track. It’s a song with a bigger, fuller and dramatic arrangement by Dexter, who also produced the track. Blazing horns, piano and the rhythm section accompany Billy’s energetic and emotional vocal. His voice is loud and powerful, accompanied by the lushest of strings, braying horns, guitars and a punchy rhythm section. They help sweep the arrangement along, with a myriad of swirling strings, chiming guitars and blazing, rasping horns accompanying Billy on this dynamic and emotive track. It’s the perfect way to end the album, not only is it a big song, but it sounds great.
Although Only the Strong Survive wasn’t a huge commercial success, it’s still a great album, one I always enjoy. Apart from Don’t Give Up On Us, which seems out of place on the album, and an attempt to give Billy a big hit, the rest of the songs on the album are of a high standard. On each song, Billy delivers them with his usual vigor, injecting a combination of sadness and joy, and emotion and passion. Of the eight songs, the best are his take on Jerry Butler’s Only the Strong Survive, the Gamble and Huff penned One Man’s Junk and Everybody’s Breaking Up. Add to this the closing track Where I Belong, which has an impressive, fuller sound, and you can see that the album isn’t short in quality. Part of the problem with the album was when it was released. It was released when disco was at the height of its popularity. Albums like this, and by artists like Terry Caller, Jon Lucien and Bobby Womack weren’t selling well, regardless of how good they were. if it had been released at a different time, then it might have been a different story. That however, wasn’t the case, and Only the Strong Survive seemed to almost pass unnoticed, without the record buying public realizing what they were missing. That to me, is a great shame. However, now the album has been rereleased by Edsel records as part of a two disc set that includes three Billy Paul albums. These are Let ‘Em In, Only the Strong Survive and First Class. On these albums, you’ll hear some great music from Philadelphia International Records first male soul superstar Mr Billy Paul. Standout Tracks: Only the Strong Survive, One Man’s Junk, Everybody’s Breaking Up and Where I Belong.
BILLY PAUL-ONLY THE STRONG SURVIVE.
THE DELFONICS-TELL ME THIS IS A DREAM.
THE DELFONICS-TELL ME THIS IS A DREAM.
Of all the groups that walked through the doors of the Sigma Sound Studio in Philadelphia, The Delfonics were one of the pioneers of the Philly Sound. Under the watchful eye of Thom Bell, one of the triumvirate of producers that included Gamble and Huff, Thom helped define the smooth as silk Philly Sound, that would conquer the world in the seventies. By Tell Me This Is A Dream released in 1972, The Delfonics had honed their sound, on their three previous albums. Album number four, which Tell Me This Is A Dream was, saw The Delfonics’ music not only refined and smooth, but hugely sophisticated. However, by 1972, when Tell Me This Is A Dream was recorded and released, there had been big changes in The Delfonics line-up
In 1971, Randy Cain had left The Delfonics, after which he helped set up the group Blue Magic, who are best known for their classic track Sideshow. Randy Cain’s replacement was Major Harris, who previously, had been a member of groups that included The Charmers, The Teenagers, The Jarmels and Nat Turner’s Rebellion. He also formed a songwriting partnership with Joseph B. Jefferson, and recorded a number of their compositions on the Okeh and Laurie labels. After leaving The Delfonics in 1974, Major Harris recorded a number of solo albums, before rejoining one of the two versions of The Delfonics that was then touring. However, the inclusion of Major Harris in The Delfonics divided opinion of the group’s fans when they released their fourth album.
It was the trio of the Hart brothers William and Wilbert and Major Harris that headed for Philadelphia’s Sigma Sound Studio to record what would become Tell Me This Is A Dream. Ten songs were recorded by The Delfonics with Tell Me This Is A Dream being released in 1972. Although Tell Me This Is A Dream reached number fifteen in the US R&B Charts, it only reached number 123 in the US Billboard 200. The album wasn’t as successful as its predecessor, The Delfonics which I’ve previously written about. Not only was the album not as successful, but it wasn’t as well received by critics or fans. Whereas The Delfonics is perceived as the group’s best album, featuring their best music and the group at its creative peak, Tell Me This Is A Dream divided opinion. People either loved the album, or disliked it. There seemed to be no middle ground.
One song that united everyone’s opinion was the first single released from Tell Me This Is A Dream, Hey Love. Of the ten songs on the album, Hey Love is the best of all. When it was released as a single, it reached number seventeen in the US R&B Charts and number fifty-two in the US Billboard 100. This was the most successful single released from Tell Me This Is A Dream. Walk Right Up To the Sun reached number thirteen in the US R&B Charts and and number eighty-one in the US Billboard 100. The final single Tell Me This Is A Dream reached number fifteen in the US R&B Charts and and number eighty-six in the US Billboard 100. Although these singles weren’t as successful as their earlier singles, after this The Delfonics singles never reached the same heights. Neither did their final album on Philly Groove, Alive and Kicking, which reached just number thirty-four in the US R&B Charts and number 205 in the US Billboard 200. Just as the Philly Sound was conquering the world, The Delfonics were about to spilt up. Two years before that, in 1972, the album that divided opinion Tell Me This Is A Dream was released. It’s that album I’ll now tell you about, deciding who was right those who loved it, or those who loathed it.
Tell Me This Is A Dream opens with Hey Love a track that sees The Delfonics use harmonies in a totally pioneering and ingenious way. Of all the songs on the album, it was one that united the opinion of critics and fans alike, they all loved the song. Against a slow, gentle backdrop of the rhythm section, flute and lovely, lush strings, William Hart’s lead vocal enters, with tight harmonies accompanying it. A dramatic rumbling arrangement briefly reveals itself, giving way to percussion and rasping horns. As the arrangement meanders along, the tender lead vocal sings about how he loves his partner, and how they need each other. Complimenting the tenderness of the lead vocal are the harmonies and the arrangement, which veers between a lush and slightly dramatic sound. This works beautifully, the result being easily, the best track on the album.
Waves of drama open I’m A Man, with grand, swirling strings, rhythm sections, chiming guitars and blazing horns providing the backdrop for a punchy, dramatic lead vocal. It’s augmented by tight soaring backing vocals and harmonies, while pulsating strings, braying horns and the rhythm section combine to produce a powerful sound. The arrangement is fuller, with thunderous drums making their presence felt, while waves of strings reverberate. When this is combined with the vocal and harmonies the result is a dramatic, energetic track, that promises much and although it doesn’t fully deliver, doesn’t disappoint either.
Bursts of rasping horns and drums, give way to a gentle, William’s thoughtful vocal accompanied by an acoustic guitar as Too Late begins. This gives way to further bursts of drama drenched, horns and drums, while sad, sounding strings sweep in accompanying an equally despondent vocal. The sadness is caused by the end of relationship, which is too late to save, they’re through talking. Punchy, bursts of drums and horns add drama, while the strings combine beautifully with the melancholy vocal. It’s accompanied by sympathetic backing vocals and harmonies, which empathize with the despair of the lyrics. This is a much better track than the previous one, one that has a sad, melancholy vocal and a great arrangement from Thom Bell.
When Love You Till I Die opens, straight away, you realize that this sounds like a lovely track. An emotive soaring near-falsetto lead vocal is accompanied by tight harmonies, while the arrangement has drums dominating the sound throughout. A mid-tempo arrangement that’s punctuated by bursts of horns, sweet strings, rhythm section and chiming, quivering guitars accompanies the vocal during this love song. Throughout the track, William Hart’s lead vocal is laden with sincerity, emotion and passion as he swears always to love his girlfriend. Behind him, Wilbert and Major combine to provide tight harmonies, that compliment his lead vocal. Add all this together, and what you have is a beautiful love song, sung with emotion and sincerity.
The final track on side one of Tell Me This Is A Dream is I’m Looking For A Dream. Immediately, the track has a classic Delfonic sound when it opens. William’s soaring ,lead vocal is accompanied by a rasping horn and punchy, dramatic rhythm section, percussion and lush strings. Behind him, Wilbert and Major combine to provide flourishes of harmonies. Later, the strings sweep in, with rasping horns, bass and percussion all playing important roles in the outstanding arrangement. The longer the track progresses, the better the arrangement gets, gradually revealing more of its beauty. Add to this the heartfelt, soaring lead vocal from William and the result is one of the best tracks on side one. Along with Hey Love, they’re the two outstanding tracks from side one.
Side two starts off where side one finished, with another outstanding track Walk Right Up To the Sun. It has a grandiose, orchestral sound as it begins, with a combination of rumbling drums, blazing horns and swirling, grand strings. After this impressive opening, the three Delfonics combine to sing beautiful, harmonies before William’s lead vocal takes centre-stage. He delivers the lyrics thoughtfully, with a tenderness and emotion against a backdrop of chiming, shivering guitars, lush sweeping strings, bursts of rasping horns and the rhythm section. This combination works perfectly, resulting in an emotive, lush sounding track. Producers Thom Bell and Stan Watson surpass themselves here, producing an outstanding track, one that deserved to do much better than it did, when released as a single.
Round and Round has a very different sounding track from its predecessor. It’s faster as the track opens, but slows down, before swinging, dramatically along. The sound is darker, interrupted by the harmonies of The Delfonics, before William takes the lead. Guitars quiver, horns blaze, strings sweep and the rhythm section drive the track along. As the arrangement rises and falls, like waves on the ocean, the united vocals reenter, only to disappear and be replaced by the powerful arrangement. Here, there’s an almost avant-garde sound compared to other tracks. It’s a difficult track, much more abrupt than others, lacking the smoothness of many of the other tracks. Although not a bad track, it’s very different and not typical of the trademark Delfonics sound.
Baby I Miss You is much more typical of The Delfonics music, with a fuller, sweeping arrangement and some great interplay between William and the tight, sweet harmonies of William and Wilbert. This is sung against an arrangement that’s slow and dramatic. Strings sweep in, joined by a thoughtful, rhythm section, chiming, shimmering guitars and bursts of rasping horns. As the song progresses, both William’s vocal and the arrangement becomes louder and fuller, full of energy and drama. Later, drums dramatically punctuate the track, as a half-spoken vocal sits atop the arrangement with harmonies soaring sweetly and emotively. By the end of this track, it’s a very welcome return to form from The Delfonics on this fantastic track.
A Piano opens The Delfonics Theme (How Could You), before giving way to a harpsichord, a burst of blazing horns and a slow, spacious rhythm sections. Drums slowly play, while The Delfonics unite, singing heartfelt harmonies, before William briefly takes the lead. Overall, the sound is dramatic, drums and horns punctuating the track, while strings sweep slowly along in the background. Later a guitar chimes, quivers and shivers, followed by an atmospheric organ. They play against a backdrop of dramatic drums, with the vocals sitting at the front on this hugely, dramatic soundscape, drenched in drama and atmosphere.
Tell Me This Is A Dream closes with the title track Tell Me This Is A Dream. Often, artists seem to keep one of the best tracks on an album until last. Again, this is the case here. Sweet, lush strings, chiming guitars and rhythm section accompany William’s lead vocal, before behind him, the group harmonize. Mostly, the track flows along, but sometimes, for dramatic purpose, Thom Bell slows things way down. This works well, especially when the harmonies dominate the sound. Later, William gives a half-spoken vocal, before returning to describe the hurt he’s feeling, having lost the love of the one he’s always loved. He hopes this is just a dream, the hurt’s so bad. Behind him, the anguish and pain he’s feeling is reflecting by the arrangement. A combination of strings and guitars add to the emotion, while the drums add drama. When Thom Bell and Stan Watson combine the arrangement and vocal, the result is a stunning track, and a great way to end the album.
Earlier in this review of Tell Me This Is A Dream, I said that it had divided the opinion of fans and critics alike, with some people loving the album, others loathing it. There seemed to be no middle ground. Having listened to the album a number of times while writing this review, I’ve not changed my mind, I still love the album. Granted it’s not as good as The Delfonics previous album The Delfonics. That to me, was their best album, their most complete album, and the album that saw them at their creative peak. It was always going to be difficult introducing a new member to The Delfonics. It can’t have been easy getting someone whose voice would work as well as Randy Cain’s worked with William and Wilbert Hart. However, on Tell Me This Is A Dream, their voices combined well, and of the ten songs on the album, there are just two that I wasn’t particularly taken with. I’m A Man, was the first of these tracks. It promised a lot, but ultimately, didn’t quite deliver fully. The other disappointment was Round and Round, which didn’t have the usual smooth sound you’d expect from The Delfonics. It’s quite jagged and dramatic sound was almost avant-garde in comparison to their usual sound and style, Apart from that, Tell Me This Is A Dream is a quality album full of some smooth and sophisticated Philly Soul from The Delfonics, designed to tug on your heartstrings and take your emotions on a roller coaster ride. Standout Tracks: Hey Love, I’m Looking For A Dream, Walk Right Up To the Sun and Tell Me This Is A Dream.
THE DELFONICS-TELL ME THIS IS A DREAM.
CHIC-REAL PEOPLE.
CHIC-REAL PEOPLE.
Last week, I was lucky enough to get a copy of Nile Rodgers new autobiography Le Freak: An Upside Down Story of Family, Disco and Destiny which was truly, a fascinating read. It dealt with not just his music career, but his early family life. Now I’ve many similar books over the years, but Niles is an incredible read. Some of the stories of his early life in particular, are quite disturbing. That he’s managed to overcome some troubled and turbulent times, including ill-health as a child, family break-ups and he and his family being terrorized by an unhinged hit-man to become one of the most talented musicians, songwriters, arrangers and producers of the past forty years is testament to Niles drive and determination. What was most interesting for me, was how he goes about writing songs, the technical aspects of the music, especially when it comes to arranging and producing songs. It’s especially interesting to hear how he and Bernard Edwards with whom he founded Chic, took an idea for a song and managed to transform it into a fully fledged musical masterpiece. Their attitude to the songwriting process was quite a unique one. In the book, he describes how the idea for songs like Dance, Dance, Dance (Yowsah, Yowsah, Yowsah), Le Freak and We Are Family came about. However, one of the best stories in the book, how one of the songs on Real People came about.
The song was Rebels Are We, which was written as a result of Niles and Bernard being invited to the Cashbox magazine music industry party. After the plush dinner, both Niles and Bernard noticed that nobody was yet dancing in the adjacent disco. They decided to be the first people to take the plunge and head onto the dance-floor. Once there, nobody joined them. They were the only people who spent time on the dance-floor. Why was this? Well, at this time, the Disco Sucks movement was gathering steam, with The Knack’s single My Sharona being deemed the savior of music. At the Cashbox event, it seemed none of the music executives were willing to have anything do with music that was remotely connected to disco. They were even unwilling to enter the dance-floor, for fear of having to pass underneath the sign that said the word disco. After the party, Niles and Bernard headed home, where they broke one of their musical golden rules, never use their music for direct protest.
Using what they witnessed at the Cashbox dinner, they harnessed their anger and frustration into what they did best, writing songs. What emerged was Rebels Are We which would the first single taken from Chic’s next album Real People. This was just Chic’s fourth album. Chic released in November 1977 had reached number twenty-seven in the US Billboard 200, number twelve in the US R&B Charts and been certified gold. C’est Chic their second album, released in August 1978, fared even better reaching number four in the US Billboard 200, number one in the US R&B Charts and been certified platinum in the US. It was Chic’s first big album in the UK, reaching number two and being certified gold. Risque was the album that preceded Real People, and was released in July 1979, reaching number five in the US Billboard 200, number two in the US R&B Charts and been certified platinum in the US. In the UK, it reached number twenty-nine, and was certified silver. Now that the Disco Sucks movement was gathering popularity how would Real People fare when it was released?
Real People was released in June 1980, by Atlantic Records, reaching just number thirty in the US Billboard 200 and number eight in the US R&B Charts. This time there were no gold or platinum discs for Real People, with Chic’s popularity seemingly on the wane. The irony was that Chic never considered themselves a disco band. They felt their music had more in common with groups like The Fatback Band, Kool and The Gang, Brass Construction and Crown Heights Affair, who were essentially jazz-funk and R&B groups who just happened to write and record dance records. That this was and always has been the case, passed everyone by, including record company executives, disc jockeys and the record buying public. When the two singles were released from Real People, neither fared well. Rebels Are We, written after the Cashbox dinner reached number sixty-one in the US Billboard 100, number eight in the US R&B Charts. Real People didn’t even do as well as Rebels Are We, reaching just number seventy-nine in the US Billboard 100, number fifty-one in the US R&B Charts. Although this was just three years after the six-million selling, triple-platinum single Le Freak, it must have felt like a lifetime ago for Niles and Bernard. After all, both the singles Rebels Are We and Real People, plus the album Real People, all featured some great music from Chic. Sadly, they’d been the victims of two things, small minded, musical zealots and changes in musical fashions. However, did Real People deserve to do so badly, or was this just another innovative and quality album by Chic, that suffered because of the change in musical tastes?
Real People opens with Open Up, an instrumental track and the first of the eight Niles Rodgers and Bernard Edwards tracks on the album. It opens up with the trademark lush swirling strings, accompanying the rhythm section of Bernard on bass and Tony Thompson on drums, while Niles guitar chimes and shimmers at a similar breakneck as ‘Nard’s bass. The interplay between the pair in incredible, they’re locked into a groove, ‘Nard using his usual chucking bass style, while Niles sets of lays down some jazzy licks on guitar. All this is set against a backdrop of these grand, swirling strings which dominate the track from start to finish. Over nearly four minutes, Niles and ‘Nard prove that they’re far more than a disco band, laying down a groove that’s tinged in jazz, accurately and brilliantly played at an almost breakneck speed. This is quite simply their Le Freak to those who dared call them just a disco band.
The second single released from Real People was the title track Real People. As the track opens, Niles lays down a post-disco, searing rocky guitar solo above the rhythm section. This gives way to the punchy united vocals of Alfa Anderson and Luci Martin, who each take turns of delivering the lead vocal. Behind then, the interplay between Niles’ guitar and ‘Nard’s guitar, is fast and intricate, the guitar quivering and shimmering, while strings sweep dramatically in. Stabs of piano punctuate the track, and later, Niles’ drenches the arrangement with a prolonged soaring guitar solo that dominates everything. It fits in well with the rest of the arrangement, adding an energy and dynamic sound to an energy that features bursts of drama throughout. Although the track is quite different to much of their previous music, this post-disco sound a fusion of jazz, funk and even rock music, which they marry together majestically.
I Loved You More is a lovely slow track, that opens with a piano playing thoughtfully, before lush strings float in, giving way to the tender lead vocal. It’s accompanied by the rhythm section playing carefully as Alfa sings how she loved her former partner more than he loved her, and how she’s still not over him, thinking of him and their times together. By then, strings inject brief bursts of drama, as do the drums. Adding to the drama is a slow, searing, soaring rocky guitar from Niles, as he accentuates the notes, playing sparingly but with accuracy. By the time his guitar solo finishes, all that’s left is Alfa to deliver the closing line “I loved you more,” as this drama laden, sad and emotional ballads ends.
Side one of Real People closes with I Got Protection, another track that showcases the talents of Chic as musicians. Like Open Up, there’s a jazz influence to the track, when you listen to the rhythm section and Niles’ guitar playing. Sometimes, a funk influence shines through, especially with ‘Nard’s chucking bass style. Strings grandly, swirl, while stabs of piano punctuate the sound. In front of the arrangement are the sweet, but punchy vocals, which sometimes, have a defiant sound. Later, Niles decides to unleash another one of his soaring rocky solo, which sits above an arrangement that’s awash with a jazz and funk influence. When Niles and ‘Nard combine all this, the result is an infectious sounding and hook-laden dance track.
Side two opens with Niles and ‘Nard’s protest song Rebels Are We, which they wrote after the Cashbox music dinner, when they realized that the music industry that grew rich on disco, were now deserting disco, becoming scared to be associated with anything that vaguely resembled, or was connected to it. Rebels Are We was Chic’s response to the evening, with Niles and ‘Nard cast as the “brave rebels” in the song’s lyrics. From the opening bars, when grand swirling strings are accompanied by the rhythm section and guitars before the lead vocal enters, Niles and ‘Nard use their music brilliantly to make their point and protest. Against a backdrop that includes funky breakdowns, handclaps, chiming, soaring guitars and the lushest of strings, Chic proceed to give a musical masterclass taking in jazz, funk, disco and shades of rock music. Delivering their message are their secret weapons, the sweet, but punchy vocals of Alfa and Luci. Like smiling assassins they deliver the lyrics beautifully, while Niles, ‘Nard and the rest of Chic provide the soundtrack for their brilliant protest track.
Chip Off the Old Block is another track that sees a fusion of a variety of musical genres to create one track. During the track, jazz and funk are the primary musical influences, with the lush strings of the “disco years,” providing a vital ingredient. All of this is delivered in short, sharp bursts by Alfa and Lucy. When you listen carefully to the track, it’s as if Niles and ‘Nard have decided to prove that they’re not one trick disco ponies, and deliver at breakneck speed, some hugely intricate, jazz licks, through in an equal measure of funk, and of course, add to this The Chic Strings. Then, when placed in the hands of two of the best arrangers and producers of the time, Niles and ‘Nard, the result is Chip Off the Old Block, five minutes of the most intricate, frantically, fast funk and jazz music that sounds delicious, when served up with a side serving of the lushest, swirling strings.
26 is probably the most different song on the album. Alfa and Luci punchily, sing “that my baby is 26 on a scale of 1 to 10.” This they do against a backdrop of driving rhythm section, chiming guitars and drama drenched strings before the lead vocal changes hands, with Niles taking his turn to sing lead, singing about a similarly irresistible woman he knows. Like before, he delivers the lyrics against a backdrop that sweeps along with strings and guitar playing an important part in the gorgeous arrangement. Both Alfa and Luci’s delivery is in a post-disco style, delivered in short, sharp bursts, with a punchy style. This works well, and although it’s a very different sounding vocal delivery, it still retains the trademark Chic arrangement from Niles and ‘Nard which really lifts the track.
Real People closes with You Can’t Do It Alone which opens with drums playing slowly, guitars signal the arrival of Fonzi Thornton’s lead vocal. Against a sparse arrangement, where the rhythm section and guitars dominate the arrangement, Fonzi tells his girlfriend to go out find herself, find what she’s looking for, and live her life to the full. He then tells her that she can’t do it alone, she’ll need a home and anyway, is it worth losing her lover to find herself? These are some of the best lyrics on the album, delivered with emotion and passion by Fonzi. This is sung against the sparsest arrangement on the album, one that features a lovely Spanish guitar solo towards the end played by Niles, a classically trained guitarist. It’s a lovely way to end Real People, with a beautiful, tender track that makes you think.
In a recent article on Sister Sledge’s fourth album Love Somebody Today, the second Sister Sledge album produced by Niles Rodgers and Bernard Edwards, I mentioned how that album’s sales had been affected by the Disco Sucks backlash. Sadly, the same musical zealots small mindedness actions affected the sales of Chic’s fourth album Real People, an album full of great music that demonstrates the versatility of Chic. What’s more disturbing is that the record industry ruthlessly cast aside anyone or anything that had been connected to disco. One group that will be forever be associated with disco are Chic. That’s ironic, given that their music had much more in common with other musical genres jazz and funk especially. What I find priceless though, is when people were lining up against either disco or the next supposed savior of music The Knack, the experts in the music industry decided to side with The Knack. Who I hear you ask? Exactly. Whereas Chic’s music is still hugely popular, and perceived as innovative and influential, The Knack’s music is largely forgotten, and is a mere footnote in musical history. Even though sales of Real People suffered from the disco backlash, the music on the album is of the usual high standard you’d expect from Chic. On the album, Niles and Bernard demonstrated their virtuoso style and versatility, on eight tracks that’s a fusion of jazz, funk and a smattering of rock music. After Real People, Chic’s popularity declined, never again reaching the heights of their first three albums. As Chic’s popularity declined, Niles Rodgers reinvented himself as one of the most in-demand producers in the music industry, producing everyone from Diana Ross to Madonna, and everyone in between. However, regardless of his later success as a producer, he’ll always be best remembered for Chic, and the brilliant music he created with his musical partner Bernard Edwards. Standout Tracks: Open Up, Real People, Rebels Are We and Chip Off the Old Block.
CHIC-REAL PEOPLE.
ASHFORD AND SIMPSON-HIGH RISE.
ASHFORD AND SIMPSON-HIGH RISE.
Recently I wrote a review of Ashford and Simpson’s 1982 concept album Street Opera, which dealt with the problems couples face in economically tough times. They dealt with the problem how does a couple keep their love alive when money’s tight. The idea behind the album was the problems an ordinary working man encountered whilst trying to support his wife and family during these difficult times. Not only was the album a critically acclaimed, but was a commercial success, reaching number forty-five in the US Billboard 200 and number five in the US R&B Charts. Since then, High Rise is considered one of Ashford and Simpson’s best albums. A year later, in August 1983, Ashford and Simpson decided to move away from the social comment and urban drama of Street Opera to something quite different, High Rise, an album where four of the eight tracks were designed for the dance-floor.
During the recording of High Rise, Ashford and Simpson enlisted the help of a crack team of musicians to help record the eight songs on the album. This included guitarist Sidney McGinnis, bassist Francisco Centeno, drummer Yogi Horton and Ray Chew on electric piano. Together with the rest of the band, they cut eight tracks, four of which were written specifically for the dance-floor, where the music of Ashford and Simpson had always been well received. On High Rise was a combination of soul and R&B music, with slower songs sitting comfortably next to faster dance-floor friendly tracks. Once High Rise was recorded, it was time for the album to be released.
High Rise was Ashford and Simpson’s eleventh album, and was released in August 1983. Before it was released, the first single from High Rise, an instrumental version of the title track High Rise was released. It reached number seventeen in the US R&B Charts and number forty-one in the US Dance Charts. A month later, the album High Rise was released, reaching number fourteen in the US R&B Charts and number eighty-four in the US Billboard 200. October 1983 saw the release of the second single from the album It’s Much Deeper. It reached number forty-five in the US R&B Charts. In January 1984 the third and final single was released from High Rise. This was It’s Not That Tough, which reached number seventy-eight in the US R&B Charts. Although neither the album High Rise, nor the three singles taken from it, had replicated the success of Street Opera, High Rise was still a great album, full of quality music, which I’ll now tell you about.
The opening track on High Rise is the title track, High Rise a song cloaked in drama and suspense, from the opening bars. A combination of piano, rhythm section and guitars give way to Nick’s vocal, before Valerie makes her entrance. Nick tell the story of a woman he loved, who wanting the finer things in life him, in pursuit of them. Like Nick, Valerie plays her character well, the quick tempo like her hasty departure in pursuit of a better life. The sound is punctuated by bursts of darkness and suspense from the piano. Meanwhile, a bass reverberates, while a constant drumbeat provides the song’s heartbeat. Later, vibes played by Ray Chew provides a musical contrast, while the chords played on the piano sympathetically echos Valerie’s desire for better things. Similarly to the music on their previous album Street Opera, Ashford and Simpson tell a story that reflects real life perfectly, using not just their vocals, but the instruments to get across the sadness, drama and desire of the scenario, and the pursuit of the best things in life.
SIde Effect opens with a funk drenched sound from the rhythm section and guitars, while a wailing saxophone floats above the arrangement. It’s a dance-floor oriented track, with crisp beats, a funk laden bass and piano being joined by blazing horns. Key to track’s success is Sidney McGinnis guitar playing is used to reflect the side effect suffered by the character in the song. This side effect is how either a lack of love, or a love affair that’s gone wrong can have on a person, and its affect on their life in other ways. As the song progresses, a combination of funky driving rhythm section, chiming guitars and piano accompany Nick and Valerie’s looser, joyous, powerful vocals. The result is a great song, one that’s not just dance-floor friendly, but has a joyful, uptempo sound.
Experience (Love Had No Face) is a slower song, one that explores the nature of casual relationships and their lack of commitment and emotion. Against a backdrop of pianos, rhythm section and shimmering guitar Nick thoughtfully sings the lead vocal. Brief bursts of horns signal Valerie’s entrance, while lush strings sweep in the background. By now, the arrangement has grown, with acoustic and electric piano combining well, while strings and horns add a sad, emotive sound, reflecting the emptiness of these fleeting, casual relationships. Later, Nick and Valerie’s vocals soar emotionally, while behind them, the best arrangement unfolds. Not only has it a beautiful, slow, lush sound, that gradually reveals itself, but when combined with the vocals is by far, one of the album’s highlights.
The final song on side one of High Rise was It’s A Rush, a quite different song from its predecessor. Straight away, it’s immediately noticeable that the track has a quite dated, electronic sound. This is caused by various synths used, including a synthesizer bass line. Although they sounded okay back in 1983, the sound has dated. Thankfully, after the joyous vocals enter, the sound improves, with the arrangement starting to lose its earlier artificial sound. Maybe this is because of the inclusion of more traditional instruments, including guitars, pianos, percussion and rhythm section. Together, they drive the track along quickly, providing a dance-floor friendly track, made all the better by Nick and Valerie’s joyful, soaring and energetic vocals. However, it’s just a pity that parts of the track haven’t aged well, a common problem among synth-heavy, early-eighties tracks.
Side two of High Rise begins with My Kinda Pick Me Up, a much better sounding track than its predecessor. It has a jazz influence throughout the track, especially with the addition of George Young’s saxophone playing. It wails and howls above the punchy, arrangement, as piano, rhythm section and chiming, quivering guitars accompany it. Valerie’s gentle tender vocal enters, as she sings about how her lover is her pick me up. Nick’s vocal has a similar tenderness, while the rhythm section, piano and saxophone are key to this fantastic, jazz tinged arrangement. When you add Nick and Valerie’s vocal to it, the result is a timeless, track, unlike its predecessor.
It’s Not That Tough is another slow song, with gentle harmonies sitting atop the arrangement, while strings slowly, sweep and a piano and the rhythm section combine. Both Nick and Valerie’s vocals begin tenderly, growing in strength, before quickly, returning to the previous gentle style. It’s a song about a man with a tough facade, but behind that facade, is a man waiting and wanting to melt into his lover’s arms. Behind them, lush strings, piano and the rhythm section combine with bursts of rasping horns to create a beautiful, slow meandering arrangement, which is perfect for the gentle, beauty and tenderness of the vocal. The result of this combination is a stunning track, one of the best on High Rise.
It’s Much Deeper is a much quicker track, with rock style guitars throughout the track. Ashford and Simpson have built the song around a repeated groove, one that’s used throughout the track. Onto that groove, they get Sidney McGinnis to add a very eighties sounding rock guitar solo. Like the synths used in It’s A Rush, this detracts from the track, giving it a predictable, somewhat dated sound. It just doesn’t work, and sounds like too many similar eighties’ tracks. From the start, a funky, driving rhythm section, chiming guitars and piano accompany the powerful, energetic vocals from Nick and Valerie. Even until Sidney McGinnis adds his rock influenced guitar solo, the track wasn’t as good as the rest of the album. Like the guitar solo, the track has an eighties sound throughout. Like It’s A Rush, it hasn’t dated well, and is a disappointing track.
High Rise closes with Still Such A Thing, a track that Ashford and Simpson had produced for Gladys Knight and The Pips About Love album. This is a stunning track, one that more that makes up for the disappointment of It’s Much Deeper. It’s a track that pays homage to how love transcends race or religion and class or creed, and truly is a universal thing. Against a gentle piano lead arrangement Nick and Valerie gently and tenderly deliver the lyrics. Lush sweeping strings enter, while the rhythm section, guitar and percussion combine. They provide a beautiful backdrop for the vocals, and when subtle, horns enter, combining with the strings, things get even better. As the song progresses, Nick and Valerie sing with emotion and passion, against an arrangement that’s both lush and sometimes dramatic, matching their delivery. By the end of this stunning track, it seems Ashford and Simpson have kept one of the album’s best tracks until last. It was well worth the wait, to hear such a beautiful and brilliant song.
Having spent some time, listening to High Rise, and familiarizing myself with it, I’ve come to the conclusion that although it’s not quite as good as Street Opera, it’s still a good album. Of the eight songs on High Rise, only two disappoint. These are It’s A Rush and It’s Much Deeper, two tracks with a slightly dated sound that sadly, haven’t stood the test of time well. Apart from these two tracks, there are some fantastic tracks on High Rise. Experience (Love Had No Face) and It’s Not That Tough are two slow tracks which feature great arrangements and some gentle and emotional vocals from Nick and Valerie. The jazz tinged My Kinda Pick Me Up, demonstrates Ashford and Simpson’s versatility and features some virtuoso playing by George Young which helps lift the song to the next level. However, Ashford and Simpson kept the best to last with Still Such A Thing, which had originally been on Gladys Knight and The Pips, About Love album. On that track, they pay homage to the universality of love, and produce a stunning vocal performance. That was the perfect way to end the album. Leave the listener on a high, wanting more. That’s the case here. Overall, High Rise was an album that deserved to do better, reaching number fourteen in the US R&B Charts and number eighty-four in the US Billboard 200. If you never heard High Rise when it was originally released, now is your chance to do so. It has been rereleased and remastered by BBR Records, and the album features five bonus tracks and some in-depth sleeve notes. This will allow you to hear some great music from Ashford and Simpson, not only one of the best songwriting partnerships of their day, but hugely talented singers and musicians. Standout Tracks: Experience (Love Had No Face) , My Kinda Pick Me Up, It’s Not That Tough and Still Such A Thing.
ASHFORD AND SIMPSON-HIGH RISE.
BARRY WHITE-CAN’T GET ENOUGH.
BARRY WHITE-CAN’T GET ENOUGH.
When people talk about the most successful male soul singers of the last forty years, they tend to think of Al Green, Billy Paul, Stevie Wonder and Teddy Pendergrass. However, there’s another singer that had a hugely successful career, with seven US number one US R&B albums, six albums certified gold and three albums certified platinum. The last of these albums Staying Power was certified double platinum. Add to that three compilation albums that were certified platinum, with one of them certified double platinum. Oh, and not to forget the six US R&B number singles this artist had. Over a career that spanned four decades, starting in 1972 and ending in 2003, Barry White was one of the superstars of soul music. With his distinctive bass voice and an image steeped in romance, Barry White was one of the biggest selling and most successful soul singers of the past forty years.
One of Barry White’s most successful and greatest album was Can’t Get Enough, his third album, released in February 1974. It was Barry’s third successive US R&B number one album and became his only number one in the US Billboard 200. Like his two previous albums, 1973s I’ve Got So Much To Give and Stone Gon’, Can’t Get Enough was certified gold. Meanwhile, in the UK, Can’t Get Enough reached number four in the album charts, becoming Barry’s biggest selling UK album so far. When Can’t Get Enough was released, the reviews were mixed. Although some critics loved the album, others felt it was too similar to his previous albums, and his way of making music rather formulaic. Two singles were released from the album. Can’t Get Enough of Your Love, Babe was the first single released from the album, reaching number one in the US R&B Chart and US Billboard 100. You’re the First, the Last, My Everything also reached number one in the US R&B Charts and number two in the US Billboard 100. Overall, Can’t Get Enough had been a hugely successful album, reaching number one in the US R&B and US Billboard 200 and yielding two hugely successful and memorable singles. Having given you the background to Can’t Get Enough, I’ll now tell you what it sounds like.
Can’t Get Enough opens with Mellow Mood (Part I), a track that has an understated sound. It’s just keyboards, shimmering, sweeping sometimes slightly, dramatic strings that are accompanied by chiming guitars and rhythm section. Later bursts of subtle horns enter, with the track having a beautiful mellow laid back sound. Slowly, the track’s understated beauty reveals itself, before giving way to something much more uptempo, and equally stunning.
You’re the First, the Last, My Everything is by far, one of Barry’s best, and best know tracks. Barry’s husky, sensual deep voice half-speaks the introduction against a backdrop of rhythm section, guitars, the lushest sweeping, swirling strings and piano. The track sweeps beautifully along, with female backing vocalists gently accompanying Barry. Their voices provide a contrast to Barry deep, bass voice. By now, swathes of sweeping strings, the rhythm section and piano are key to this gorgeous sounding track, that’s catchy and laden with hooks. Like the opening track, horns are used sparingly, towards the end of the track, where they’re sprinkled sparingly. When this fantastic arrangement is combined with Barry’s sensuous vocal, the result is the best track on the album, a timeless classic that sounds just as good today, as it did when I first heard it 1974.
The epic track on the album is I Can’t Believe You Love Me, which lasts nearly ten and a half minutes. Against a slow, meandering backdrop of chiming guitars, rhythm section keyboards and subtle horns, Barry gives sensuous, half-spoken vocal. Before long, slow, sweeping strings enter, while a rasping horn drifts above the slow, spacious arrangement. Female backing vocalists accompany Barry, uniting sweetly and soulfully behind him. After three minutes, his vocal begins. It’s slow, with a husky sound, as he sings about how he can’t believe his new girlfriend loves him. He feels lucky, grateful she loves him, and emotively and passionately expresses his feelings. Behind him, the same drumbeat is continuously played with regularity, while lush strings and keyboards are responsible for what’s a very beautiful arrangement, one of the best on Can’t Get Enough. Barry sings the lyrics beautifully, with a combination of emotion and tenderness, resulting in a gorgeous love song.
When Can’t Get Enough of Your Love, Babe it provided Barry with a number one single in both the US R&B Charts and US Billboard 100. Straight away, it’s obvious why this was such a successful track, it’s fantastic sounding track, one that was quite different to most soul music of that time. Chiming, shimmering guitars, subtle bursts of horns, rhythm section and sweeping, swirling strings accompany Barry’s sultry vocal. Once drums punctuate the sound, the track opens up, the tempo quickening and the arrangement getting fuller. Still lush swirling, quivering strings and the punchy rhythm section are key to the track’s sound. Now keyboards and piano join the arrangement, which just seems to get even better, as it flows quickly along with hooks aplenty. Meanwhile, Barry’s vocal is full of passion, his deep bass voice energetic and dynamic. However, what I like about this track is the string drenched arrangement. Like the music being produced in Philadelphia by Gamble and Huff and Thom Bell, Barry White used swathes of the sweetest, lushest strings on his albums. This resulted in a beautiful, emotive sound, that’s truly irresistible, especially when combined with Barry White’s seductive vocal.
Oh Love, Well We Finally Made It, is a track that has a slow, meandering arrangement, that gradually reveals it lush beauty. Against a backdrop of rhythm section, percussion and piano, Barry half-speaks the introduction, while sweet backing vocalists gently accompany him. It’s then that the arrangement grows, with the rhythm section being joined by shimmering strings, breathless sounding backing vocalists and chiming guitars. Atop the arrangement sits Barry’s husky, charismatic vocal, enveloped by layers of strings and the rhythm section that provides the track’s heartbeat. Blazing horns and piano enter, and like the strings and backing vocalists, both play important roles in the success of the track’s sound. Together, they provide a fuller, quite sumptuous sounding arrangement, perfect for Barry sultry sounding vocal.
As I Love You More Than Anything (In This World Girl) opens, it has a slightly dramatic, punchy sound. Keyboards, rhythm section and shimmering strings are joined by guitars, before Barry’s joyful vocal enters. He’s happy to have got back together with his girlfriend who he thought he’d lost for good, and loves her even more than before. The arrangement has both a punchy and sweeping sound, with the rhythm section providing this punchiness, while the strings help the track to sweep along. Meanwhile, there’s a warmth in Barry’s joyful, raspy vocal, reflecting his lyrics, which when combined with a great arrangement, resulting in another great love song from Barry
Can’t Get Enough closes Mellow Mood (Part II), a similar sounding track to the opening one Mellow Mood (Part I). Layers of beautiful, grand, sweeping strings are accompanied by chiming guitars and the rhythm section for a track that flows along with a slightly, melodramatic but quite beautiful sound. It would’ve been nice to have heard more of this track, as just under a minute and a half leaves you wanting more, much more of its inherent beauty.
Along with the music on Philadelphia International Records, I grew up listening to Barry White’s music. He wasn’t a particularly fashionable artist to like, in the UK in the early to mid seventies, but that didn’t bother me. I’ve never been one to be swayed by musical tastes, preferring instead to enjoy good music, regardless of whether it’s fashionable or not. Now over thirty years later, I still love Barry White’s music, with Can’t Get Enough one of my favorite albums by Barry. Although it has just seven tracks, and lasts only thirty-two minutes, they’re thirty-two majestic minutes of music. On the album are two of Barry’s biggest singles You’re the First, the Last, My Everything and Can’t Get Enough of Your Love, Babe. These two classic tracks alone, almost make buying the album worthwhile. However, if you add to that the luscious beauty of Mellow Mood (Part I) and Mellow Mood (Part II), that bookend the album, with the epic I Can’t Believe You Love Me and Oh Love, Well We Finally Made It, then Can’t Get Enough is an album well worth buying. It’s a good introduction to Barry White’s studio albums, and gives a good overview of what his classic seventies music sounded like. With Barry White, there’s such a wide choice of albums available, but his first three albums, I’ve Got So Much To Give, Stone Gon’ and Can’t Get Enough are a good starting point. These albums are a wonderful introduction to one of the most talented and successful soul singers of the past forty years. Standout Tracks: You’re the First, the Last, My Everything, I Can’t Believe You Love Me, Can’t Get Enough of Your Love, Babe and Oh Love, Well We Finally Made It.
BARRY WHITE-CAN’T GET ENOUGH.
| http://www.youtube.com/watch?v=NpPQBL7PNhs |
BETTYE SWANN-DON’T YOU GET TIRED OF HURTING ME.
BETTYE SWANN-DON’T YOU GET TIRED OF HURTING ME.
Sometimes, although an artist has only recorded a couple of albums, these albums prove to be more important and influential than artists who have released a dozen albums. We can all think of great artists who released just one or two albums and then disappeared from the music industry. Two female soul singers I can think of, off the top of my head are Doris Troy and Bettye Swann. Both are among the greatest female soul singers of all time, and both released just three albums. The best known of Doris Troy’s three albums, is the classic deep soul album I’m A Loser.
Of Bettye Swann’s three albums, 1968s’ Soul View Now in 1968, was her best known album. It’s now regarded as a Southern Soul classic, although it only reached number forty-eight in the US R&B Charts. Soul View Now was just Betty Swann’s second album, her first being Make Me Yours, released in 1967 on Capitol Records. It was named after her number one R&B Single, Make Me Yours, which brought Bettye’s name to the attention of American music fans. Following her split from her hen manager, Louisiana’ DJ Al Scott in 1968, Bettye moved to Georgia, where she secured a contract with Capitol Records. It was for Capitol that she recorded Soul View Now and her final ever album, Don’t You Ever Get Tired of Hurting Me.
Bettye’s follow-up to Soul View Now, was Don’t You Ever Get Tired of Hurting Me, released in 1969. Sadly, it wasn’t as commercially successful an album as its predecessor, but still contains some wonderful music. After her contract with Capitol ended, Bettye signed to Atlantic Records, where only she only had a couple of minor hits. These were Victim of A Foolish Heart in 1972, which reached number sixteen in the US R&B Charts and sixty-one in the US Billboard 100 and Today I Started Loving You Again in 1973 which reached number forty-six in the US Billboard 100. Bettye still performed until the mid-seventies, performing her final concert in 1980, the year her husband and manager George Barton died. Between the time Bettye Swann left Capitol Records and her retirement in 1980, Bettye never recorded another album. Don’t You Ever Get Tired of Hurting Me proved to be the final album she released, and it’s that album I’ll now tell you about.
Don’t You Ever Get Tired of Hurting Me opens with the title track, Don’t You Ever Get Tired of Hurting Me. Rasping horns, chiming guitars and the rhythm section open the track, before Bettye’s emotive voice enters, accompanied by sweet, female backing vocals. Bettye sings about the hurt her man has caused her, asking him to set her free, against a horn drenched arrangement, that’s driven along by guitars and the rhythm section. It’s a song full of sadness and emotion, featuring a heartfelt vocal from Bettye.
There’s a much more subtle sound on Little Things Mean A Lot when the track opens. It’s just piano, bass and gentle, backing vocalists, that open the track, before Bettye’s tender vocal enters, accompanied by chiming guitars. Gently rasping horns combine with the backing vocalists, and are the perfect accompaniment for Bettye. Then, the arrangement gets fuller and louder, with horns blazing, guitars chiming and shimmering, while Bettye and her backing vocalists sing with a gentle, tenderness. Although this is quite a contrast, the arrangement never overpowers Bettye’s beautiful vocal, which is made all the better by the addition of the backing vocalists, who sympathetically back Bettye.
When You’re Up To Your Same Old Tricks Again opens it has a dramatic introduction with a piano and blazing horns combining, before Bettye’s vocal enters. There’s a sense of sadness and even anger in Bettye’s voice, with Bettye suspicious, thinking her partner is cheating on her again. Like before, female backing vocalists accompany her, their voices soaring, emotively, reflecting the turmoil in Bettye’s life. As the track progresses, this sense of sadness and anger is reflected in the fuller arrangement. Here horns bray, guitars chime as they, and the rhythm section, drive the track along. The guitars, horns and a piano are key to the success of track’s sound, giving it a sense of drama and emotion, that’s perfect for Bettye’s suspicious, angry vocal.
Today I Started Loving You Again sees blazing horns open the track, before another emotive vocal from Bettye enters. She’s fallen back in love with her former boyfriend, who she thought she’d gotten over. Against a faster arrangement, that’s dominated by braying horns, a dramatic rhythm section and soaring, almost gospel influenced female backing vocalists, Bettye sings of the heartache she’s experienced and will face yet, again. As she does this, the arrangement reflects the drama and turmoil of her life, with horns and drums punctuating the arrangement dramatically, reflecting the drama and heartache ahead for Bettye.
Side one of Don’t You Ever Get Tired of Hurting Me closes with Just Because You Can’t Be Mine. This is a much slower track, with organ, piano and chiming guitars combining with the rhythm section before Bettye’s tender, thoughtful vocal enters, accompanied by female backing vocalists. Their voices are more powerful and emotive, as they sweep in soulfully. Meanwhile, the arrangement meanders along with rasping horns, guitars, piano and an organ all combining to produce one of the most emotive, soulful arrangements on the album. It just swings beautifully along, with Bettye’s tender, thoughtful voice full of sadness because the man she wants can’t be hers.
Side two of Don’t You Ever Get Tired of Hurting Me opens with Traces, a slower, dramatic sounding song. It opens with braying horns punctuating the arrangement accompanied by a piano and rhythm section. They give way to a gentle, sad vocal from Bettye, who sings the song with care, as she reflects on an old relationship that didn’t work out. Female backing vocalists and lush sweeping strings add to the emotion and sadness of the track, while bursts of blazing horns add an element of drama, as guitars chime and quiver in sympathy with Bettye. Together, the combination of Bettye’s sad, yet gentle and beautiful vocal and Wayne Shuler’s arrangement and production combine to produce one of the album’s highlights.
Chained and Bound opens with burst of rasping horns punctuating the sound, before the rhythm section and guitars drive the track along, with Bettye’s powerful, but wary sounding voice sitting atop the arrangement. Guitars chime, while horns blaze and female backing vocalists subtly accompany Bettye. Meanwhile, Bettye feels trapped and chained by her possessive lover, but strangely, doesn’t mind because she loves him. When she sings this, she doesn’t sound certain, almost sounding defeated. Behind her, the arrangement rises and falls, with horns central to sound. They provide bursts of drama, sometimes dominating the arrangement, while guitars provide a contrast to the horns. When combined with Bettye’s sometimes weary sounding, but powerful vocal, the result is a song that fails to convince you that Bettye’s happy in her relationship.
Ain’t That Peculiar has a dramatic sound, when the track opens. It’s a combination of rasping horns, chiming guitars, piano and rhythm section that accompany Bettye’s vocal. It’s full of hurt and pain, as she sings about the man whose hurt, betrayed and left her alone. Meanwhile, short sharp bursts of piano, horns, rhythm section and guitars combine to produce a drama laden, backdrop for Bettye’s vocal. As the arrangement chugs along, backing vocalists cut in, their swooning, cooing voices combining perfectly with the horns to add drama, but sometimes, producing a sympathetic sounding accompaniment to Bettye’s emotive vocal. However, it’s the hurt and pain in Bettye’s voice that makes this such a powerful and emotive track.
Probably, by far, the best known track on the album is Stand By Your Man. Of all the versions I’ve ever heard, Candi Staton’s version is in my opinion, the definitive version. How will Bettye’s version compare to Candi’s? Straight away, the introduction is different, with bursts of blazing horns opening the track. The tempo is quicker, it swings along with Bettye’s strong, emotional and passionate voice delivering the lyrics beautifully. As usual, backing vocalists accompany Bettye, while a piano, blazing horns, rhythm section and guitars help the track swing, beautifully along. When compared with Candi’s definitive version, Bettye’s interpretation of the track is pretty good. She delivers the song with emotion and passion, against a swinging backdrop from producer Wayne Shuler.
Don’t You Ever Get Tired of Hurting Me closes with Willie and Laura Mae Jones. Searing guitars, blazing horns and the rhythm section open the track, before Bettye, accompanied by cooing, sweeping backing vocalists enters. The arrangement is faster, with a fuller arrangement, where braying horns, chiming guitars and the rhythm section provide a dramatic, blazing arrangement. Later, a piano is added to the arrangement, and its addition is just the finishing touch to what’s a powerful, emotive and great sounding track. Of all the tracks on the album, it seems Bettye has reserved a one of her best vocals for this track. She delivers the lyrics with a combination of emotion and power, resulting in another stunning track.
It’s sad to thing that Don’t You Ever Get Tired of Hurting Me was the final album Bettye Swann ever recorded. Although she recorded just three albums, they were three great albums. Some artists can record twenty or more albums, but never release one great album, never mind three. Although Bettye’s career didn’t end until she retired in 1980, these three albums were released between 1967 and 1969. After that, Bettye never released another album. To me that is a huge shame, as Bettye possessed a fantastic voice, and was a hugely talented singer. On Don’t You Ever Get Tired of Hurting Me she delivers each song with a combination of sadness, anger, heartache and happiness. Behind her were a great band, and some hugely soulful backing vocalists. WIth Wayne Shuler producing the album, the result was a great album, that deserved to do much better. Unfortunately, it never matched the success of its predecessor Soul View Now. Sadly, Bettye’s husband and manager George Barton died in 1980, after which Bettye retired from the music industry. She then worked in education in Las Vegas and became a Jehovah’s Witness. Nowadays, Bettye is sixty-seven years old, and in poor health. Apart from a $7,000 advance she received from Money Records, Bettye never made any money from music. That is sadly, a familiar story. Of the Bettye Swann albums available today, there are two really good compilations available. These are a compilation released by Kent Records in 2001, which features the music she recorded for Money Records, and a 2004 compilation by Honest Jons entitled Bettye Swann which featuring the music she recorded for Capitol Records. Both compilations will allow you to hear some fantastic soul music from Bettye Swann, one of the most underrated soul singers ever. Standout Tracks: You’re Up To Your Same Old Tricks Again, Traces, Stand By Your Man and Willie and Laura Mae Jones.
BETTYE SWANN-DON’T YOU GET TIRED OF HURTING ME.
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