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.
THE THREE DEGREES-3D.
THE THREE DEGREES-3D.
In previous articles I’ve reviewed the two albums The Three Degrees recorded for Philadelphia International Records, with Gamble and Huff. These albums The Three Degrees and International were both fantastic albums, with some great music on them. They were the most commercially successful albums of the The Three Degrees’ career and to me, featured the best music the recorded. Having left Philadelphia International, they signed a three album deal with Epic Records where sadly, commercial success eluded them. After leaving Epic, The Three Degrees signed with Ariola Records, where they worked with another influential and innovative producer, Giorgio Moroder.
The first album The Three Degrees recorded with Giorgio Moroder was New Dimensions, which was released in October 1978. When it was released, it wasn’t a huge commercial success, reaching just 169 in the US Billboard 200 and thirty-four in the UK. New Dimensions yielded three singles with Giving Up, Giving in reaching number thirty-nine in the US R&B Charts and number twelve in the UK. It was followed by Woman In Love which reached number twenty-seven in the US R&B Charts and number three in the UK. The final single released from New Dimensions was The Runner which failed to chart in the US, but reached number ten in the UK. Looking back at New Dimensions, it wasn’t a particularly successful album, but contained some good singles. Maybe the follow up 3D would prove more successful.
3D was recorded the following year, 1979, and saw Giorgio Moroder bring in Harold Faltermeyer to arrange and co-produce the album. Giorgio was too busy on other projects, and needed someone to help him on the album. Although Harold hadn’t produced an album before, and his career was just starting, he relished the opportunity to work with such a big group as The Three Degrees.One problem he’d never encountered before was working with a group who’d three lead vocalists. However, the group helped him out with this, as they were by now, experienced singers, well versed in the way of recording studios. After all, they’d learnt from the masters, Gamble and Huff. The addition of Harold slightly changed the Eurobeat sound, softening the music slightly. After the seven tracks were recorded, 3D was set for release.
When 3D was released in late 1979, the album wasn’t even as successful as its predecessor 3D, failing to chart in the US and only reaching number sixty-one in the UK. Two singles were released from 3D, Jump the Gun and My Simple Heart. Neither of the singles charted in the US, while Jump the Gun reached just forty-eight in the UK. My Simple Heart did much better, reaching number nine in the UK. This must have been disappointing for The Three Degrees. It was a long way from the success they’d enjoyed on Philadelphia International Records, when Gamble and Huff had helped transform them into huge stars worldwide. Now their career was being guided by Giorgio Moroder, one of the most innovative and influential producers of the disco era, they weren’t experiencing the same commercial success. Why was that? Had their conversion to fully fledged disco divas affected their popularity with their old fans, who didn’t like their new Eurodisco sound? In this review, I’ll examine their new sound, and how it differs from their Philadelphia International years.
The first track on 3D is Jump the Gun, one of the singles released from the album. It’s a fast synth dominated track, with a quick, pulsating drumbeats accompanied by bass and rocky guitars. When Valerie’s vocal enters, it’s powerful, fast and keeps pace with the slightly, hard edged Eurodisco sound. Like the arrangement, her voice develops a ballsy, harder edge sound, as synths, drums and soaring, screaming guitars dominate the sound. The guitars and rhythm section head of into a prolonged rocky solo, albeit one with a disco beat. Still, The Three Degrees’ vocals are good, as they unite as one. This is very different from the lovely, lush sweeping arrangements by Gamble and Huff, and it’s almost hard to believe this is the same group. Having said that, it isn’t a bad song, just a very different one to their previous work. Although it’s not up to their Philadelphia International music, it’s a good enough track, but with a slightly dated sound.
Red Light has a similar sound to the previous track, with soaring, searing rock guitars, synths, quick beats. However, it has the funkiest of bass line throughout the track which really lifts the track. After the introduction, when the sassy vocal enters accompanied by handclaps, things start to get better, with a great track unfolding. It sweeps and swirls along, with synths, drums and that funk drenched bass line. My only quibble is the overuse of rocky guitars. When the they give way to the drums, and united vocals, the track builds and builds, resulting in a catchy hook-laden track featuring a strutting vocal from The Three Degrees. This is a much better track than Jump the Gun, one that still sounds great, and would fill a dance-floor today.
When Set Me Free opens its a myriad of sweeping synths and drum beats that accompany Valerie’s high soaring, slightly dramatic vocal, as the group combine to sing sweet, soaring backing vocals. Straight away, this is a much better track than Jump the Gun. It doesn’t suffer from a proliferation of rocky guitars, instead sees the music move towards an electronic sound. Strangely, this works much better that either of the previous tracks. The Three Degrees’ vocals sit better on top of the electronic arrangement, rather than competing with searing, guitars that dominate the arrangement. This results in a much better track, one with a sound that’s aged well and features some great vocals from The Three Degrees.
After three quick tracks, Starlight sees the tempo drop slightly, with the introduction benefitting from a lovely, meandering, understated sound. Chiming guitars, the rhythm section and strings combine, before a burst of blazing horns sees the arrangement fill out and grow. A tender, quite beautiful vocal from Valerie is accompanied by bursts of drums and rasping horns, while the rest of the group sing some equally beautiful, tight, soaring backing vocals. By now, lush strings have swept in, accompanying the horns that occasionally punctuate the arrangement. This is the type of song that best suited The Three Degrees, one with a slower tempo and beautiful, lush sound, atop of which sat Valerie’s gorgeous, tender vocal. Of all the songs so far, this is by far, the best.
Having just said Starlight was the best track on the album so far, I’ll have to quickly revise that. My Simple Heart was definitely, the best song of The Three Degrees Giorgio Moroder years. Bells chime as the track opens, while the rhythm section and guitars combine before the tender, emotive, lead vocal enters. It’s easily the best vocal on the album, sung with emotion and love. This continues when the group unite, against the sweeping arrangement where bells, a funky bass, drums and synths are at the heart of the track. Not only is this the best song on the album, but it features the best lyrics. When combined with Harold’s arrangement the result is a stunning, track with hooks aplenty and a beautiful, catchy sound.
By now the album is on a roll, with the third great track in a row. It’s no surprise that Without You is another slower song, without the Eurodisco influence. A piano slowly plays, while strings briefly accompany it and a synth subtly cuts in. This gives way to the lead vocal, which is full of sadness, and even heartache. Just the piano and a prominent bass line accompany the vocal, before drums cut in at the perfect moment, adding to the emotion of the track. This is added to when the group sing some emotive, sad backing vocals. Synths escape from the arrangement, but thankfully neither overpower nor spoil this beautiful sounding track, which along with Starlight and My Simple Heart are by far, the album’s best tracks.
3D closes with a return to a similar Euro Disco sounding track that opened the album. Body Check is a frantically, fast track, with rocky guitars, bursts of horns, pulsating drums beats and funky bass opening the track. They accompany a breakneck lead vocal, which is delivered quickly, and sharply. The tempo seems far too fast, relentlessly so, with The Three Degrees delivering their vocals in short, sharp bursts. Against an arrangement that sees, horns blazing, strings sweeping, searing and rock guitars combine the fastest drumbeats on the album, you have to admire The Three Degrees for keeping up with the arrangement. It’s almost like a race, one that luckily for everyone involved, ends in draw. Having said all that, it isn’t a bad track, it’s catchy, sounds good, but would be much better without those rocky guitars. That spoils the track for me, and ends up giving the track a dated sound.
Having listened to 3D a number of times, it’s very much an album of two sides. Side one opens with Jump the Gun, which has a slightly dated sound, a bit like the closing track Bodycheck. Red Light is a good track, but would sound better without the rocky sound guitars. Things look up on Set Me Free, which sees the sound move to a more electronic sound. When side two begins, there are three great tracks back-to-back. These are Starlight, My Simple Heart and WIthout You. They’re much better than anything that preceded it. Maybe that’s because they had a much more traditional sound, and bring back memories of their Philadelphia International years. Of the seven tracks on the album, four are excellent, one good, but could be better and two sound dated. That’s the problem with many albums like this, they sound great when they’re released, but don’t stand the test of time. If you compare 3D with either The Three Degrees and International, the two albums The Three Degrees recorded for Philadelphia International, there is no comparison. Both of the Gamble and Huff produced albums are classics, and to me, are the best albums The Three Degrees released. The music on The Three Degrees and International is timeless, and has stood the test of time well. Gamble and Huff transformed The Three Degrees career, with their timeless sound, with swathes of strings, rasping horns and the best house band in America M.F.S.B. providing the soundtrack for their vocals. Like many artists, after they left Philadelphia International, their career never scaled the same heights, even with Giorgio Moroder and Harold Faltermeyer now guiding their career. Having said all that, the music The Three Degrees recorded with Giorgio Moroder, including 3D, was innovative and at the vanguard of European disco music back in 1979. If you’re either a fan of The Three Degrees or Giorgio Moroder then this album is one you’ll want to hear. However, if you’re a fan of the Gamble and Huff era Three Degrees, then this album is quite different, and may not be for you. You can now hear the album again, as it was released earlier this year by BBR Records. As well as the album, which sounds great, having been remastered, you get nine bonus tracks and in depth sleeve notes. Standout Tracks: Set Me Free, Starlight, My Simple Heart and WIthout You.
THE THREE DEGREES-3D.
SISTER SLEDGE-LOVE SOMEBODY TODAY.
SISTER SLEDGE-LOVE SOMEBODY TODAY.
Recently, I bought a copy of Niles Rodgers new autobiography Le Freak, which I’ve been working my way through. In the book, he talks about all the artists and groups he’s worked with. One of these groups, was Sister Sledge, who with Bernard Edwards they wrote, arranged and produced two albums. With Niles and Bernard guiding their careers, Sister Sledge were transformed from a struggling albeit talented group, to a group with a platinum album, We Are Family. I’ve previously reviewed that album some time ago, so will now review the second album Sister Sledge recorded with Niles and Bernard, Love Somebody Today.
After the huge success of We Are Family, which had been released in January 1979, and reached number three in the US Billboard 200 and number one in the US R&B Charts, the pressure was on to release a follow-up album. This would be a tough proposition, because We Are Family featured three great singles, We Are Family, He’s the Greatest Dancer and Lost In Music. Both We Are Family and He’s the Greatest Dancer had reached number one in the US R&B Singles Charts, so the pressure was on to come up with something equally brilliant. However, by 1980, when Love Somebody Today was recorded and released, the musical landscape in America was very different.
When Love Somebody Today was released, there had been a real anti-disco backlash in America. This was wasn’t pleasant to watch, when on 12 July 1979, Disco Demolition Night took place. A crate full of disco records was blown up on Comiskey Park, in Chicago, before a baseball game between Chicago White Sox and the Detroit Tigers. This was watched over by baying hordes of small minded people, and was the night when disco died. However, thankfully, disco was resurrected, made a come back. Sadly this was too late for Sister Sledge, whose album Love Somebody Today suffered from this anti-disco backlash.
Like its predecessor We Are Family, Sister Sledge’s fourth album Love Somebody Today had been written, arranged and produced by Niles Rodgers and Bernard Edwards. The album was recorded by the Sledge sisters Kim, Debbie, Joni and Kathy in 1980, and was full of eight musical gems written by Niles Rodgers and Bernard Edwards. When Love Somebody Today was released, it didn’t do as well as well as We Are Family, only reaching number thirty-one in the US Billboard 200 and number seven in the US R&B Charts. Three singles were released from the album, the first being Got To Love Somebody, which reached number sixty-four in the US Billboard 200 and number six in the US R&B Charts. Reach Your Peak didn’t do as well, only reaching number 101 in the US Billboard 100 and number twenty-one in the US R&B Charts. Let’s Go On Vacation was the last single released from the album, reaching just number sixty-three in the US R&B Charts. Although this was a long way from the success of We Are Family, it was very much a case of the wrong album at the wrong time. There was nothing wrong with the music, just musical tastes and fashions had changed, as a result of the small minded, anti-disco crusade. However, since then, people have realized that Love Somebody Today is a great album, featuring some fantastic music, which I’ll now tell you about.
Love Somebody Today opens with the most successful of the three singles released from the album, Got To Love Somebody. It’s a track that literally bursts joyously into life with Niles guitar chiming, while a driving rhythm section, blazing horns, piano and percussion complete the sound. After this fast, full and uptempo introduction, a powerful, yet joyful lead vocal enters, while the rest of the Sledge sisters provide backing vocals. Behind them, the interplay between Niles and Bernard is at the heart of the arrangement, while horns and the Chic Strings, are augmented by percussion. Later a saxophone solo drenches the hook-laden arrangement, which sweeps along, with that hugely, powerful joyous lead vocal soaring high above it. When this vocal is combined with Niles and Bernard’s luscious arrangement, the result is an outstanding track, which deserved to do much better than it did when it was released as a single.
You Fooled Around is another track that has a big, sweeping arrangement, with the lushest of strings, piano, chiming, shimmering guitars and rhythm section opening the track. Subtle, clever chord changes on piano and guitar are apparent straight away, and help give the song its emotive sound. When the lead vocal enters, it’s a much more gentle, full of sadness and regret, having discovered her boyfriend has been playing around. The rest of the sisters, sing backing vocals, their voices reflecting the heartbreak and sadness. Behind them, swathes of swirling, sweeping strings are at the heart of the emotive arrangement, while a piano adds to the melancholy sound, which envelops the vocal. Like the opening track, the tempo is quicker, the sound fuller, this time with strings playing an important part in the arrangement, while the Sledge sisters deliver some lovely, emotive, melancholy vocals.
The style and sound changes on I’m A Good Girl, a piano lead track which has a much more understated arrangement. It’s just a piano and gentle rhythm that accompany a tender lead vocal, before Niles’ quicker guitar playing enters shimmering and quivering. This quickly drops back out, leaving a lovely piano and vocal combination to take centre-stage. Midway through the track, it takes a brief funky turn, with the arrangement and vocal quickening up, with even a jazzy sound apparent. However, mostly the song has a lovely subtle piano lead arrangement, perfect for the gorgeous vocal.
Easy Street sees Sister Sledge combine to accompany a an arrangement that sees chiming guitars and the rhythm section dominate the sound. Layers of guitars accompany the sisters, reverberating while Bernard’s bass line is fast and funky, Tony Thompson’s drums provide the track’s heartbeat and keyboards augment the sound. Meanwhile, Sister Sledge’s vocals unite to produce a tight joyous sound, their voices complimenting each other perfectly. When combined with a catchy, melodic arrangement, that although isn’t as full as the first two songs, is just as good, the result is a catchy, hooky track, that’s a good way to end side one of Love Somebody Today.
Side two of Love Somebody Today opens with Reach Your Peak, a driving track, delivered in short, sharp bursts by Sister Sledge. It’s a quite different arrangement, with a driving sound, Niles, Bernard and Tony driving the track along, guitar and bass and drums. Keyboards, dramatic swirling strings and braying horns all contribute to making this a fuller, funk drenched arrangement when the soaring, united vocal of Sister Sledge drop out. The result is a quite different sounding track, with choppy uplifting vocals accompanied by an arrangement that’s not short of funk.
Pretty Baby has much in common with the first two tracks on the album. It has a bigger, sweeping sound, thanks to an arrangement that opens with Niles’ chiming guitar accompanied by piano and the rhythm section who drive the catchy, sweeping arrangement along. Atop the arrangement sits Sister Sledge’s high, soaring vocals accompanied by handclaps and an arrangement dominated by interplay between the guitars, rhythm section and piano which constantly punctuates the arrangement, with one chord played continuously. There’s a similar abrupt, sharp, choppy delivery of the vocals like on the preceding track. This works however, adding a dynamic and dramatic sound to the vocal, which fits well with the dramatic sound of the arrangement, caused by the interplay between guitar, rhythm section and piano.
It’s a slow, lush sound that opens How To Love. Layers of strings over-layed with effects, combine with a piano and the rhythm section before the lead vocal enters. It too, is slow, thoughtful and delivered with feeling against the piano and string lead arrangement. Niles’ guitar chimes gently, combining well with the piano. Nothing is allowed to overpower the vocal, which is full of sadness and emotion, as she sings about now knowing how to love. Behind her, the strings sweep slowly, their sound full of sadness and emotion. This sadness is reflected in the piano which combines perfectly with the strings and vocal. The effect is quite beautiful, resulting a stunning love song with a lush, sad sound.
Love Somebody Today closes with Let’s Go On Vacation which can also be found on the Chic soundtrack album Soup For One. This is the perfect song to end the album. It’s a joyous, uptempo track that sweeps beautifully along, featuring some joyful vocals from the four Sledge sisters. Against a backdrop of the lushest, sweeping strings, chiming guitars, keyboards and funky rhythm section, Sister Sledge take you on musical journey, that takes in California and Philadelphia. It’s a track that’s so catchy it’s absolutely dripping in hooks. Not only that, but it’s uptempo, good-time sound is guaranteed to make you want to dance and put a smile on your face. What a fantastic way to end the album, and why it wasn’t a much bigger hit than number sixty-three in the US R&B Charts is beyond me.
Although Love Somebody Today didn’t have the big hits of their previous album We Are Family, it’s still a really great album. The eight songs on the album feature a mixture of joyous, emotive and sad songs with vocals to match. Niles Rodgers and Bernard Edwards produced some brilliant arrangements to compliment these vocals. On the album they unleashed The Chic Strings, a proliferation of horns and of course Niles’ stunning guitar work and Bernard’s brilliant bass playing. Not only did they play on the album, but the wrote, arranged and produced Love Somebody Today. They brought out the very best in Sister Sledge, transforming their careers, and turning them into a hugely successful platinum selling group. Unfortunately, Love Somebody Today was released just as the anti-disco backlash gathered pace, and music like Sister Sledge’s and indeed Chic’s, was no longer as popular. This was a great shame, as otherwise great albums, including Love Somebody Today were cast aside, and ignored by the wider record buying public. As usual, the many followed the few with the loudest voices, who said disco sucked. They were wrong, and were nothing more than insecure, small minded, people with loud voices, but not the intelligence to match. Over thirty years later, disco is still a thriving musical genre, loved by many people, including new generations of music lovers. They’ve grown to love the music of Sister Sledge and Chic, including a number of hugely underrated albums, including Love Somebody Today. So, do yourself a favor, and go on a musical vacation with Sister Sledge through their 1980 album Love Somebody Today. Standout Tracks: Got To Love Somebody, Easy Street, Pretty Baby and Let’s Go On Vacation.
SISTER SLEDGE-LOVE SOMEBODY TODAY.
DENIECE WILLIAMS-MY MELODY.
DENIECE WILLIAMS-MY MELODY.
By the time Deniece Williams released her fifth album My Melody in March 1981, she’d already had two of her albums certified Gold in America. When her debut album This Is Niecy was released in August 1976, it reached number thirty-three in the US Billboard 200 and number three in the US R&B Charts, resulting in the album being certified gold. One of the songs on This Is Niecy, was Free, a track that will forever be synonymous with Deniece Williams. It reached number twenty-five in the US Billboard 100, number two in the US R&B Charts and number one in the UK. The album had been co-produced by Maurice White, the founder of Earth, Wind and Fire and Charles Stepney who previously, had produced Terry Callier, Marlena Shaw, Muddy Waters and Howlin’ Wolf. Maurice White co-produced Deniece’s second album Song Bird, while David Foster co-produced her third and fourth albums That’s What Friends Are For and When Love Comes Calling. For My Melody, a new producer was enlisted, Thom Bell, who previously, had produced The Detroit Spinners, The Stylistics, The Delfonics and many more artists for Philadelphia International Records. This new partnership would result in a hugely successful, and critically acclaimed album My Melody.
Now that the Deniece Williams and Thom Bell partnership had been established they headed east, to the City of Brotherly Love, Philadelphia, and the Sigma Sound Studios, where so many legendary singles and albums had been recorded. Among the groups that had recorded there, were The O’Jays, Harold Melvin and The Blue Notes, The Three Degrees and Teddy Penderass. Of the eight songs on My Melody, Deniece Williams and Thom Bell cowrote them, including two of the singles It’s Your Conscience and What Two Can Do. Deniece joined Thom in the producing the album, with My Melody the first album she co-produced during her career so far. Joining Deniece and Thom, was Don Renaldo, who has hugely experienced string played. He took charge of the string and horn sections for My Melody. Another familiar face was guitarist Bobby Eli. Not only had he played, arranged and produced numerous artists, but had written songs for some of the biggest artists in music. Among the artists he worked with were The Temptations, Wilson Pickett and BB King, to Rose Royce, Luther Vandross and Sister Sledge, as well as nearly every major hit on Philadelphia International. With personnel like this joining the recording sessions, things were looking good for Deniece Williams.
Having recorded the eight songs that feature on My Melody, the album was released on Columbia/ARC in March 1981. My Melody reached number seventy-four in the US Billboard 200 and number thirteen in the US R&B Charts. Quickly, the album was certified gold, having sold over 500,000 copies in America. Three singles were released from My Melody during 1981. The first of these were It’s Your Conscience, which reached number forty-five in the US R&B Charts. Silly was the second single released, and reached number fifty-three in the US Billboard 100 and number eleven in the US R&B Charts. Of the three singles, It’s Gonna Take A Miracle was the most successful, reaching number ten in he US Billboard 100 and number one in the US R&B Charts. This was Deniece’s first solo number one US R&B single, because her previous number one was a duet with Johnny Mathis, Too Much, Too Little, Too Late. Overall, the Deniece Williams and Thom Bell partnership had proved to be hugely successful. After all, the partnership had resulted in a critically acclaimed album, one that had just been certified gold, and featured a number one US R&B single. Following this, Deniece and Thom renewed their partnership the following year 1982, with Deniece’s sixth album Niecy being released in March 1982. Now that I’ve told you about the background to My Melody, I’ll tell you what it sounds like.
My Melody opens with the title track My Melody, a track penned by Deniece and Thom Bell. Straight away, the track has a lovely sound and sentiment, with keyboards, lush strings and a subtle rhythm section combining before a joyous sounding, soaring vocal from Denise enters. Behind her, swathes of sumptuous music reveals itself, the arrangement growing, with strings sweeping along, while keyboards, guitars and the rhythm section are key to the track’s success andbeauty. Meanwhile, gentle, subtle backing vocalists accompany Deniece’s beautiful vocal, which straddles several octaves as she emotively delivers the lyrics. When Deniece’s vocal is combined with Thom Bell’s lush arrangement, the result is a gorgeous track.
It’s Your Conscience was the first single released from My Melody, giving Deniece a number forty-five US R&B hit single. It’s quite different from the opening track, with a somewhat dramatic introduction where percussion, the rhythm section, horns and then the lushest of strings combine. After this extended dramatic arrangement, Deniece’s vocal is powerful, and accompanied by loud, rumbling drums. As the song progresses, the arrangement just keeps getting better. Layer upon layer of strings dominate the arrangement, while a flute floats above it and bursts of horns punctuate the track. Still drums dramatically rumble, as Deniece’s vocal grows in power and emotion, building and building as the songs heads to its dramatic conclusion. What makes this such a great track, is the way both Deniece’s vocal and the arrangement build, growing in power and drama. Thom Bell’s use of strings and drums is a masterstroke, with the strings adding an emotive sound and the drums drama. They provide the perfect musical backdrop the for Deniece’s vocal.
The second single from My Melody was Silly, which reached number fifty-three in the US Billboard 100 and number eleven in the US R&B Charts. It features a really high vocal from Deniece. You feel she starts singing so high that, she’s got nowhere to go but down. This eventually happens, but only after a couple of minutes, during which she’s given a heartfelt vocal, about how silly she’s been to think that this guy was the right one for her. There’s a sense of sadness and regret in her voice, while the arrangement is much more understated, almost sparse, but still occasionally dramatic. The tempo is slow, with twinkling keyboards accompanying Deniece, before brief bursts of drama from the rhythm section and horns punctuate the track. Later, strings enter, their sound emotive and sad, while horns gently rasp. By now the arrangement gets fuller, combining slow, lush strings with occasional dramatic punctuations from the horns and drums. When this is combined with Deniece’s heartfelt vocal the result is a track that’s both full of sadness and regret, but beautiful and dramatic.
Strangers was the final song on side one of My Melody an epic track lasting nearly six and a half minutes. It opens with swirling strings, keyboards and a rhythm section that’s both punchy and dramatic. They match the hugely powerful, high soaring vocal from Deniece. This demonstrates her multi-octave voice perfectly. When her vocal settles, it’s a combination of emotion, drama and sadness, as she regrets the ending of her relationship. Behind her, the arrangement is sympathetic, with grand, swirling strings, keyboards, chiming, shimmering guitars and the rhythm section adding bursts of drama. Backing vocalists unite subtly, providing a contrast to the power and emotion of Deniece’s vocal. By the end of the track, Deniece has produced one of her most emotive and powerful vocals, reflecting the sadness and regret in the song’s lyrics Thom Bell’s arrangement.
Side two of My Melody opens with What Two Can, the final single released from the album, reaching number seventteen in the US R&B Charts. It’s another track penned by Deniece and Thom Bell. It has an intriguing introduction, with percussion and what sounds like a vocoder producing a funky sound. This gives way to a bigger, fuller sound, with the rhythm section and horns punctuating the arrangement dramatically. When Deniece’s soft, thoughtful vocal enters, swathes of beautiful strings accompany her, while backing vocalists accompany her. As the track progresses, strings swirl, horns rasp and the rhythm section are key to the success of the track. Together, they produce a catchy, hook laden backdrop for a beautiful, joyful vocal from Deniece.
You’re All That Matters is a slow track, with a lovely, lush, sweeping arrangement. Deniece gives an emotive and heartfelt performance, against an arrangement that meanders along, gradually revealing its beauty. Again, strings play an important part in Thom Bell’s arrangement, and are augmented by keyboards, backing vocalists and a thoughtful rhythm section. However, it’s Deniece that steals the show, delivering the lyrics with a combination of heartfelt emotion and passion, singing that as long as she has her partner in her life, nothing else matters. The sweeping, string drenched, arrangement is perfect for her vocal reflecting the beauty and emotion of the song’s lyrics.
The only track on My Melody that doesn’t work for me is Suspicious. From the drama drenched chugging introduction where horns punctuate the track, before the strings sweep in, the track neither appeals to me nor works. Even when Deniece’s vocal enters, it has a similar jumpy style, sung against the chugging arrangement. Suspicious has an underlying Caribbean style and sounds, with the rhythm section and percussion providing that. Even the addition of Thom Bell’s trademark lush strings, doesn’t lift the track to the next level. Instead, it’s a sadly disappointing, average track. That’s a shame as the lyrics deserved a better fate.
My Melody closes with Sweet Surrender, a much better track than the previous one. It’s a track that’s slow, lush and very gradually reveals itself to you. Before that, it teases you, making you wonder what direction the song is heading. A gentle combination of keyboards, harp and slow swirling, shimmering string open the track. This is a lovely combination, one that teases you, and is made all the better when Deniece’s high soaring vocal enters. Like the arrangement, it’s slow, and she scats, against the lush arrangement, then sings who grateful and happy she is to have found the man she’s being looking for. Strings quiver and shiver, while melodic keyboards compliment, before the strings grandly swirl, accompanying Deniece’s vocal to the song’s end. As the song ends, you feel satisfied and grateful for being lucky enough to hear such a sumptuous and lush track, but like all good things, would love to hear more.
Years ago, when I first bought this album on vinyl, I wasn’t a huge fan of Deniece Williams music. I’d enjoyed the first two albums This Is Niecy and Songbird which Maurice White co-produced. After that, I took a break from her music, when she released That’s What Friends Are For with Johnny Mathis. Then when I heard Thom Bell had produced My Melody, I realized that this would be something special. I wasn’t disappointed, with Thom transforming Deniece’s music into lush soundscapes, where swathes of the lushest strings enveloped her voice. The result was a quite beautiful album full of some great songs. Apart from Suspicious, the other seven songs are of the highest quality, and feature some beautiful vocals from Deniece Williams and exquisite arrangements from Thom Bell. My Melody was the fruits of the Deniece Williams and Thom Bell partnership, which yielded another album Niecy, in 1982. Thankfully, My Melody was rereleased and remastered earlier in 2011 by BBR Records. They’ve done a marvelous job in remastering the album which sounds delicious. Not only that, but the album features the single versions of It’s Your Conscience and Silly, as well as in-depth sleeve notes. So, should you wish to replace your trusty vinyl copy of My Melody, this is the perfect opportunity. It’ll allow you to hear a great album from Deniece Williams, ably assisted by Thom Bell and some of Philadelphia’s finest musicians. Standout Tracks: My Melody, Silly, Strangers and Sweet Surrender.
DENIECE WILLIAMS-MY MELODY.
THE DETROIT SPINNERS-SPINNERS.
THE DETROIT SPINNERS-SPINNERS.
Whenever I buy, or I’m about to buy an album, I always check the album sleeve-notes to see who played, arranged or produced an album. Sometimes, this indicates the quality of an album. When you look at the credits for The Spinners’ first album for Atlantic Records, entitled Spinners, the personnel on the album reads like a who’s who of music. Joining The Detroit Spinners, who were Billy Henderson, Bobby Smith, Phillipe Wynne, Henry Farmbrough and Pervis Jackson were the three members of the M.F.S.B. rhythm section drummer Earl Young, bassist Ronnie Baker and guitarist Norman Harris. They were joined by the founding member of M.F.S.B Bobby Eli, the group’s lead guitarist and Vince Montana who played vibes and the marimbas. Producing the album was Thom Bell, who also played the piano on Spinners. Other personnel included Jack Faith, an arranger and producer at Philadlphia International Records, who played alto saxophone and flute and Linda Creed who sang backing vocals. Later, Linda would work with Thom Bell, producing numerous artists, including The Detroit Spinners, The Stylistics and Teddy Pendergrass. As you can see, this was the creme de la creme of the Philadelphia music scene that gathered at the Sigma Sound Studios in Philadelphia to record the ten songs for The Detroit Spinners third album, Spinners.
Once Spinners was recorded, it was released in April of 1973, reaching number fourteen in the US Billboard 200 and number one in the US R&B Charts. Having sold over 500,000 copies, the album was certified gold. This was the first of five consecutive album released by The Spinners that would be certified gold. It was also the first of thirteen consecutive albums The Spinners released on Atlantic that entered the US Billboard 200. As if having such a successful debut album for their new label, Spinners featured five singles of which three would reach number one in the US R&B Charts.
The first single released was in 1972, and was How Could I Let You Get Away WIth It, which reached number seventy-seven in the US Billboard 100 and fourteen in the US R&B Charts. I’ll Be Around was the second single, and the first in a trio of consecutive US R&B number ones. It also reached number three in the US Billboard 100. Could It Be That I’m Falling In Love was the last single released in 1972, and reached number four in the US Billboard 100. Of the two singles released in 1973, One of A Kind (Love Affair) reached number eleven in the US Billboard 100. Later in 1973, Ghetto Child reached number twenty-nine in the US Billboard 100 and four in the US R&B Charts. With five successful singles, and a number one US R&B album, behind them, The Detroit Spinners move to Atlantic had been a huge success, transforming their careers. However, what made Spinners such a hugely successful, album and what did it sound like? That’s what I’ll now tell you.
Spinners opens with Just Can’t Get You Out of My Mind and has a trademark Philly sound with lush, swirling strings, and the brillinat Baker, Harris, Young rhythm section combining with rasping horns before the heartfelt lead vocal enters, singing about how he can’t get his ex-girlfriend out of his mind. Meanwhile, the rest of the group contribute sweet, tight harmonies, accompanied by chiming guitars, sweeping strings and rasping horns. Together, this beautiful combination combines perfectly with the sadness and heartbreak of the lead vocal, resulting in a great song, with a contemporary, timeless sound.
Just You and Me Baby has a slow, dramatic opening, with blazing horns, a slow drama laden rhythm section, percussion and chiming guitars, before a soft, thoughtful lead vocal enters. It’s accompanied by harmonies from the other four Spinners, while the arrangement has a much more understated, sound, as it meanders along. Slow, strings enter, their sound gentle, as the sweep in the background. This is perfect for the tender lyrics, about being with the one you love. The strings combine with the horns and rhythm section to punctuate the arrangement with occasional burst of drama, which highlight parts of the song. Mostly, however, the songs has a lush, understated sound, thanks to arranger and producer Thom Bell. His arrangement and production results in a tender, quite beautiful sounding song.
It’s a real old fashioned jazzy, big band sound that opens Don’t Let the Green Grass Fool You. Blazing horns, a standup bass and gentle jazzy drums accompany a lead vocal that swings along. The rest of The Spinners combine gentle, cooing harmonies, while horns rasp and M.F.S.B. are transformed into a tight little jazz band. They do this brilliantly, with drummer Earl Young and bassist Ronnie Baker seemingly relishing this new role. Meanwhile, The Spinners are swinging too, giving a similar sumptuous, jazz drenched, performance that’s absolutely irresistible.
A piano slowly plays, while guitars chime, strings sweep in and horns gently, rasp as I Could Never Repay (Your Love) begins. They give way to a gentle, considered vocal while the piano and careful, rhythm section accompany it. This works well, allowing you to focus totally on the vocal, and the beauty of the lyrics, how he’ll never, ever be able to repay the love she’s shown to him. As if the arrangement is good enough, Thom Bell decides to add some deliciously lush strings. Together with the piano they provide the perfect backdrop for an emotive and passionate vocal. Later, a wailing, atmospheric Hammond organ enters, while the other Spinners provide dramatic backing vocals. Over seven minutes, this epic song gets even better, the sound developing and a lush, dramatic and hugely emotive gradually reveals itself.
On the final song on side one of Spinners, I’ll Be Around, Bobby Smith takes the lead vocal, pledging his loyalty to his girlfriend whose left him again, for another man. Still he hopes she’ll return to him. This he does against a mid-tempo arrangement, which has a lovely smooth sound, where chiming guitars play an important part in the sound, while percussion, the rhythm section, organ, rasping horns and sweeping strings all play their part in the success of the song. Female backing vocalists that include Linda Creed, Barbara Ingram, Carla Benson and Yvette Benton punctuate the track, providing a soulful, contrast to Bobby’s hopeful vocal. Together, Bobby’s vocal and Thom Bell’s arrangement and production combine to create one of the album’s best tracks. No wonder this track reached number one in the US R&B Charts, with such a great sound.
Side two of Spinners opens with One Of A Kind (Love Affair), another track that gave The Detroit Spinners a US R&B number one single. Here, the lead vocal is shared by Bobbie Smith and Phillipe Wynne. When the single was released it caused controversy, because there was confusion and debate whether it featured a profanity. This lead to the song being edited, to end this confusion. Regardless of this, it’s still an fantastic song, opening with Earl Young’s brilliant slow, dramatic drumming, which gives way to chiming guitars, keyboards and swirling strings. It’s only then the lead vocal enters, all the time with Earl Young’s dynamic and energetic drumming punctuating the track. There’s a sadness in the vocals, caused by a girlfriend whose left her boyfriend. Adding to the sense of sadness is a combination of swirling, sweeping strings and piano. Their addition combined with the vocals is a masterstroke, that succeeds in tugging at your heartstrings, and brings out a feeling of sadness and empathy. The same goes for the rest of the track. Throughout the track it’s a combination of a beautiful arrangement and vocals that evokes a sense of sadness and empathy in the listener. That a song can manage this is testament to The Detroit Spinners and producer Thom Bell.
A searing guitar, piano, and dramatic rhythm section combine, before the group sing backing vocals, giving way to the sad and thoughtful lead vocal as We Belong Together opens. Bursts of rasping horns, reverberating guitars and lush, swirling strings provide the backdrop for the heartfelt vocal. He pleads to start their love affair again, so it’ll be like it was before. We belong together he implores, as drums and strings punctuate the arrangement, adding a sense of sadness and drama. Meanwhile, the rest of the group contribute gentle backing vocals. Together, the arrangement, backing vocals and the lead vocal combine to make a track laden in sadness and drama, but one that’s quite beautiful.
My favorite track on Spinners is Ghetto Child, which has a faster, fuller and dramatic opening. A combination of lush, sweeping strings, rasping horns, chiming guitars and a powerful rhythm section open the track, before the lead vocal enters. Quickly, the lead vocal changes hands, with each vocalist contributing a mixture of emotion and passion as they deliver Thom Bell and Linda Creed’s lyrics. Meanwhile, the lushest of swirling, sweeping strings, blazing horns and Earl Young’s dynamic yet thoughtful drumming all play important parts in the success of track’s sound. They all provide a gorgeous sounding backdrop for the vocals, which are equally good, drenched in drama and emotion. Add to this Thom Bell’s arrangement and production and the result is an outstanding track, one that I’ll never, ever tire of hearing.
How Could I Ever Let You Get Away is something many people must have wondered at one time in their lives. There will be many people you go through life wishing they’d never let the woman that was the one for them slip away. If you’re one of these people, you’ll think The Detroit Spinners are singing this to you. A slow combination of Earl Young’s drums, quivering, shivering strings, chiming guitars, percussion and rasping horns combine before the vocal enters. It’s full of sadness and regret, at the woman he let slip away. A Hammond organ enters, adding to the sense of sadness, while guitars chime, strings sweep and horns blaze. Meanwhile the group contribute soaring, emotive backing vocals, as the arrangement just gets better and better. By the end of this thoughtful, emotive track, you wonder why, wishing you could turn the clock back, and wonder how different things would’ve been?
Spinners closes with the original version of Could It Be I’m Falling In Love, a song that was covered by David Grant and Jaki Graham in 1985. However, their version is a pale imitation of the original. Again, Bobbie Smith and Phillipe Wynne share the lead vocal on the track. Lush, sweeping strings, blazing horns, the rhythm section and chiming, shimmering guitars combine before the vocal enters. When Bobbie and Phillipe sing lead vocal, female backing vocalists accompany them, while grand strings swirl and sweep and the Baker, Harris, Young rhythm section demonstrate why they were the tightest, hottest rhythm section of the time. Later, horns bray, drenching the arrangement with their sound, while the lead and backing vocals similarly soar. When all of these things are combined, and Thom Bell sprinkles some of his magic all over it, the result is a fantastic track, and an uplifting and joyous way to end the album.
Like I said at the start of this article, what was Philadelphia music royalty contributed towards making the The Detroit Spinners first album for Atlantic Records a huge commercial success. With Earl Young, Ronnie Baker and Norman Harris providing the rhythm section and other members of M.F.S.B. like Bobby Eli and Vince Montana both playing on the album, The Detroit Spinners had some of the most successful and most talented musicians in Philadelphia backing them Add to this Thom Bell, who arranged and produced Spinners, who produced ten songs that are a brilliant combination of lush and gritty. Swathes of the lushest strings, a proliferation rasping, blazing horns and in M.F.S.B. the greatest house band in Philadelphia. Together, these talented musicians and producer provided the backdrop for the five Detroit Spinners Billy Henderson, Bobby Smith, Phillipe Wynne, Henry Farmbrough and Pervis Jackson, who were transformed from Motown also rans to superstars on Atlantic Records. This was just the start in a run of thirteen consecutive albums on Atlantic that entered the US Billboard 200. On Spinners, The Detroit Spinners sang beautifully and brilliantly on ten songs, many of which were love songs. Regardless of whether it was love lost, love gone wrong or falling in love, the five Detroit Spinners excelled themselves, giving a glimpse of what would come in years to come. Spinners was just chapter one in the long and successful story of The Detroit Spinners, one of the biggest, most successful and soulful groups in America during the seventies. Standout Tracks: Just Can’t Get You Out of My Mind, Don’t Let the Green Grass Fool You, Ghetto Child and How Could I Ever Let You Get Away.
THE DETROIT SPINNERS-SPINNERS.
LEON HAYWOOD-COME AND GET YOURSELF SOME.
LEON HAYWOOD-COME AND GET YOURSELF SOME.
Back in 2000 when I was listening to a BBE Records compilation Strange Games and Funky Things III, compiled by Kenny Dope, I first heard what’s probably Leon Haywood’s best known track, I Wanna Do Something Freaky To You. It’s one of these compelling and catchy tracks that once you’ve heard it, you can’t get it out of your head. Play it to anyone and they too, will be smitten by its hooks and infectiousness. After I’d heard that track, I tried to get a copy of Come and Get Yourself Some, the album I Want’a Do Something Freaky To You was taken from. However, back then, the album wasn’t available and Leon’s music was quite hard to come by. Fast forward to earlier this year, and I noticed that at last, Come and Get Yourself Some had been rereleased by the Get On Down label. This allowed me to at last, hear Come and Get Yourself Some, the album that spawned the wonderful I Wanna Do Something Freaky To You.
By the time Leon Haywood released Come and Get Yourself Some in 1975, he’d been a singer, songwriter, arranger and producer since the early sixties, releasing four previous albums. He was an talented keyboard player who first learned to play piano aged three, back in Houston, Texas where he’d born in 1942. When he was a teenager, he’d been a talented blues player, first playing with local bands, then with the blues legend Guitar Slim. Having moved to Los Angeles in the early sixties, he first played with saxophonist Big Jay McNeely, who helped him record his debut single WIthout A Love, an instrumental on the Swingin’ label. Leon’s next big break came when he landed the role as keyboard player in Sam Cooke’s band, a role he kept until Sam Cooke’s tragic death. Following the death of Sam Cooke, Leon signed to Fantasy Records, where he recorded two singles, and a subsequent two singles for Imperial Records, including She’s With Her Other Love, which reached number thirteen in the US R&B Charts in 1965 and number ninety-two in the US Billboard 100. The following year, 1966, Leon recorded his debut album, Soul Cargo on the Fat Fish label. It didn’t achieve any commercial success, but the following year 1968, would see Leon release another successful single.
It’s Got To Be Mellow was released as a single in 1967 on Decca Records. It reached number twenty-one in the US R&B Charts and sixty-three in the US Billboard 100. 1968 was a good year for Leon. Not only did he release his second album It’s Got To Be Mellow, but his single Mellow Moonlight reached number thirty-five in the US R&B Charts and ninety-two in the US Billboard 100. The next few years were a fallow period for Leon as a solo artist, until he decided to change his musical style.
Having spotted the success of funk and disco, he decided to incorporate these musical genres into his music. A trio of albums were released on the 20th Century label, Back To Stay in 1973, Keep It In the Family in 1974 and then the most successful of the trio, Come and Get Yourself Some. On Come and Get Yourself Some, Leon was joined by a talented group of musicians, including Ray Parker Jr, Wilton Felder and Larry Nash. With Gene Page helping with some of the arrangements, including the strings, some horns and rhythm section, all bode well for the release of what was his fifth album. However, it wasn’t the album Come and Get Yourself Some that provided Leon with the biggest hit of his career, but one of the three singles released from the album.
The first single released from Come and Get Yourself Some was the title track, Come and Get Yourself Some. It reached number nineteen in the US R&B Charts and number eighty-three in the US Billboard 100. That was just a mere warm-up, before the main event, the second single I Want’a Do Something Freaky To You. When it was released it surpassed everything Leon had previously released, reaching number seven in the US R&B Charts and number fifteen in the US Billboard 100. Buoyed by this success, another singles was released. However it didn’t match the success of its predecessor, with Just Your Fool only reaching number twenty-six in the US R&B Charts and number 102 in the US Billboard 100. Having achieved the biggest single of his career so far, and a highly regarded album in Come and Get Yourself Some, Leon changed label for his next album Intimate.
Intimate was released in 1976, and featured another successful US R&B single for Leon. This was Strokin’ (Pt. II), which reached number thirteen in the US R&B Charts and number 101 in the US Billboard 100. Having changed labels again for his next album, Leon released two albums for MCA, Double My Pleasure in 1978 and Energy in 1979. The next album Leon released was Naturally on 20th Century, and it featured his biggest US R&B single, Don’t Push It, Don’t Force in which reached number two in the US R&B Charts, and forty-nine in the US Billboard 100. After, Naturally, Leon only released two further albums. It’s Me Again, is a highly regarded boogie album on the Casablanca label and his final album Freaky Man on his own Evejim Records label, which Leon named after his parents. So in a career of nearly forty years, Leon Haywood released just eleven albums. However, quality is more important than quantity, and the best album he ever released was Come and Get Yourself Some, which I’ll now tell you about.
Come and Get Yourself Some opens with the title track, Come and Get Yourself Some. It’s a intriguing and funky combination of instruments that opens the track, with a funky drenched rhythm section and guitars accompanied by a flute. This gives way to Leon’s vocal, after which the lushest of strings enter. His voice grows stronger as the infectious arrangement sweeps along, with strings dominating the sound, while rasping horns punctuate the arrangement. Later, steel drums played Vince Charles join the mix, but they slightly clash with the rest of the arrangement, and don’t sit comfortably. Thankfully, they quickly drop out, replaced by bursts of horns, but briefly return, before the track ends. Apart from the jarring sound of the steel drums, this is a great sounding track, lifted by the addition of strings and horns, accompanying pleading, passionate vocal.
A lovely wailing, rasping saxophone opens This Feeling Rated Extra, which straight away, sounds a much better, smoother sounding track. Leon’s sensuous voice is enveloped by slow, lush strings, gently rasping horns, chiming guitars and a slow, rhythm section. They accompany Leon’s desperate, pleas as he longs for the love of a very special woman he’s fallen for. A combination of sultry saxophone solos, shimmering guitars and the sweetest, lushest string provide the perfect accompaniment for one of Leon’s best vocals on the album. Not only that, but it’s one of the best tracks on the album, a sultry, sensuous and beautiful track.
Probably the best know track on the album is I Want’a Do Something Freaky To You, a track that was sampled by Dr Dre on two of his singles, Nuthin’ But A G Thang and The Wash. Dr Dre wasn’t the only artist to sample the track. Redman sampled the track on Rockfella, from his Dare Iz A Darkside album, and Maria Carey on You Had Your Chance, a track from her Charmbracelet album. The track is an epic, lasting nearly six minutes, opening slowly with the rhythm section, wah-wah guitars and horns accompanied by a myriad of faux erotic moans and groans. After a prolonged introduction, a slow, somewhat dramatic vocal from Leon enters, accompanied by grand, drama laden, sweeping strings which dominate the arrangement. Blazing horns, soaring, screaming rocky guitars and the rhythm section are accompanied by further, constant moans and groans. As the song progresses, it develops a melodramatic, overblown sound that works wonderfully. Layer upon layer of music builds and builds, with the strings and horns key to the track’s success. Add to that Leon’s dramatic and punchy vocal, some comedic, faux erotica and the result is a marvelously, overblown nearly grandiose track that sounds great.
As Who You Been Giving It Up To opens it has a fantastically funky sound, with the rhythm section, guitars, piano and blazing horns responsible for this. The accompany Leon’s angry vocal as he ask who has his partner been cheating with? His vocal soars, howling and wailing, accompanied by braying horns and a punchy, funky, rhythm section and guitars. However, just as you’re really getting into the swing of this catchy slice of funk, it’s all over, ending far too soon. It’s just a pity the track wasn’t longer, allowing the track to develop and turn it into something even better.
Sometimes, it only takes a few bars of a song to realize that a great track is about to reveal itself. This is the case with You Need A Friend A Like Mine, which features one of the best arrangements on the album. A driving rhythm section, piano and blazing horns accompany gospel influenced backing vocalists, before Leon’s powerful vocal enters. As he sings, the gospel tinged hues of the backing vocalists cut in, their voices soaring brilliantly, accompanied by horns and a Hammond organ. Chiming guitars, and a dramatic stabs of piano help to make this an outstanding track, one that swings majestically along, its beautiful sound uplifting and hook laden.
By now the album seems to just get better, with another great track following You Need A Friend A Like Mine. Consider the Source has a slow, jazzy sound, with a gentle, tinkling piano, shivering, shimmering strings and swooning, soulful backing vocalists accompanying Leon’s heartfelt vocal. He pleads with his partner not to listen to the people that want to split them up, asking her to consider the source of this whispering campaign. Rasping horns add an emotive, sad sound to the arrangement, combining perfectly with the piano and strings, to provide the perfect backdrop for Leon’s desperate pleas, on this gorgeous, jazzy track.
When Just Your Fool opens, it’s a emotional, passionate vocal from Leon that opens the track. He’s accompanied by a dramatic combination of wailing, Hammond organ, blazing horns, piano and searing guitars. Shimmering strings enter, as a track that has a Southern Soul sound unfolds. This influence becomes more prominent when backing vocalists and braying horns accompany Leon’s emotive, passionate vocal, helping give the track a Hi Records sound. There’s a real Willie Mitchell sound to the arrangement and production on the track. The reason for this could be that James Mitchell who helped Gene Page and Leon arrange the horns, was Willie Mitchell’s brother, and arranged many tracks on Hi Records, including the horns. His influence throughout the album, helped give the horns that “Hi sound,” which works beautifully here, and really helps turn this track into a sumptuous slice of Southern Soul.
I Know What Love Is opens with Leon’s half-spoken vocal, set against a slow, subtle arrangement which has a lovely smooth sound. Rasping horns, lush strings, chiming guitars and the rhythm section provide the backdrop for Leon to sing about the love really is. For Leon it’s something more spiritual and deeper than one night stands and bed-hopping, something more intimate and beautiful. As the track progresses the rhythm section, strings and horns combine with Leon’s passionate vocal to add drama and emotion to the arrangement, as the arrangement develops a louder, fuller sound that matches Leon’s passion. When the track ends, it reaches a dramatic, emotive and passionate ending, with the vocal and arrangement combining beautifully, resulting in another wonderful track from Leon Haywood.
Come and Get Yourself Some closes with Believe Half of What You See (and None of What You Hear), another slower track that sees rasping horns play an important part in the arrangement. Straight away, the track reminds me of The Staple Singers I’ll Take You There, especially when the backing vocalists enter. It’s a combination of keyboards, chiming guitars and rhythm section that accompany the horns and Leon’s vocal. Backing vocalists accompany Leon, playing an important part in the track, along with the keyboards and horns. Together, the help produce a catchy, hooky track, but one that is very similar to I’ll Take You There, which was one of The Staple Singers’ greatest ever tracks. Regardless of this similarity, it’s still a good track, with hooks aplenty and a catchy sound.
Although I Want’a Do Something Freaky To You is the best known track on Come and Get Yourself Some, it’s far from the best track. There are at least five better tracks on the album. Yes the album has an great arrangement, and sounds great, but Leon Haywood recorded far better tracks on Come and Get Yourself Some. Maybe the reason it was such a popular and well known track is the faux erotic and risque nature of the sound. Of the other eight tracks, You Need A Friend A Like Mine, Consider the Source, and Just Your Fool are some of the best tracks on the album. On Just Your Fool, James Mitchell helps give the track a lovely Southern Soul sound, producing something that his brother Willie Mitchell would’ve been proud of had it been recorded at Hi. Throughout the album, the horn arrangements are stunning, really lifting the tracks and helping give them not just an emotive sound, but a soulfulness. Similarly, the strings on the album are beautiful, and are used to perfectly portray a variety of emotions. Add to this some hugely talented musicians, and personnel like Gene Page who arranged strings and horns and Willie Mitchell who arranged the horns, and the result is a great album. Leon Haywood not only wrote or cowrote six songs on the album, but arranged and produced it too, demonstrating not just his talent, but his versatility too. This versatility extended to the music on the album, which features a combination of jazz, funk and soul music, sung with emotion and passion by the hugely talented Leon Haywood. Standout Tracks: This Feeling Rated Extra, You Need A Friend A Like Mine, Consider the Source, and Just Your Fool.
LEON HAYWOOD-COME AND GET YOURSELF SOME.
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ERNIE HINES-ELECTRIFIED.
ERNIE HINES-ELECTRIFIED.
Ernie Hines was one of three artists who arrived at the We Produce label, a subsidiary company of Stax. The label had been set up by Stax’s co-owner, and label chief Al Bell, to expand Stax, making them big enough to stand alone company, following the discovery of the problems with the seven year distribution contract with Atlantic Records. Having signed the distribution contract, Al Bell discovered that the contract’s terms left Stax with a problem, they’d hardly any catalogue. Under the terms of the contract, Atlantic had control of the Stax catalogue.
Now that he’d discovered this problem, Al Bell decided that Stax had to expand. His idea was to increase the label’s size, bring more artists, writers and producers to the label. Among the people that joined the label were Don Davis, who helped transform Johnnie Taylor’s career, turning him into a soul and R&B star, with albums like Who’s Making Love. Next to join was Tom Nixon, who helped Rufus Thomas‘ career, resulting in hits like Do the Funky Chicken. After Tom Nixon’s success with Rufus Thomas, Al Bell decided to launch a new label, with Tom and Josephine Bridges, who worked in the Stax back office running it. Once the We Produce label was launched, just three acts were on the label, The Temprees, Lee Sain and Ernie Hines. Of these three acts, only The Temprees singles charted. However, of the other two acts, Ernie Hines produced one album Electrified.
Ernie Hines was born Earnest Lee Pickford-Hines in Mississippi, but was brought up in Baton Rouge, Louisiana where he first learned to play guitar and started his career. After this, he moved to Chicago, recording three singles in 1967 and 1968, one of which was for the famous Wand label, based in New York. As well as working as a singer, Ernie also wrote songs, with groups like The Violinaires and The Lovelites. However, by 1970, Ernie was without a record deal, and looking for a new label. Luckily for him, fate intervened, when the publisher of Jet magazine, for whom Ernie’s wife worked for, recommended Ernie to Al Bell. Acting on this advice, Al signed Ernie to Stax.
Once signed to Stax, Ernie recorded one single Help Me Put Out the Flame (in My Heart). Sadly, although the single is a great Southern Soul cut, which can be found on The Complete Stax/Volt SIngles 1972-1975 it didn’t do well. Luckily for Ernie, the new We Produce label had just been launched, and he moved labels. Now that Ernie was on the new label, Tom Nixon and Josephine Bridges set about arranging the sessions for what would become Electrified.
The album was recorded over three separate sessions, with some of Stax’s best musicians playing on the album. Isaac Hayes, The MGs, The Bar Kays, The Movement and The Malaco Rhythm Section all played on the album. Of the nine songs on the album, three were either written or co-written by Ernie, while Leon Moore wrote or co-wrote three songs. One of the best known songs on the album is Let’s Straighten It Out, which was sampled by Pete Rock. A cover of Sam Cooke’s A Change Is Gonna Come was also included on the album. Over three sessions, the album was recorded, with Carl Hampton, Jo Bridges and Tom Nixon producing four songs during the first session. When the second session took place, Lester Snell replaced Carl Hampton as producer, joining Jo Bridges and Tom Nixon in the control room For the final recording session, Tom Nixon was joined by Fred Briggs, and the final two tracks were recorded. Having completed the album, which became Electrified, all that was left was for it to be released.
Sadly, neither the album Electrified, nor the singles released from the album were a commercial success. The two singles released from the album were Electrified Love at the start of 1971 and What Would I Do. Although both singles were great tracks, neither sold well. However, once Pete Rock name-checked having sampled Let’s Straighten It Out, the value of the singles and album shot up. Following the release of Electrified, Ernie performed at the legendary Wattstax music festival, where he was one of six singers to accompany William Bell during his performance of Old-Time Religion. Not long after that, Ernie left Stax, having been dropped. He headed back to Illinois, where he continued his career as a musician, and formed Baby Blue Records and Colorful Music Publishing. His career path took a new turn as the new millennia began, when he became a minister. Nowadays, his new role as minister continues alongside his music career, and next year will mark the fortieth anniversary of the release of Electrified, which I’ll now tell you about.
Electrified opens with Electrified Love, which was one of the tracks released as a single. When the track opens it’s blazing horns that unite with the rhythm section, chiming guitars and keyboards. They give way to Ernie’s smooth vocal which is accompanied by angelic sounding backing vocalists singing harmonies. As if this isn’t good enough, the meandering arrangement has a gorgeous sound, with horns rasping throughout, while the rhythm section provide the track’s heartbeat. Ernie’s stunning, heartfelt vocal sits above the arrangement, surrounded by layer upon layer of gorgeous harmonies. It’s a lush and sumptuous sounding, soulful track that is full of hooks, whose beauty you’ll never tire of.
Come On Y’All opens with dramatic drums and shimmering guitars, before swirling strings enter briefly. Quickly, they give way to the earlier combination of drums and guitars, as Ernie’s vocal enters. His vocal is much more considered, as he almost instructs the people to come with him and “have a ball.” Ernie becomes a soulful “Pied Piper”, as backing vocalists reply to his instructions. It’s quite different sound from the opening track, with a folk influence prevalent, amidst the swathes of swirling, grand strings. Together, they combine to create a late sixties sound, with the rhythm section and guitars sitting behind the proliferation of strings. By the end of the track you begin to realize why the track was just a B-side to Electrified Love. It really isn’t up to the standard of the opening track, even with the all those lovely strings in the arrangement.
Following on from the disappointment of the previous track is a much better track, Your Love Is All I Need, a track Ernie cowrote with Leon Moore. This is a song that’s much more suited to Ernie’s vocal, than the flakey folk it’s predecessor. Against a slow backdrop of chiming guitars, keyboards, gentle horns and the rhythm section Ernie delivers a gentle, heartfelt vocal accompanied by subtle, but beautiful backing vocalists. Lush strings enter, as Ernie pleads with his partner that he needs her, loves and is sorry for treating her badly. As he sings with emotion and passion, the arrangement flows slowly along, with chiming guitars, sweeping strings and the rhythm section combining to produce a beautiful, emotive and tender backdrop for Ernie’s vocal. Add to this the backing vocalists, and the result is a very beautiful song, one of the album’s highlights, and one that more than makes up for the previous track.
What Would I Do Without Your Love is a track that when it opens up, features a deeply moving, emotional vocal from Ernie sung against an arrangement that veers between punchy and flowing, with his vocal swathed in a mass of the lushest strings, while guitars reverberate and a piano chimes, as it escapes from the arrangement, joining the beauty of the strings and backing vocalists that accompany Ernie. Meanwhile, Ernie despairingly contemplates how he’d survive without the love of his partner. When he sings, his soft voice rises, emotion and heartache never far away, as he despairs at the loss and loneliness he’d face. With such an emotive vocal set against a string laden arrangement, Ernie produces a hugely moving, beautiful track.
As Sugar Plum (Gimme Some) opens, it’s a very different sounding track, with this a funk drenched dance track. Rocky sounding soaring, screaming guitars, blazing horns and a driving rhythm section are augmented by sweet backing vocalists and keyboards as the accompany Ernie’s powerful vocal. Here, he really unleashes his vocal against a frantically, funky arrangement. He roars and hollers joyfully, amidst the braying horns and searing, rocky rocky guitars. Although very different from the previous two tracks, its infectiousness sweeps you along in its funk drenched wake.
A Better World (For Everyone) was written by Ernie and is a song with a message. During the song, he emotionally and passionately pleads for everyone to help make the world a better place. His sincerity is genuine, as he sings against a string heavy quicker, arrangement. The lushest of sweet swirling strings, a punchy rhythm section and guitars accompany Ernie as he issues his pleas. Later, rasping horns add a contrasting sound to the strings. Accompanying the strings is a Hammond organ which gives the sound its own musical DNA. This works well, providing another contrasting sound. Together, all these layers combine with Ernie’s passionate pleas to provide a song with a message that’s still hugely relevant today.
Of all the Sam Cooke songs to choose, Ernie couldn’t have chosen a better one to cover than A Change Is Gonna Come. It’s perfect for both his voice and the passion he delivers it with. He brings the song to life, against a slow, lush yet dramatic backdrop. Ernie really slows the song down, elongating phrases and sections of the song, to get across the impact of the lyrics. Meanwhile, strings play an important part in the arrangement, their lushness and beauty surrounding and dominating the arrangement. Everything else, including the the dramatic rhythm section, chiming guitars and piano play a supporting role, while the arrangement meanders gently, as Ernie delivers the lyrics with a real belief, that things will improve, that things will change and the world will be a better place. By the end of the track, you can’t help but be affected and overwhelmed by the sincerity, passion and a delivery of these wonderful lyrics by Ernie.
Explain It To Our Mama was a song that was a hit for The Temprees in 1972. Their version is excellent, and can be heard on The Complete Stax/Volt SIngles 1972-1975. Ernie’s version is very different, much slower and dramatic, featuring a hugely emotive delivery of the lyrics against an arrangement that features backing vocalists and a sumptuous string arrangement and a forlorn piano. A slow, dramatic rhythm section, piano and guitars accompany the strings, as Ernie slowly and emotively tells the story of a young woman led astray by a much more worldly, handsome man. As the track ends, I much prefer Ernie’s much slower and dramatic rendition of the song. Having listened to both tracks back to back, Ernie’s version brings the story in the lyrics to life, so much so, that you can almost imagine this sad, scenario unfolding before your very eyes.
Electrified closes with Our Generation which opens with a combination of punchy rhythm section, searing guitars and blazing horns. After that, Ernie’s vocal enters, as he delivers another message, this time, an anti-war message. This he does against a backdrop of spacious chiming guitars, driving rhythm section and blazing horns. Like other tracks, he’s accompanied by backing vocalists who provide a subtle accompaniment to Ernie’s much more powerful soaring vocal. Later in the track, he pleas for the populace of various American cities to help stop the senseless war and destruction that was happening overseas. Although the message behind the song was admirable, and both the arrangement and vocal are good, they just weren’t up to the standard of other tracks on Electrified. This isn’t a bad track, it’s just on seven of the other eight tracks on the album Ernie set his standards high, and sadly, this one just failed to achieve that standard.
Before I bought Electrified, I’d only ever heard a few of the songs the album. What I’d heard, I’d liked, and was looking forward to receiving the album when BGP rereleased and remastered it last year. When I received Electrified, I certainly wasn’t disappointed. On the album, Ernie Hines sets his standards high with Electrified Love, the opening track and by far the best track on the album. Apart from the folk influenced Come On Y’All, which is the only disappointing track on the album, it’s an album full of some fantastic music. Even Our Generation the final track on Electrified works, although it isn’t as good as the other seven tracks. During the album, Ernie Hines sings each song with a variety of styles and emotions, each perfect for that song. As for the arrangements, there are some great arrangements on the album, with plenty of the lushest strings featuring on many tracks. Due to the hugely talented musicians that played on the album, each arrangement sounds great. Mind you, Electrified did feature The MGs, The Bar Kays, The Movement and The Malaco Rhythm Section. So with such talented players on the album, it’s no wonder the arrangements sound so good. Although neither Electrified, nor the singles Electrified Love and What Would I Do were commercial successes, that doesn’t mean this is in any way, shape or form a bad album. Quite the opposite, it’s an excellent album full of some excellent music, from a hugely talented singer Ernie Hines. Standout Tracks: Electrified Love, Your Love Is All I Need, What Would I Do Without Your Love and A Change Is Gonna Come.
ERNIE HINES-ELECTRIFIED.
THE OVATIONS-HOOKED ON A FEELING.
THE OVATIONS-HOOKED ON A FEELING.
Many years ago, when I first heard The Ovations album Hooked On A Feeling, I was instantly struck by the likeness of Louis Williams voice to the late Sam Cooke’s. It was almost uncanny hearing the album, and hearing a voice so similar to Sam Cooke. This was even more so, when they launched into a medley of two songs, the second of which was Touch the Hem of His Garment, a classic track of Sam Cooke’s. I was totally mesmerised by then, hooked not just by the similarity, but the beauty of their music. Since then, it’s an album that I’ve cherished and returned to many times. Then, when I was listening to the album the other night I decided that it was time to right a review of The Ovations 1972 Hooked On A Feeling, and tell other people about this beautiful music.
A year before The Ovations released what was their first album of the seventies, they’d signed for a new record label, Sounds of Memphis. Their first single for their new label was Touching Me, which reached number nineteen in the US R&B Charts. This success must have pleased Sounds of Memphis owner Gene Luchcessi, who’d wanted The Ovations on his new label, given their previous success with Goldwax Records. Touching Me was the first of six singles The Ovations released on Sounds of Memphis during the next year. The next two singles were So Nice To and Be Loved By You, neither of which charted. Although none of the other singles replicated the success of Touching You, it was decided that The Ovations should release their debut album for their new label Sounds of Memphis, which would be Hooked On A Feeling.
When Hooked On A Feeling was released, it featured the six singles that had been released on Sounds of Memphis, three B-sides which were written by Dan Greer and The Soul Stirrers medley of Were You There? and Touch the Hem of His Garment. Backing The Ovations on the six singles were the legendary Hi Rhythm Section, who featured on so many great albums on Hi Records, including Al Green, Otis Cay, O.V. Wright and Ann Peebles. They helped create a wonderful Southern Soul vibe, which was perfect for The Ovations vocals. However, the Hi Rhythm Section didn’t feature on the other four cuts that complete the album. Instead, The Trademarks, who all played at another legendary studio, Fame, played on these sessions. Once the album was released, it wasn’t a commercial success. The lack of success puzzled many people at the Sounds of Memphis label, after all, the album was a delicious slice of Memphis soul, featuring some great vocals and talented musicians. Whether the lack of new material on the album put some people of buying the album, one can only speculate. After all, if you’d bought all six singles, you were only getting one new track on the album. Whatever the reason for the Hooked On A Feeling’s failure, it’s still an album full of some wonderful music, which I’ll now tell you about.
Hooked On A Feeling opens with the title track Hooked On A Feeling, a Mark James penned track, arranged by Dan Greer and Mabon Hodges. Straight away, the track has a really beautiful, uplifting sound and arrangement. Louis Williams soaring vocal sitting atop the lush sounding arrangement which features a combination of chiming guitars, rhythm section and blazing horns. Together, they combine to produce an infectious, hook-laden backdrop for Louis’ joyous vocal. Behind him, Nathan Lewis and Billy Boy Young provide equally joyous backing vocals, singing harmonies. As the song progresses, you’re enveloped by its beauty and brilliance, unable to resist its sweet charms. It’s one of these catchy tracks that regardless of how often you hear it, you just want to hear it again. The reason for this is simple, it’s an outstanding, catchy and uplifting track, with hooks aplenty. Strangely, Louis Williams doesn’t sound as like Sam Cooke on this track as on others.
Having just said that Louis didn’t sound so like Sam Cooke on Hooked On A Feeling, the similarity is apparent on I Can’t Be Satisfied. It’s a much slower track, with an arrangement that has a slightly moody and sad sound. This is the result of chiming guitars, keyboards and the rhythm section combining, before Louis’ vocal enters. Straight away, it’s impossible not to notice the similarities with Sam Cooke. His delivery is slow and heartfelt, while Nathan and Billy Boy provide harmonies, after Louis sings the lead. When the trio unite, their vocals combine perfectly, the result a deeply satisfying and beautiful sound. Meanwhile, the arrangement has a dramatic sound, drenched in sadness, reflecting the lack of love satisfaction in the relationship Louis sings about. This is the result of the slower tempo, and the addition of horns to augment the rhythm section, guitars and keyboards. These horns sprinkle a sense of sadness over the arrangement. By the end of what’s a very different song to its predecessor, you can’t help but be impressed by Louis’ emotive lead vocal, augmented by some tight harmonies throughout the song and an arrangement drenched in drama and sadness by Dan Greer and Mabon Hodges.
The tempo increases on One In A Million, and the arrangement builds and builds before the vocal enters. It’s a driving rhythm section, braying horns, chiming guitars and sweeping strings that are responsible for this. When Louis sings, his voice is powerful and joyful, while Nathan and Billy Boy provide sweet harmonies. Behind them, the arrangement is fast and fulsome, with swirling, sweeping strings, rasping, blazing horns and the rhythm section driving it along. The result is one of the best arrangements on the album, one that sweeps along, but is punchy and sounds fantastic. When you combine Louis’ strong, joyous vocal the result is an excellent track.
Take It From Someone Who Knows is a very different sounding track from the previous one. It’s a track that’s laden in sadness, emotion and drama, with a much slower tempo. Louis’ voice has the Sam Cooke sound that wasn’t so obvious on both Hooked On A Feeling and One In A Million. He sings the song dramatically about being a loser in love, while Nathan and Billy Boy augment his vocal with soaring harmonies, while horns drench the track dramatically, and the rhythm section, guitars and grand swirling strings provide a backdrop that can’t fail to tug at your heartstrings. Although a hugely sad and emotional track, it features a beautiful vocal from Louis, made all the better by the soaring harmonies, which combine well with the horns and strings.
It seems fitting that given the similarities between Louis Williams’ voice and the late Sam Cooke, that The Ovations pay homage to him, on a medley of two of The Soul Stirrers songs, Were You There? and Touch the Hem of His Garment. These tracks are sung in a gospel style with a very understated arrangement, allowing Louis’ vocal to take centre-stage. It’s just the rhythm section, guitars and piano, that accompany handclaps and harmonies from Nathan and Billy Boy. The similarity to Sam Cooke’s vocal is striking, and the medley is sung with emotion and passion.
Following The Ovations homage to The Soul Stirrers is So Nice To Be Loved By You. It’s a track with a Philly Sound influence as the song opens, the way the drums, piano and horn combine. After that, a lovely combination of chiming guitars, piano and rhythm section combine before Louis’ vocal enters. Again, the Sam Cooke influence is present, while Nathan and Billy Boy add their distinctive backing vocals and harmonies, against a punchy, dramatic arrangement. Later, rasping horns and lush sweeping horns are added to the arrangement, resulting in an beautiful arrangement that sometimes, pays homage to The Sound of Philadelphia. Add to this joyous, passion drenched vocal from Louis whose happy and grateful to be loved by someone special, and the result is an excellent track, that draws its influence from a variety of sources.
When Touching Me bursts dramatically into life, it’s a track that promises much. The question is can it deliver? After a dramatic combination of blazing horns, piano, rhythm section and sweeping strings, accompany harmonies from Louis, Nathan and Billy the track opens out, with chiming guitars, joining the slow, dramatic arrangement. Bursts of rasping horns, lush strings and a piano are all key to the track’s success. Meanwhile, Louis has launched himself enthusiastically into the song, delivering the lyrics with a combination of passion and emotion, as he sings about how he’s fallen in love with a woman, who mesmerizes him. He breathes life into Dan Greer’s lyrics, accompanied by a dramatic, moving and emotive arrangement, that helps the song live up to its early promise.
Don’t Break Your Promise opens with a combination of piano and rasping horns, that accompany The Ovations tight vocal harmonies. The rhythm section and guitars accompany Louis, as Nathan and Billy Boy sings some lovely backing vocals. This they do against a great arrangement, that flows along beautifully, complimenting their vocals. Lush sweeping, swirling strings, rasping horns and piano all play their part in making this such a dramatic, emotive and sweeping arrangement, the perfect accompaniment for Louis, Nathan and Billy Boy to showcase their considerable vocal talents. What makes this such a great track is Louis’ heartfelt delivery of the lyrics, augmented by the emotional backing vocals from Nathan and Billy Boy, delivered against a smooth sounding, sweeping arrangement, laden in drama and emotion.
Mr River sees a change in sound and style. It doesn’t have the flowing, sweeping sound of the previous track. Instead, it reminds me slightly of Sam Cooke’s Chain Gang because of the similarities in both Sam and Louis’ vocals and the interplay between Louis’ lead vocal and the harmonies from Nathan and Billy Boy. This dissipates quickly, and the track opens up. As the song opens, it’s a quickly strummed acoustic guitar and chiming guitars that combine, before the rhythm section enter. It’s then the similarities between Sam and Louis are apparent. When the disappear, the strummed acoustic guitar plays an important role in the arrangement, as Louis’ vocal soars powerfully, accompanied by a punchy arrangement and tight harmonies from Nathan and Billy Boy. By the end of the track, you realize how different a track this is from all that’s gone before. However, it’s still a good track, one with an intriguing arrangement and some powerful, soaring vocals from Louis.
Hooked On A Feeling closes with a beautiful track You’ll Never Know, that reinforces that The Ovations were much more than just Louis Williams lead vocals. Instead, they were about the three members, with Nathan Lewis and Billy Boy Young’s contributions just as important. Without them, The Ovations wouldn’t have sounded as good. Straight away, when the track opens, I can see a similarity between the sound on this track and that of The Chi-Lites as the song opens. The tempo is slow, with subtle harmonies sitting above an arrangement that features piano, the rhythm section, sweeping, swirling lush strings and rasping horns. Louis’ delivery of teh lyrics is thoughtful, full of emotion and drama. Behind him, the arrangement flows along beautifully as Nathan and Billy Boy contribute subtle, tight harmonies. Meanwhile, a combination of piano, rasping horns and grand, lush strings combine with a slow, rhythm section contributing another gorgeous arrangement, that’s a fitting accompaniment to Louis’ emotive and drama laden vocals. Together, they combine to produce an excellent and fitting track to close Hooked On A Feeling.
Listening to Hooked On A Feeling you’re struck by the sheer quality of the music on it. It seems a shame that the album wasn’t a commercial success on its release. To me, it’s a hidden gem of a soul album, one that’s quite different from many similar Memphis soul albums, because of the really polished arrangements on the album. They provide the perfect backdrop for Louis Williams’ lead vocals and Nathan Lewis and Billy Boy Young’s backing vocals and harmonies. Together, the three of them played equally important roles on this album. Although Louis sung lead on each track, without the backing vocals and harmonies of Nathan and Billy Boy, the music wouldn’t have sounded as good as it does. They seem to compliment each other perfectly, especially on tracks like Hooked On A Feeling and I Can’t Be Satisfied. On other tracks the similarities between Sam Cooke and Louis Williams is almost uncanny. Play this album to someone who likes Sam Cooke’s music, but hasn’t heard The Ovations, and watch the puzzled look on their faces. They’re wondering is it Sam Cooke or not? However, on certain tracks, the similarity isn’t as noticeable. Two examples are Hooked On A Feeling and I Can’t Be Satisfied. On these tracks, Louis seems to sing in a different style, and sounds very different. Whether it’s a coincidence or not, these two songs are my favorites from the album. Hooked On A Feeling is a catchy, hook-laden, uplifting and almost infectious track, and to me, is the album’s best track. It just sweeps you along and lifts your spirits, putting a smile on your face. Overall, Hooked On A Feeling is a great album, one that I’d recommend thoroughly. Should you want to buy it, the best way to do so, is by buying The Ovations’ The Complete Sounds of Memphis albums, which features both Hooked On A Feeling and Having A Party on Kent Soul. Two great albums for the price of one, that will introduce you to the majestic music of Louis Williams, Nathan Lewis and Billy Boy Young, who were The Ovations. Standout Tracks: Hooked On A Feeling, I Can’t Be Satisfied, So Nice To Be Loved By You and You’ll Never Know.
THE OVATIONS-HOOKED ON A FEELING.
WILLIE HUTCH-ODE TO MY LADY.
WILLIE HUTCH-ODE TO MY LADY.
Although Willie Hutch’s career spanned five decades, during which time he released a number of successful, influential and innovative albums, there are two albums that many people remember him best for. These two albums are The Mack, released in 1974, and Foxy Brown released in 1975, which were both soundtracks for Blaxploitation films. Both were successful albums with The Mack reaching number seventeen in the US R&B Charts and 114 in the US Billboard 200. A year later, in 1975, Foxy Brown reached number thirty-six in the US R&B Charts and 179 in the US Billboard 200. However, what people forget is that Willie Hutch released another fifteen albums, including Ode To My Lady, which is widely regarded as Willie’s best album. It was his seventh album, and his fifth for Motown, for whom he wrote, recorded arranged and produced music. However, before I tell you about Ode To My Lady, I’ll tell you about Willie Hutch’s career.
Willie Hutch was born Willie McKinley Hutchison in 1944 in Los Angeles, and was brought up in Dallas, Texas. His music career started when he joined The Ambassadors, a doo-wop group, whilst still a teenager. Once he’d graduated from Booker T Washington High School, Willie adopted the name Willie Hutch and signed for the Soul City label, where he released his debut single Love Has Put Me Down. After this, Willie decided to return to the city where he was born, Los Angeles, to continue his career in the music industry.
Once he’d returned to Los Angeles, he was soon writing, arranging and producing songs for The 5th Dimension, who were a soul and R&B group. After that, Willie signed for RCA Records, releasing two albums for the label Soul Portrait in 1969, and Seasons For Love in 1970. Having released these two albums, Hal Davis a producer at Motown, discovered Willie just at the time when he was needing lyrics for a track he was recording for The Jackson 5. This was I’ll Be There, which was recorded the day after Willie received the phone call from Hal Davis and became a number one single. Not long after this, Berry Gordy signed Willie to Motown where be was a staff-writer, musician, arranger and producer.
As well as collaborating with The Jackson 5, Michael Jackson, Smokey Robinson, Marvin Gaye and The Miracles, Willie released a number of albums on Motown. The first of these was Fully Exposed in 1973, which reached number fifteen in the US R&B Charts and 183 in the US Billboard 200. This was followed by the two Blaxploitation soundtracks, The Mack and Foxy Brown. Mark of the Beast was Willie’s next release in 1974, reaching number forty-one in the US R&B Charts. The next album Willie released was Ode To My Lady, probably the best album he ever released.
When Ode To My Lady was released in 1975, it reached number twenty-four in the US R&B Charts and 150 in the US Billboard 200. On its release, the album was well received, with critics realizing that this was a great album from Willie Hutch. Although the album was well received, sales were slightly disappointing. However, when two singles were released from the album, the sold well. Love Power reached number eight in the US R&B Charts and number forty-one in the US Billboard 200. It was followed by Party Down, which reached number nineteen in the US R&B Charts. Since the release of Ode To My Lady, it’s regarded as Willie Hutch’s best album, although he released eleven further albums after Ode To My Lady.
Five further albums were released on Motown, with Color Her Sunshine, released in 1976 reaching number fifty-four in the US R&B Charts. Later in 1976 Willie released a live album Concert In Blues, which reached number twenty-two in the US R&B Charts and 163 in the US Billboard 200. After the release of Havin’ A House Party in 1977, which reached number twenty-six in the US R&B Charts, Willie left Motown, releasing two albums for former Motown songwriter and producer Norman Whitfield’s Whitfield Records.
The two albums Willie Hutch released for Whitfield Records were In Tune in 1978 and Midnight Dancer in 1979. Of these two albums, only In Tune charted, reaching number sixty-three in the US R&B Charts. Following these two albums, there was a four year gap until Willie released another album, returning to his old label Motown.
Sadly, neither In and Out released in 1983, nor Making A Game Out of Love charted. After this, Willie released just four further albums, none of which charted. These were The Last Dragon in 1985, From the Heart in 1994 and the Mack Is Back in 1996. Six years later, Willie released the final album of his career Sexalicious in 2002. Three years later, in September 2005, Willie Hutch died aged just sixty-one. He left some wonderful music which he’d recorded during his long career, including Ode To My Lady which I’ll now tell you about.
Ode To My Lady opens Party Down, which was a successful single released from the album, reaching number nineteen in the US R&B Charts. It’s a funk laden combination of keyboards, percussion, rhythm section and chiming, soaring guitars that accompany a Willie’s griity, raw vocal. Quickly blazing horns and grand sweeping, swirling strings enter, as Willie hollers and roars his way joyously through the lyrics. This he does to a fast, full, sweeping and sometimes punch arrangement. Together, the arrangement and vocal combine to create a good time sound and catchy slice of soul and funk.
The Way We Were is a cover of a track by Gladys Knight and The Pips, which gave Gladys a number a number eleven hit in the US and number four hit in the UK. Much as I’ve always loved Gladys’ version, Willie Hutch transforms the track. The tempo is slow, with Willie delivering a heartfelt and emotive vocal, against a backdrop which is both hugely soulful and dramatic, almost grandiose. As the song opens, it’s an understated combination of just keyboards and a gentle rhythm section that combine to produce an understated sound. Before long, chiming guitars, bursts of horns and lush strings combine with Willie’s powerful and emotive vocal. However, his vocal becomes tender, as he gives a beautiful, thoughtful and heartfelt delivery of the lyrics. Against a backdrop of a punchy rhythm section, wah-wah guitars, sweeping strings and rasping horns, using a mixture of drama and emotion, Willie relives a relationship, remembering the good times, when things were different, remembering the way they were back then. Behind him, arrangement matches the drama and emotion of Willie’s vocal. By the end of the track, you realize that of the many versions of this song, Willie’s version is right up there with the best. Why is this? Quite simply because of his heartfelt, emotional and dramatic delivery of the song against an outstanding arrangement.
After the excellent The Way We Were, comes another of the album’s best tracks Since I Found You. It’s a lovely slow track, featuring a Willie’s gritty, yet soulful voice and an arrangement steeped in emotion and drama. This is apparent from the opening bars, when a burst of rasping horns, a slow rhythm section, keyboards and guitars combine with Willie’s joyful vocal. He’s happy now that he’s found someone to love, and someone who loves him back. You can tell this from the joy and happiness in his vocal, which sits atop a slow, meandering arrangement where keyboards, chiming guitars, the lushest strings and occasional rasping horns provide the perfect backdrop for the emotion and passion of his vocal. They combine beautifully with one of Willie’s best vocals on Ode To My Lady.
There’s a change in style on I’m Gonna Hold On which has a Marvin Gaye influence in the vocal and arrangement as the track opens. However, that’s where the similarities ends. What follows is an infectious track that fuses soul and funk. A quick, punchy, funky rhythm section, wah-wah guitars and lush sweeping strings combine with blazing horns on this beautifully, joyful sounding track. Willie’s gritty, gravelly voice sits on top of the arrangement as it flows beneath him, wave upon wave of funk drenched music cascading along, while the strings provide a soulful sound. Together with Willie’s vocal the result is a catchy, hook laden track that can’t fail to sweep you along in its wake.
A fuller, grand arrangement can be heard on the title track, Ode To My Lady. A combination of chiming guitars, gorgeous lush strings, bursts of braying horns and the rhythm section are responsible for this. The arrangement has a fuller, grand sound, with parts of it reminding me of Barry White’s Love Unlimited Orchestra, especially the layers of strings. They provide a lovely contrast to other parts of the arrangement, with their sound sitting proudly at the front of parts of the mix. Unlike the previous tracks, this is an instrumental, and although quite different to other tracks, works well, acting as the perfect end to side one of the album. After the variety of music on side one, with slow ballads, two-steppers, funky tracks and now a sumptuous instrumental sitting side-by-side, one wonders what greets the listener on side two?
Love Power opens side two of Ode To My Lady, and was the track that gave Willie Hutch the biggest chart hit of his career, reaching number eight in the US R&B Charts, number forty-one in the US Billboard 200 and number five in the Disco Charts. It’s an uptempo, joyous sounding faster track, with a proliferation of horns and some lovely melodies. As the track opens, a combination of interplay between chiming guitars and rhythm section gives way to Willie’s vocal, before swirling, sweeping strings and rasping, blazing horns complete the lineup. A totally joyous Willie spreads the word about the power of love, while horns serenade him, guitars chime and shimmer and a punchy rhythm section punctuate the track. Adding the finishing touch are a piano and the strings which sweep in completing what is a fantastic arrangement, perfect for the joy and happiness in Willie’s throaty vocal.
Although the style changes on Just Another Day, with the tempo falling, the track features another lovely string lead arrangement and a thoughtful vocal from a sad and lonely Willie Hutch. Against a backdrop of chiming guitars, braying horns, swirling, sweeping lush strings and rhythm section, Willie’s voice is tender, drenched in sadness, having lost his girlfriend. She’s left him, leaving Willie unable to find happiness, with everyday seeming the same, and empty without her love. As his vocal grows in emotion, the arrangement grows and quickens, with bursts of drama provided by the rasping horns, chiming guitars and sweeping strings. Together, they reflect the sadness and emptiness of the lyrics, which Willie delivers perfectly. With such an emotive sounding track, the result is one of the album’s highlights.
Bursts of rasping horns, the lushest of sad, sweeping strings, chiming, shimmering guitars, rhythm section and keyboards open Talk To Me, before Willie’s desperate pleas enters. He’s at a loss, his relationship is in trouble, so he pleads for his partner to talk to him. His vocal is heartfelt, desperate and full of sadness, as it soars, emotively above the arrangement. Meanwhile, strings are at the heart of the arrangement, with repeated bursts of braying horns and rhythm section punctuating the sweeping, flowing arrangement. By the end of the track, you can’t help but empathise and sympathize with Willie’s pleas, on what’s a hugely emotive, yet beautiful sounding track.
When Love Me Back opens, it’s a dramatic and stirring introduction that greets the listener, before giving way to a funk drenched sound. A combination of screaming, soaring wah-wah guitars, funk laden rhythm section, blazing horns and swirling strings that accompany Willie’s powerful, gritty vocal. The fulsome arrangement sweeps along quickly for four minutes, with the funky rhythm section, soaring guitars, braying horns and those lovely swirling strings combining elements of rock, funk and soul magnificently. Although it’s quite different from most of the tracks on the album, it demonstrates not just Willie Hutch’s versatility as a singer, musician, arranger and producer, but also his ambition and bravery at producing such a variety of music on the one album including this two-step classic.
Ode To My Lady closes with You Gotta Give Love Up, another quicker track which features another great arrangement. Like many tracks on the album, swirling strings and rasping horns are at the heart of the arrangement, augmented by the rhythm section, guitars and keyboards, who all combine to produce a sound that combines a lovely soulfulness with a smattering of funk. It’s a catchy, infectious sound, made all the better by a looser sounding vocal from Willie which drops in and out of the track. Although his vocal is really good, it’s surpassed by an excellent sounding arrangement which sweeps proudly along, all eddies and swirls. When the arrangement and vocal are combined the result is a really great track, that finishes the album on a satisfactory high.
I’ve been meaning to write an article on Willie Hutch’s music for some time, but couldn’t decide which album to choose. In the end, I opted to choose his best album Ode To My Lady. It’s an album that from beginning to end is packed full of great music. Not once does Willie Hutch let you down, continually following one great song with another. Although the album is mainly soul music, other influences sometimes shine through. The predominant one is funk music, which is sprinkled throughout several tracks on the album. On Love Me Back, rock influenced guitars make a brief appearance, and sit well with the rest of the arrangement. During the album, while Willie sings each song with a mixture of emotions, he always injects passion into the lyrics. Then when he dons the mantle of arranger and producer, he favors a much fuller sounding arrangement, deploying a proliferation of rasping horns and the lushest of strings. This is guaranteed to tug at your heartstrings, and works beautifully. Overall, Ode To My Lady is a fantastic album, one that I can recommend to anyone and would suggest that you add it your record collection. Recently, it was remastered and rereleased by Soul Brother Records, who are releasing a trio of Willie Hutch’s best albums which also includes Fully Expressed and The Mark of the Beast. This allows you to hear some of the greatest music Willie Hutch’s recorded for Motown, which sadly, has been unavailable until now. Standout Tracks: The Way We Were, Since I Found You, Just Another Day and Talk To Me.
WILLIE HUTCH-ODE TO MY LADY.
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