TEDDY PENDERGRASS-LIFE IS A SONG WORTH SINGING.
TEDDY PENDERGRASS-LIFE IS A SONG WORTH SINGING.
In a previous article I reviewed Teddy Pendergrass’ debut solo album, entitled Teddy Pendergrass. This was his first album since leaving Harold Melvin and The Blue Notes, where he’d been the lead singer. His debut solo album, Teddy Pendergrass was released in June 1977, reaching number seventeen in the US Billboard 100 and number five in the US R&B Charts. The album was certified platinum, having sold over a million copies. So, his next album had a lot to live up to.
During 1977 and 1978, Teddy spent time in the legendary Sigma Sound Studios in Philadelphia, where so many Philadelphia International Records recordings were made. During that time, some of the best arrangers and producers were enlisted to help record what would become Life Is A Song Worth Singing. Apart from Gamble and Huff, Gene McFadden, John Whitehead, Victor Castarphen and Sherman Marshall all produced tracks. Arrangers like Jack Faith, Thom Bell, John Usry Jr. and Dexter Wansell were called upon by Gamble and Huff. Add to this M.F.S.B. and it was a hugely talented cast of producers, arrangers and musicians that all combined to record Life Is A Song Worth Singing.
When Life Is A Song Worth Singing was finished, there were seven songs on the album, with two of them, Only You and Close the Door released as singles. The first single released from the album was Close the Door. It was a huge hit, reaching number twenty-five in the US Billboard 100 and number one in the US R&B Charts. Similarly, when Life Is A Song Worth Singing was released in June 1978, it gave Teddy a number one US R&B album. The album also reached number eleven in the US Billboard 200. This meant Teddy received his second platinum album of his solo career.
The second single taken from the album was Only You. Unlike its predecessor, it failed to enter the US Billboard 100, but reached number twenty-two in the US R&B Charts. However, it reached number twenty-nine in the US Dance Charts, giving Teddy his first hit single on the Dance Charts. Although Only You never matched the success of Close the Door, 1978 had been a good year for Teddy. Two hit singles, and a platinum selling album, Life Is A Song Worth Singing, which I’ll now tell you about.
Life Is A Song Worth Singing opens with the title track, Life Is A Song Worth Singing, a Thom Bell and Linda Creed penned track. A slow rhythm section, rasping horns, keyboards, lush sweeping strings and guitars combine during the lengthy introduction, The tempo quickens before Teddy, accompanied by soulful backing vocalists enter. His voice is strong and emotive, while behind him a sweeping, swirling and dramatic arrangement unfolds. Lush strings, punchy drums and braying horns are key to the track’s success, providing the perfect dance-floor friendly backdrop for Teddy’s vocal. It demonstrates how Philadelphia International moved with the times, embracing disco, rather than ignoring its growing popularity and importance. However, by 1978, disco was experiencing a backlash, so this album is about more than great dance-floor friendly tracks like this.
When Only You opens, there’s a funk influence apparent from the opening bars. Soaring, chiming guitars combine with a funky rhythm section and percussion, before bursts blazing horns give way to Teddy’s joyful vocal. He sings about how only one woman, is the woman for him. This he against Dexter Wansell’s arrangement that’s fast, funky and dance-floor friendly. The beat pounds, while waves of drama drenched horns and drums combine with a funk laden bass and shimmering guitars. The pace is relentless, horns blazing, while Teddy’s voice is laden with passion and desire. For just over five minutes, M.F.S.B. combine with Teddy to produce a track that combines funk and soul masterfully, thanks to Gamble and Huff’s mastery of mixing desk when producing the track.
It’s a very different sound and style that opens Cold, Cold World a slow, ballad where Teddy passionately sings about not letting things get you down, regardless of how tough times get. He does this against an arrangement that sees lush, slow strings, chiming guitar and thoughtful rhythm section, combine with bursts of rasping horns. Mostly, they produce a backdrop that has an almost understated sound, but sometimes, drums and horns add a sense of drama. This effectively matches the sense of sadness, desperation and even, drama in Gene McFadden, John Whitehead and Victor Castarphen’s lyrics. Although this is a very different style of song, this to me, is one of the best songs on the album. Teddy I’ve always thought, is best when he’s singing slower, emotive songs.
Get Up, Get Down, Get Funky, Get Loose, sees Teddy enter James Brown territory on this delicious slice of good time funky music. Blazing horns open the track, before the rhythm section, chiming, shimmering guitars and keyboards drive the song along. Teddy sings how after the Monday to Friday grind, it’s time to party and have a ball. Together with M.F.S.B. he combines to produce an infectious, punchy good time song, catchy and laden with hooks. Much of the track’s success is down to the addition of horns and the backing vocalists whose joyous contributions really lifts the track. They whoop, shriek and holler in response to the energy and enthusiasm Teddy puts into the song. In the hands of another singer and band this wouldn’t be the same track. However, when you combine Teddy Pendergrass with M.F.S.B., add John Usry Jr.’s arrangement and Gamble and Huff’s production you end up five and a half minutes of joyous, uptempo good-time party music.
The standout track from the album is Close the Door, which gave Teddy a number one US R&B single. It’s a beautiful, sensuous and seductive track. It’s one of these tracks that should carry a government health warning, that prolonged exposure to the track can see two become three. A slow, string drenched arrangement sees bursts of braying horns combine with chiming guitars and considered, rhythm section. Later a piano is added to arrangement, combining beautifully with the swirling, sweeping horns and the drama laden, blazing horns. Both Teddy’s irresistible, seductive pleas and Thom Bell’s equally beautiful arrangement unite as one perfectly. Together, they create the best song on the album, and a love song so good that it’s almost peerless.
After such a brilliant previous track, It Don’t Hurt Now has a hard act to follow, However, It Don’t Hurt Now is another good track, with Teddy singing about the sadness he felt when his relationship ended, having met someone new he loves. This is sung against a slow arrangement with strings, gentle rasping horns and a slow, thoughtful rhythm section. Backing vocalists subtly accompany Teddy, their sweet, soulful voices reminding me of Rhodes, Chalmers and Rhodes, on many of the Hi Records albums. A prolonged piano solo combines beautifully with chiming guitars and subtle, rasping horns. Together with Teddy’s vocal they provide a beautiful, fitting and worthy track to follow the brilliant Close the Door.
Life Is A Song Worth Singing closes with When Somebody Loves You Back, a slower track, but slightly faster track than the previous two tracks. It has a fuller, swirling introduction. Strings are key to this, swirling and sweeping, while chiming guitars, rhythm section and keyboards combine with understated rasping horns. Teddy’s vocal has a joyousness, thankful for the love he’s found. Behind him, the arrangement still has the same swirling, dramatic sound, strings at its heart while horns make subtle, yet important, repeated contributions. Wave after wave of beautiful lush music makes its presence felt, sweeping you along in it wake. Again, backing vocalists accompany Teddy, reflecting the joyousness in his voice. Following on from two great tracks that featured Teddy singing in a slower style, this is the third similar track, proving my earlier point that this is what Teddy did best, singly slow, emotive love songs. This is a fitting end to a second great album from Teddy Pendergrass.
Although Life Is A Song Worth Singing was only Teddy’s second solo album, he was a hugely experienced singer by this time, having previously been lead singer of Harold Melvin and The Blue Notes. However, his solo career saw his career becoming even more successful, with this the second of four platinum and three gold albums he released. Apart from two gold albums for 1984s’ Love Language and 1988s’ Joy, the rest of this success was when he was on Philadelphia International Records. Of the seven albums he released on Philadelphia International four were certified platinum and one gold. That was the benefit of being on Gamble and Huff’s label, working with such talented songwriters, arrangers, producers and musicians. Where else could he have worked with such a hugely talented group of people. Together, they helped Teddy harness the huge talent he had as a singer. They provided him with some great songs for Life Is A Song Worth Singing, including the three slow tracks Close the Door, It Don’t Hurt Now and When Somebody Loves You Back. Add to this the joyous Get Up, Get Down, Get Funky, Get Loose and the dance-floor friendly Life Is A Song Worth Singing then you can see that this album features just one great song after another. Of the seven tracks on the album, there’s neither a poor track nor any filler. Like its predecessor Teddy Pendergrass, this is an excellent album, one I’d recommend to anyone. If you love soul music this is an album that deserves a place within your collection. After all, does soul get any better, than Teddy Pendergrass at his very best? Standout Tracks: Get Down, Get Funky, Get Loose, Close the Door, It Don’t Hurt Now and When Somebody Loves You Back.
TEDDY PENDERGRASS-LIFE IS A SONG WORTH SINGING.
DORIS DUKE-I’M A LOSER.
DORIS DUKE-I’M A LOSER.
Mention Doris Duke’s 1970 album I’m A Loser, and many lovers of soul music will nod approvingly. Since its release, I’m A Loser has become regarded as one of the greatest Deep Soul albums ever released. However, who was Doris Duke, and how did she go from voice for hire to Deep Soul diva in the space of five years, and what became of her afterwards?
Doris Curry was born in Sandersvile, Georgia in 1945. Having started as a gospel singer, aged eighteen she moved to New York, becoming a session singer and backing vocalist at the legendary Apollo Theatre. By 1966, Doris was married, and cut her debut single Running Away From Loneliness, released on the Hy-Monty label as Doris Willingham. Her follow-up single You Can’t Do That was released two years later on the Jay Boy label. Like her debut single, it garnered good reviews, but wasn’t a commercial success. After that, Doris returned to Philadelphia, hooking up with the legendary production team of Kenneth Gamble and Leon Huff, contributing backing vocals to some of their early work.
1969 was an important year in Doris’ career. During 1969, Doris worked with one of the biggest names in music, Nina Simone. Doris was a backing vocalist on Nina’s live album A Very Rare Evening, which was recorded in Germany. Later in the year, she met Swap Dogg, producer Jerry Williams Jr. He had split with Atlantic Records, leaving his job as their A&R man. He was much more than an A&R man though, he was one of the most innovative people in soul music, working as a songwriter, musician and producer. Deciding that Doris needed a new identity, the now divorced Doris Willingham became Doris Duke, who confusingly, was also the heir to her family’s tobacco fortune. Using her “borrowed” name, Doris recorded her debut album, with Swamp Dogg producing it.
That album was the legendary I’m A Loser, which was released on Wally Roker’s Canyon Records. Little did they know it then, but Canyon was going to be a short lived enterprise, that ultimately, would cause problems when it folded. However, that was still to come. Things looked good when the first single from the album was released. When To the Other Woman was released, it reached number seven in the US R&B Charts and number fifty in the US Billboard 100. Then, when the follow-up single Feet Start Walking was released, it too made the charts, but only reached number thirty-nine in the US R&B Charts. However, just as Doris must have thought her career was going places, disaster struck. Canyon Records collapsed. The result of this was Doris didn’t receive any royalties.
Down but not out, Doris recorded another album with Swamp Dogg in 1971, A Legend In Her Own Time. It was released on the Mankind label. Sadly, it wasn’t a commercial success. Around this time, another problem occurred, when the “real” Doris Duke started singing with a choir of children in New Jersey. This caused confusion, with the two Doris Duke’s getting mixed up. By now, Doris had remarried, and was Doris Logan. She decided to retire temporarily, to bring up her young family.
1974 saw Doris make a brief comeback, recording her album Woman, for the British Contempo label. The album was well received by critics, but failed commercially. After that, Doris retired from music, releasing one further single eight years later, That was I’ll Make A Sweet Man (Out of You), for the Boston based Beantown label. Since then, Doris has been content to keep a low profile, neither seeking publicity nor wanting to be rediscovered. Instead, she’s content to have recorded what Dave Godin called the greatest deep soul album of all time, I’m A Loser, which I’ll now tell you about.
I’m A Loser is one of soul music’s first concept albums, its subject matter relationships, love and sometimes, betrayal. Opening the album is he’s gone, about a woman whose partner has left them. Doris uses her incredible voice to get over the sense of loss, betrayal and heartache in the lyrics. She does this, against a slow, moody backdrop of piano, drums chiming guitars. Her voice is laden with power and emotion, totally distraught, as strings sweep in, a bass sitting at the front of the mix. Later a Hammond organ enters, its sound slow, moody and adding to the sense of sadness. Together, Doris and Swap Dogg’s arrangement unite perfectly to produce a track that’s a combination of raw emotion, sadness and drama.
I Can’t Do Without You has a more uptempo, jaunty arrangement that sometimes, almost takes a diversion into funk territory. Doris’ desperate, needy vocal is sung against a quicker arrangement that features just the rhythm section, guitars and piano combining. They combine to create a catchy backdrop for Doris, who desperately pleads for her lover to set her free from her loneliness and neediness. She can’t live without him, needing him to survive and go on. What I’ve always liked about the song is the combination of the catchy, hooky arrangement and Doris’ quicker, yet desperate vocal. Both are excellent, but it’s the sheer emotion and desperation of Doris vocal that sets the song apart. It turns a great song into an outstanding one.
When Feet Start Walking opens, there’s a sense of drama created by the combination of piano, guitars and rhythm section that accompany Doris. Straight away, her voice is full of power, anger and frustration, at the betrayal she’s experienced having caught her lover in the throes of passion with another woman. Having been humiliated, Doris vents her anger at her disloyal lover, and heads for the door, promising never to return. A combination of a dramatic piano lead arrangement, and Doris’ angry, frustrated and passionate vocal unite to produce one of the most emotionally charged tracks on I’m A Loser.
A Hammond organ combines with a bass and piano, as Ghost of Myself opens, before a slow and thoughtful vocal from Doris enters. Slow spacious drums and soaring electric guitars join the arrangement, keeping the tempo slow, yet adding a sense of drama. Doris one down on her luck, not the woman she once was, having lost her love of life, after a relationship has ended. Doris gets across the sadness and desperation of the situation. So does the arrangement, but the screaming soaring guitars slightly spoil the sound for me. They lack the subtlety of the rest of the arrangement. Having said that, it’s a emotive song with Doris’ performance stealing the show.
Your Best Friend sees a combination of Hammond organ, rhythm section and chiming guitars accompany Doris. She’s discovered that her partner, is using her, she doesn’t mean anything to her, so his best friend tells her. It’s a one-way love affair, with Doris doing the loving. Doris gives a heartfelt rendition of Larry Harrison and Jerry Williams Jr.’s lyrics against a slow, moody arrangement that’s laden in emotion and sadness. It has the Hammond organ, rhythm section and guitars at its heart. They provide the perfect backdrop for a heartbroken Doris, resulting in a hugely moving, track full of frustration and betrayal.
The final song on side one of the album is The Feeling Is Right. It’s much quicker track, with piano, rhythm section and guitars combining with Doris’ powerful yet joyous vocal. As if the arrangement isn’t good enough, a Hammond organ and sweeping strings cut in. Swamp Dogg chooses just the right moment to deploy what are almost his secret weapon. The strings shimmer, behind the rest of the arrangement adding to its sweeping beauty. When combined with Doris’ power laden, joyful combination this is a winning combination, ending side one on a high.
Side two of the album sees a much slower tempo and understated sound open I Don’t Care Anymore. It’s just an acoustic guitar that opens the track, with a tambourine, rhythm section and sad strings combining before Doris’ desperate vocal. The song is about a woman coming from the Deep South to find work, and her descent from having a job, getting married to prostitute and nearly destitute. It’s a hugely moving gritty tale of a life gone wrong, with Doris bringing the lyrics to life. Behind her, the arrangement has an understated, yet melodramatic sound, perfect for the sadness and despair of the track.
Congratulations Baby sees the tempo increase, a combination of the driving rhythm section, guitars, piano and Hammond organ are responsible for this. When Doris’ vocal enters, there’s a sense of anger, frustration and betrayal in her voice, as she sings about her lover marrying another woman. This anger and frustration in her voice combines perfectly with Swap Dogg’s quicker, driving arrangement. This “marriage” of the arrangement and vocal results in track where the sense of anger, bitterness and frustration is palpable.
A slow moody bass opens We’re More Than Strangers, giving way to chiming guitars and piano, before a hugely emotional vocal from Doris enters. The track is a combination of Southern Soul with a blues influence present. Here, the Muscle Shoals rhythm section give one of their best performances on the album, combining with slow, sad strings and a wailing Hammond organ. They provide the perfect backdrop for Doris’ vocal about a relationship gone wrong, and she wants to end. It’s hugely emotive, full of pain and sadness. Together with the slow emotive, arrangement, it’s one of the albums best tracks.
Divorce Decree sees a newly divorced woman, free but not happy. She’s still got hopes and feelings for her ex-husband, missing him, wanting him back. An emotion drenched vocal from Doris, is sung against a drama laden arrangement. Drums and guitars add drama, the drums loud and punchy throughout the track, while the lushes of strings represent the loss and sadness in Doris vocal. Although just two and a half minutes long, the song is an emotionally charged and dramatic mini-drama thanks to Jerry Williams Jr. and Maurice Gimblel lyrics, brought to life magnificently by Doris.
A swirling, stirring and punchy, dramatic introduction opensHow Was I To know You Cared. A combination of swirling, sweeping strings, punchy rhythm section, piano and guitars combine before a much more restrained vocal from Doris. She discovers that her former partner cares and loves for her, but can’t bring herself to leave her new partner. Backing vocalists subtly accompany her, as she sings with a mixture of frustration, regret and temptation, at what she’s just discovered. Although it’s a good enough song, it doesn’t quite live up to the expectation created by the drama laden introduction.
I’m A Loser closes with To the Other Woman (I’m the Other Woman). The track has a slow, spacious arrangement, with the rhythm section, chiming guitars and piano combining as Doris’ vocal enters. She’s discovered her partner is cheating on her, but seems to have accepted this, with it not coming as a surprise to her. Her voice is strong and emotive, but with a sadness and sense of betrayal coming across. Backing vocalists accompany her, their tender voices a contrast to her power. Strings cut in, they’re slow full of sadness, matching the rest of the tender, understated arrangement. A Hammond organ, adds the final touch to a brilliant arrangement. It’s the perfect accompaniment to Doris’ vocal, on this excellent track, which is one of the album’s highlights.
Over the years I’ve heard probably thousands of soul albums, but one I always return to is Doris Duke’s I’m A Loser. Of all the albums I’ve heard this is one of the best. It’s a hugely emotive concept album that brings to life the complicated subjects of relationships. During the album, there’s twelve dramatic stories of love, betrayal and broken promises. On each of these tracks, Doris is transformed into a master storyteller, as she throws herself headlong into each story. Her portrayal of each story makes you forget that this is only “make believe.” She delivers the lyrics so realistically that you think that Doris has lived each track. Not many singers have the ability and talent to do that. Doris Duke did, she brought lyrics to life, whereas other singers just sung them, but gave nothing of themselves. That the album wasn’t a huge success was a mixture of bad luck and possibly not being on a major label. If Swamp Dogg had signed Doris to Atlantic Records, his old label, maybe she would’ve been a huge star. Instead, he signed her to the ill-fated Canyon label, not knowing its perilous state. Sadly, although the album was well received by critics, commercially it wasn’t a success. However, as regular readers of my blog will know, this has happened to many other artists, time after time. Thankfully, in 2005, Ace Records rereleased I’m A Loser. On the album is also Doris’ second album A Legend In Her Own Time. This allows you to hear not only the brilliant I’m A Loser, but another great album from one of soul music’s best voices. Standout Tracks: I Can’t Do Without You, I Don’t Care Anymore, We’re More Than Strangers and To the Other Woman (I’m the Other Woman).
DORIS DUKE-I’M A LOSER.
JON LUCIEN-PREMONITION.
JON LUCIEN-PREMONITION.
Recently I wrote a review of Jon Lucien’s first album for Columbia, Song For My Lady. This was the first of two albums he recorded for Columbia after leaving RCA, for whom he recorded three album. These three albums I Am Now in 1970, Rashida in 1973 and Mind’s Eye in 1974, were all good albums, but weren’t commercially successful. Sadly, Jon’s first album for his new label failed to do any better, and when Premonition was released in 1976, he must have been hoping for a change in his fortunes. His music was popular on jazz stations in parts of the US, and previously, he’d been nominated for two Grammy Awards, but still, he was trying to make a breakthrough into the highly lucrative US market.
By now, both Jon and his music had matured, and it was very different from his debut album I Am Now, when record company executives thought that in Jon Lucien, they’d discovered a new crooner. Over the past six years, Jon had been honing his sound, and maturing as a singer, songwriter and arranger. On Premonition, Jon wrote or cowrote five of the songs, and produced the album. The sound on the album is uniquely Jon’s. Premonition saw Jon enlist the help of huge number of East and West Coast musicians. Among them were Ray Parker Jr, and Wah-Wah Watson playing electric guitar, Dorothy Ashby harp, Herbie Hancock piano and Harvey Mason drums. In total, over forty musicians played on Premonition.
At the time the album was being recorded, Jon was becoming disillusioned with the music industry, He knew that he was producing one great album after another, but was fed up not getting either credit or sales his music deserved. He realized that Premonition was possibly his last chance to make the breakthrough he so wanted. What didn’t help matters, was that Jon felt that he wasn’t getting the support he needed from his record company Columbia when it came to promoting his albums. Like other artists, he realized that a great album requires some promotion to bring it the public’s attention. However, something else was going on in Jon’s life that wasn’t conducive to a successful music career, drugs.
Previously, Jon had been very anti-drugs, not comfortable around them. His only exposure previously to drugs had been the odd joint. This changed however, around the time Premonition was being recorded. With people around him using drugs, he succumbed, letting them enter his life. This wasn’t the last time drugs entered his life, but by the late eighties, he was drug free, after he met his second wife Delesa. So it was against a backdrop of disillusionment and drugs, Jon’s fifth album Premonition was released in 1976.
When the album was released, it failed to enter either the US Billboard 200 or US R&B Charts, but reached number seventeen in the US Jazz Charts. This must have been hugely disappointing for Jon, who had feared this might happen. Making matters worse, Columbia released him from his recording contract. Although other record companies tried to sign Jon, he turned down their offers. Instead, he made guest appearances for groups like Weather Report, the jazz fusion group which featured Herbie Hancock.
The rest of the seventies were tough and tragic times for Jon. His marriage broke down, resulting in divorce and one of his children drowned in a boating accident. Still he continued to make music, recording his compositions onto a four-track tape recorder. Six years passed before his next album Romantico was released. It was released on the Precision label, but because of problems with distribution, the album didn’t fare well, although Jon made money out of it.
Sadly, Premonition was Jon’s last release on a major label. After that, he continued to release the occasional album, but none of them were on a label like RCA or Columbia. Jon’s comments before Premonition was released that his music was getting neither the attention nor sales it deserved, was almost like a self-fulfilling prophecy. Both Jon and music fans suffered. Jon’s music didn’t gain the recognition and commercial success, and music fans missed hearing some wonderful music which I’ll now tell you about.
Premonition opens with Hello Like Before, a track written by Bill Withers and John Collins. It has a lovely laid back sound, with an acoustic guitar accompanied by the rhythm section, Dorothy Ashby on harp, piano and percussion before Jon’s subtle, restrained vocal enters. Quickly, the arrangement gets even better, with lush strings and a saxophone entering. They’re addition works beautifully, the arrangement combining with Jon’s passionate vocal. He sings the song to an old girlfriend he’s just met, at first regretting the encounter, but quickly welcoming their chance meeting. Jon brings the lyrics to life, getting across the awkwardness of the initial meeting, and how, suddenly their drawn to each other, nostalgia giving way to attraction. The lyrics are beautiful, and Jon sings them with feeling and passion, against a similarly, beautiful, almost lush sounding arrangement. This is an outstanding track, one of the best on the album.
If I Could is a track with a much more gentle arrangement, with Jon’s vocal multi-tracked. When the track opens the tempo is quicker, a jaunty combination of percussion, piano, rhythm section and guitar combining as Jon scats. This gives way to his vocal, with the use of multi-tracking seeing Jon’s harmonies accompanying his lead vocal. It’s effective, used throughout the track. Although the arrangement is gentle, it’s a complex combination of instruments that’s used. Synths, a Fender Rhodes blazing horns and congas are all used, combining with Jon’s emotive vocal. Together they produce a quite different track to Hello Like Before. Although different, Jon’s vocal and the arrangement combine to produce an emotive, gentle song.
Swirling strings and a harp open Spring’s Arrival, before keyboards, rhythm section and guitar enter, giving way to a gentle, thoughtful vocal from Jon. The addition of the lushest of swirling, shivering, strings that play throughout the track, are at the heart of the song’s success. When they’re combined with Jon’s tender vocal and his beautiful lyrics, you’re transfixed by the song’s beauty. Time stands still as you focus on both the vocal and the lyrics. Each match the beauty of the other, with wave upon wave of slow, beautiful music unfolding. Jon’s lyrics are some of the best on the album. By the end of the track, you find yourself wondering why, with fantastic songs like this on Premonition, the album didn’t do much better?
After the beauty of the previous track, the quicker, fuller sounding Mi Vida is a very different sounding track. There’s a Latin feel to the track, with percussion, congas and bells, combining with the rhythm section, saxophones and keyboards. The tempo is quicker, with an exotic and energetic sounding arrangement, accompanying Jon’s vocal. Backing vocalists accompany Jon, their enthusiasm and energy including various shrieks and yelps, that combine well with the bells, congas and percussion. Although the complete opposite to the previous track, I like the energy and use of traditional instruments. This results in a quite joyous sounding track.
Strings open the track, their sound has a sense of sadness as Laura begins. Jon half-speaks the vocal, against the backdrop of strings and flute. The arrangement has been almost stripped bare, so that it’s just the strings that feature. This is effective, allowing Jon’s vocal to take centre-stage. Occasionally, subtle horns cut in, but their appearance is brief. What helps the track is the space left within the music, which allows it to breathe. This allows you to focus on Jon’s vocal and the beauty of his lyrics. They’re about a beautiful and magical woman he’s dreamt about. Like this mystical woman, the song is tender and beautiful, thanks to Jon’s vocal and a pared down arrangement.
Gaku is another track where Jon leaves space within the music. Again this is highly effective and the result is a track that combines elements of jazz with funk, world music and sixties psychedelia. It’s an impressive combination that works well, but may not be to everyone’s taste. Jon scats as the song opens, his vocal fast, sung against a myriad of rhythm section, percussion and wah-wah guitar, reverberating heavily. Congas and percussion combine with the Fender Rhodes, producing a sound that’s melodic and jumpy, awkward even. This becomes infectious, and when horns blaze in, it lifts the track. Jon’s bass is prominent in the mix, while his vocal is improvised, with a variety of shrieks and yelps thrown in for good measure. By the of the track, you’re struck by how good, yet how different from the rest of the album this track really is. That’s what makes this such a good album, the sheer variety of the music on it.
Chiming guitars open You Been Away Too Long, a much more traditional sounding track. It’s a lovely ballad, one that sees Jon’s strong, emotive vocal accompanied by female backing vocalists. During the track, swirling strings and bursts of braying horns accompany Jon. When a saxophone solo takes over from Jon’s vocal, there’s a fluidity about the transition. Beauty replaces beauty. The addition of the saxophone is a masterstroke, as is the use of the backing vocalists. Their gentle, soulful voices unite dramatically, providing a contrast to Jon’s vocal. That’s just the finishing touch in what’s a beautiful ballad, one about missing the one you love.
The tempo increases on And It All Goes Round And Around, with the arrangement also having a much fuller, almost frantic sound. Atop the arrangement is Jon’s vocal, strong, emotive and laden with passion. Behind him, blazing horns, a myriad of percussion, driving rhythm section and guitars accompany Jon. On guitar is Ray Parker Jr, with Harvey Mason on drums and Chuck Rainey on bass. This trio are key to the driving, fulsome arrangement, providing its energy and heartbeat. Together, their experience and talent, result in an arrangement that combines jazz and funk. This is perfect for Jon’s quick, jazz influenced vocal. They fuse together perfectly, resulting in yet another different style of music.
Child of Love closes Premonition, and is another track written by Jon. It features his lovely lilting vocal, siting above a melodic, jazz tinged arrangement. The tempo is slower than the previous track, and features and features instruments that provide contrasting sounds. This ranges from the melodic sounding acoustic piano, to blazing horns. In between, sit the rhythm section and acoustic guitar, who combine to keep the tempo slow, providing an understated sound that works really well with Jon’s much more restrained, yet joyful vocal. As the song heads towards its conclusion, the arrangement and vocal grow in strength. Jon revisits his scatting style briefly, on what is a lovely track to end the album. Like the opening track, it has a lovely laid back sound and feel, something Jon was able to do so well.
In my previous articles about Jon Lucien, I’ve always said how unfair it was that Jon’s music wasn’t heard by more people. Sadly, between 1970 when he released his debut album I Am Now, and 1976, when he released Premonition, his music was loved and appreciated by a few, and unknown to many. This is similar to many other artists, including Terry Callier. For whatever reason, whether lack of promotion, being on the wrong record label, musical tastes or just sheer bad luck, Jon’s music never found a wider audience. The sad thing is that, now Jon’s music is being rediscovered by a wider audience, he’s no longer around to see this. He died in August 2007. However, now, the three albums he recorded for RCA, I Am Now, Rashida and Mind’s Eye, plus the two he recorded for Columbia, Song For My Lady and Premonition have all been rereleased, allowing a new generation to hear Jon’s music. Of these five albums, Premonition is one of the best. It’s my favorite of the two he recorded for Columbia. One of the reasons for that, is the sheer variety of music on the album. No two tracks are the same. Ballads follow lazz tinged, while one track that combine funk, world music and psychedelia. For anyone who hasn’t heard Jon’s music, this is an album I can thoroughly recommend. It was recently rereleased on BBR Records, along with 1975s’ Song For My Lady. Both are great albums, and show how Jon Lucien’s music had matured from his debut album I Am Now. They’re a good starting point for anyone who wants to discover the magical music of one of the most underrated, but talented artists, Jon Lucien. Standout Tracks: Hello Like Before, If I Could, Laura and Child of Love.
JON LUCIEN-PREMONITION.
MEL AND TIM-MEL AND TIM.
MEL AND TIM-MEL AND TIM.
Every artist dreams about having a hugely successful hit single, selling so many copies that they get a gold disc to hang on their wall. This happened twice to cousins Mel Hardin and Tim McPherson. Recording as Mel and Tim, their demo tape had so impressed soul singer, Gene Chandler that he’d immediately signed them to his Bamboo label. Their debut single Backfield In Motion reached number ten in the US Billboard 100 and number three in the US R&B Charts in 1969. This lead to an album entitled Good Guys Only Win In Movies being released to build on the success of the single. The album title turned out to be an accurate forecast for Mel and Tim’s future, with the Bamboo label experiencing financial problems, and the duo having to sit out the remaining years of their contract.
Three years later, in 1972, Barry Beckett and Roger Hawkins of Muscle Shoals Sounds were given a demo tape by a deejay friend. On the tape were Mel and Tim. Liking what they heard, the two former members of Rick Hall’s legendary rhythm section, realized that they’d the perfect song for Mel and Tim. Starting All Over Again was a Phillip Mitchell penned track, that had originally, meant for Sam and Dave. They had never recorded the track, so instead, Mel and Tim were given the track. Using The Chi-Lites sound as their template, Barry and Roger recorded the song with Mel and Tim. This resulted in another gold disc for Mel and Tim, when the song reached number nineteen in the US Billboard 100 and number four in the US R&B Charts. An album also entitled Starting All Over Again was released, but it didn’t fare as well as the single. Neither were there any other big hit singles on the album. However, this didn’t put of Barry and Roger, they decided to record another album with Mel and Tim.
This was the album this article is about Mel and Tim. It was recorded in Muscle Shoals with overdubbing taking place in the Criteria Studios in Miami. Like before, Barry Beckett and Roger Hawkins produced the album. Of the ten songs on the album, Phillip Mitchell wrote or cowrote eight of them. When the album was released on Stax in 1972, the album sold really badly. So few copies were originally sold, that the album is now a rare record. However, poor sales don’t always equate to a poor album. Sometimes it’s quite the opposite, with an album that sold badly being one of these hidden gems that you’re delighted to discover. That was the case when I first heard Mel and Tim, which I’ll now tell you about.
Mel and Tim opens with Keep the Faith one of the two songs not written by Phillip Mitchell. Instead it was penned by Mark James. This is a beautiful track to open any album, possessing one of the best string arrangements you’ll ever hear. Add to that a smattering of subtle horns and it’s a potent combination. Those lush, grand strings sweep and swirl in the background, with bursts of horns making occasional, subtle contributions, while the vocal is strong, emotive and thoughtful. Behind the vocal, backing vocals combine with the strings, creating a heavenly almost transcendental groove, that grabs your attention, transfixing you, transporting you to somewhere serene and beautiful. Although the vocal is really good, what really transforms the track is an outstandingly beautiful arrangement. After this, can it get any better?
When The Same Folk opens, there’s a noticeable similarity between the guitar sound on Starting All Over Again and this track. After that, the track starts to sound a bit like Starting All Over Again’s younger cousin. The tempo and arrangement are similar, with the same instruments used. Although this could be seen as a lack of originality, other people may see it as trying to use a winning formula. Strings lush and slow, accompany the guitar and tight vocal harmonies, before the lead vocal enters. Again the combination of strings and backing vocals combine beautifully, with subtle, rasping horns, piano and a Hammond organ all playing important part in a track that veers between a slow lush sound, to a grand dramatic sound. Newly successful musicians should heed Phillip Mitchell’s lyrics, that the same people who helped them achieve success, can just as easily put them in their place. They’re tenderly sung against another great arrangement, albeit one that’s closely resembles Starting All Over Again.
Oh How I Love You is a track with its own unique sound, one that’s got a joyful, feel-good sound. Against a backdrop of keyboards, rhythm section, sweeping strings and horns, backing vocalists joyously combine, before the vocal enters. It too, has a powerful, joyful sound, which is magnified by the arrangement behind it. Chiming guitars join the blazing horns and sweeping strings, while the vocal is augmented by backing vocals. This results in a hook laden, celebratory sound that can’t fail to lift your spirits.
It’s a very different sound that opens Yes We Can-Can. There’s a rock influence in the guitar sound, while an almost cluttered combination of organ, driving rhythm section and blazing horns accompanies the vocal. Straight away, it’s apparent this track doesn’t quite work. Written by New Orleans songwriter Allen Toussaint, it’s meant to be paean to positivity, togetherness and acceptance. Instead, it comes across as stilted, giving of the impression he was trying to hard to write a hit record. Even the tempo and arrangement seems out of synch with the rest of the album. In the end, it’s one of these songs that just doesn’t work. Regardless of how hard Mel and Tim try, and how much energy they put into the track, even they can’t make a silk purse out of a sow’s ear.
After the extremely disappointing previous track, Mel and Tim get things back on track with I’d Still Be There. It’s a track that’s about a man who was down on his luck, who meets a woman who transforms his life. Without her, he’d still be there. The song’s sung against a backdrop of slow, lush strings, chiming guitars and backing vocalists. They combine with the vocal to create a track laden with emotion, sadness and joy. The sound is “big,” with the backing vocalists, strings and gently, rasping horns achieving this with aplomb. Following on from Yes We Can-Can, this proves that it was just a blip, with I’d Still Be There a welcome return to their previous best.
A spacious funk tinged combination of rhythm section, percussion and flute open Making Love Is My Thing, another Phillip Mitchell song. As the song opens, it gives no indication of the direction it’s heading. What follows is a funk drenched track with a spacious arrangement, that quickly gets fuller. Strings sweep in, with female backing vocalists sweetly and soulfully unite, as the track heads in a direction marked funk. The track has an early seventies funk sound, and would sit nicely in the soundtrack for a Blaxploitation soundtrack. By now, keyboards have cut in, with blazing horns and a flute accompanying the confident, even boastful lead vocal. When the track ends, you realize that there’s a lot more to Mel and Tim than slow, lush, dramatic ballads. They can get down and get funky with the best of them.
It’s Those Little Things That Count sees Mel and Tim return to a much more familiar sound, after their excursion into planet funk. The tempo is slow, the arrangement string laden, with percussion, rasping horns and backing vocalists key to the tracks lovely, lush sound. Meanwhile, the vocal is restrained, full of emotion, made all the better by the swooning, sweeping backing vocalists. They combine perfectly with the vocal, and when you factor in the slow, lush arrangement, it’s the recipe for another great song.
Like the previous track, Ain’t No Love In My Life has a slow tempo, but a much fuller arrangement. Keyboards and percussion combine before the vocal enters, with backing vocalists and sweeping strings combining with the vocal. As the song progresses, the vocal grows stronger, full of the frustration and sadness of the lyrics. They’re about an unlucky, loveless man who can’t seem to do anything right or meet the woman he longs for. Meanwhile, the arrangement has grown fuller, with the backing vocals and strings partly responsible for this. Atop the arrangement, sits a floaty flute, which provides a contrast to the keyboards and strings. Although the lyrics are sad, with the vocal reflecting this, there’s an almost joyous sound to the arrangement, one with a slight gospel influence. This may seem at odds with the lyrics, but it works well, resulting in a track that’s laden with emotion and frustration, but still allows joy to shine through, proving every cloud has a silver lining.
People Get Ready, that’s what I thought when blazing horns, percussion and slow, sad string combine dramatically, to open That’s the Way I Want To Live My Life, After the introduction, the similarities end. What follows, is one of the most emotive tracks on the album. This is because of hugely emotive, nearly desperate vocal sung against a drama drenched arrangement. At its heart are braying horns, lush sweeping strings and a slow thoughtful rhythm section. As if that’s not enough, backing vocalists and a Hammond organ are added, and together, with rest of the arrangement, they unite with the vocal to produce an outstanding, emotive and dramatic track.
Mel and Tim closes with Forever and A Day, a very different sounding track. It’s a much quicker, prototype disco track, with swirling strings, funky, dramatic rhythm section and chiming guitars at its heart. Above the arrangement sits the vocal, loud and full of feeling, with backing vocalists and blazing horns adding drama and a soulfulness to the track. As the track progresses, it sweeps you along in its hook laden wake. You’re caught up in the joyousness of the sound of this brilliant track, one that’s an absolute hidden gem. I’m sure that this track would fill a dance-floor even today, thirty-nine years after it was recorded. What a way to end any album, never mind this great album.
Before I bought this album last year, when it was rereleased by Ace Records, I’d only heard a few tracks. What I’d heard I loved, and couldn’t wait to get my own copy. When it was rereleased I wondered whether the rest of the album would be as good as the tracks I’d heard, or whether I’d heard the best the album had to offer. Well, from the first play, I realized that this was an outstanding album I’d just bought. It truly is a rare hidden gem, full of nine great songs. The only poor song is Allen Toussaint penned Yes We Can-Can. That is a mere blip, with every other song making up for that. From the opening strains of Keep The Faith to the closing notes of Forever and A Day, Mel and Tim cast a spell over me. Since then, I’ve listened to the album more times than I care to remember. Every time, I ask myself why the album wasn’t a huge success. It was an album that had everything going for it. Two great vocalists in Mel and Tim, experienced and talented producers in Barry Beckett and Roger Hawkins and Phillip Mitchell writing eight of the albums songs. Add to that some hugely talented musicians, and you’ve a formula for success you’d think. Sadly that wasn’t the case. However, since the album was rereleased, many people have discovered the magical music on Mel and Tim, and like me, they’ve been swept along by the music and caught in its spell. As usual, Ace have done an excellent job in remastering the album, although the sleeve notes could be better. They’re not as in depth as you find on some albums. At least they do tell you what musicians played on the album. Reading them, it’s like a who’s who of Muscle Shoals sessions players. Barry Beckett on keyboards, Roger Hawkins on percussion, bassist Jerry Masters and Jimmy Johnson on rhythm guitar, are just some of the musicians who together with Mel and Tim, made Mel and Tim such an excellent album. Standout Tracks: Keep the Faith, Oh How I Love You, That’s the Way I Want To Live My Life and Forever and A Day.
MEL AND TIM-MEL AND TIM.
LOLEATTA HOLLOWAY-THE AWARE YEARS: LOLEATTA AND CRY TO ME.
LOLEATTA HOLLOWAY-THE AWARE YEARS: LOLEATTA AND CRY TO ME.
Although one of the most recognizable voices in music is Loleatta Holloway, many people are unaware of the two legendary soul albums she recorded for Michael Thevis Aware Records in the seventies. These were Loleatta in 1973 and Cry To Me in 1975. Instead, many people are more familiar with the music she recorded when transformed into a disco diva, releasing classic tracks like Runaway, Dreamin’ and Hit and Run. However, back in the early seventies, when Michael Thevis first spotted Loleatta on tour, all this was still to come.
Loleatta Holloway was born in Chicago in 1946, and like many future successful soul singers, including Minnie Ripperton, her talent was noticeable from an early age. Like many other soul singers, her first involvement in music was singing gospel music. She followed in the footsteps of artists like Sam Cooke, Aretha Franklin and O.V. Wright, becoming a member of her mother’s gospel group The Holloway Community Gospel Singers. During her time singing gospel music, Loleatta met a young Aretha Franklin who later, would influence her vocal style and phrasing. It was during her gospel career, that Loleatta first entered a recording studio, recording albums for the Gospel and Heb label. One of her recordings that gained praise and became popular was Help Is On the Way.
After her early success as a gospel singer, Loleatta formed her own musical company Loleatta Holloway and Her Review, with which she toured for a few years. The next stage in her career was acting, when she took a part in the play Don’t Bother Me I Can’t Cope. It was during this time, that her future husband and manager Floyd Smith arranged for Loleatta to record her first secular tracks. This was a cover of a Gene Chandler song Rainbow 71. The track was released on the Apache label, who leased the record from the couple. Later, it was released by Galaxy, who were able to distribute the single nationwide. Her next single was Bring It On Up, originally the b-side to Sentimental Reasons. It was around this time that Michael Thevis became aware of Loleatta Holloway, who he signed for his new Atlanta based Aware label.
Once Loleatta had signed to Aware, Michael Thevis wasted no time recording her first single for the new label. This was Mother of Shame, which reached number forty-three in the US R&B Charts. The success of the single prompted the recording of Loleatta’s debut secular album Loleatta, released in 1973 and produced by Floyd Smith. On the album were a number of cover versions including the excellent Sam Dees track So Can I, Tyrone Davis’ classic song Can I Change My Mind and Syl Johnson’s We Did It. However of the ten tracks on the album, Part Time Love, Full Time Full was by far the best. Floyd Smith’s cheating tale is brought to life by Loleatta, when she gives an emotive and impassioned performance. Sadly, neither the album nor he single Help Me My Lord were a huge commercial success.
In early 1975, Cry To Me written by Sam Dees, was released as a single. It reached number ten in the US R&B Charts and number sixty-eight in the US Billboard 100. Sadly, this was Loleatta’s only top ten US R&B single. The success of Cry To Me must have seemed like a good omen when the album Cry To Me was released later in 1975. Again it was produced by Floyd Smith and featured tracks penned by some of the most talented songwriters of the time. Sam Dees wrote or co-wrote five or the tracks on the album, including Cry To Me, The Show Must Go On and Help Me My Lord. Loleatta wrote one track, I’ll Be Gone, while the album’s best track was Casanova, an Armstead and Middlebrook penned track. With tracks of this quality on the album, hopes were high for the album’s success. However, neither the album, nor the second single I Know Where You’re Coming From, matched the success of Cry To Me. This was a huge disappointment for Loleatta, on what would be her final album for Aware.
After this, Loleatta only released one more single on Aware, Only A Fool towards the end on 1975. Like its predecessor, I Know Where You’re Coming From, the single wasn’t a commercial success. As if this wasn’t bad enough, worse was to come when Michael Thevis became a wanted man. The FBI wanted to speak to him, but he decided to go on the run. Not long after this, the Aware label collapsed, and Loleatta signed to Gold Mine Records.
Having signed for Gold Mind Records, a subsidiary company of the famous Salsoul Records, Loleatta recorded some of her best known tracks Runaway, Dreamin’ and Hit and Run. On these tracks, she was fortunate to work with The Salsoul Orchestra. Three of their most important members were the legendary Baker-Harris-Young rhythm section. Previously, they’d been part of the legendary M.F.S.B., playing on many of Philadelphia International’s biggest singles and albums. This included The O’Jays and Harold Melvin and The Blue Notes, as well as working with The Delfonics and founding The Trammps. Together with The Salsoul Orchestra, Loleatta entered one of the most successful and productive periods of her career. Today, tracks like Runaway and Dreamin’ are considered classic tracks, that still fill dance-floors today.
Later, in Loleatta’s career, she reinvented herself, singing on house tracks like Crash Goes Love and So Sweet. Another hugely successful house track controversially featured Loleatta’s vocal. Black Box’s Ride On Time was the biggest selling single in the UK in 1989, reaching number one. It featured a sample of Loleatta’s vocal on Love Sensation. This lead to Loleatta’s having to successfully sue the group to receive her share of the royalties. Two years later, in 1991, Loleatta had her first ever number one US single, with Marky Mark and the Funky Bunch’s single Good Vibrations featuring samples of Loleatta’s vocal on Love Sensation. Having sold over 500,000 copies, the single was certified gold, resulting in the only gold record of Loleatta’s career.
Sadly, in March 2011, Loleatta Holloway died aged just sixty-four. Music lost one of its most recognizable voices and a hugely talented singer, whose music had crossed the musical genres. From soul to disco and house, Loleatta Holloway’s vocal graced a huge number of records, loved by many and even today, filling dance-floors the world over.
Having told you about Loleatta’s career, I will now revisit Loleatta’s two albums on Aware Loleatta and Cry To Me, picking my favorite four tracks from each album, and tell you just what made them such great slices of what became known as the Hotatlanta Sound.
LOLEATTA-LOLEATTA (AWARE RECORDS 1973).
One of my favorite tracks from Loleatta is We Did It, a track written by Syl Johnson, who recorded a number of albums for Hi Records in the seventies. It’s a fast paced groover of a track, with blazing horns accompanying the rhythm section and guitars before Loleatta’s powerful and joyful vocal enters. She’s accompanied by female backing vocalists, whose voices soar emotively in unison. Behind her, chiming guitars, a driving rhythm section and occasional bursts of braying horns complete an arrangement that’s fast and dance-floor friendly, and perfect for Loleatta’s emotionally charged rendition of Syl’s lyrics. However, what makes this such a great track is Loleatta’s emotive and explosive vocal, made all the better by the addition of the backing vocalists.
Only A Fool is a much slower, but hugely atmospheric track. The growling introduction sees a mixture of the rhythm section and dual guitars combine slowly and moodily before Loleatta’s vocal enters. When it does, its a powerful and defiant vocal, accompanied by rasping horns. They combine with the guitars and rhythm section to provide a wonderfully, repetitive, moody and atmospheric backdrop for Loleatta to sing about her dysfunctional relationship. Again, female backing vocalists accompany her, their voices providing a contrast to Loleatta’s much stronger vocal. The success of the track is due to the arrangement and Loleatta’s vocal which is full of emotion, frustration and defiance.
Sam Dees provided a number of songs for Loleatta during her time on Aware. He wrote So Can I a lovely slow track, with a lush string lead arrangement. It’s chiming guitars, piano and lush strings that open the track before a much more restrained from Loleata enters. Her vocal is full of emotion and pride at being able to live without her cheating partner. Meanwhile, the arrangement isn’t without an understated sense of drama, provided by the strings, guitars, piano and rhythm section, either separately, or together, during the song. As the song progresses, Loleatta’s vocal grows in strength and passion, as she brings Sam Dees’ brilliant lyrics to life during one of her best performances on the album. Add to this a stunning arrangement from Floyd Smith that’s a melodic masterpiece and it’s easily one of the best tracks on Loleatta.
The only track that surpasses So Can I, is Part Time Love, Full Time Full, written by Floyd Smith. It’s a track that combines one of the most impassioned, emotive reading of lyrics you’ll ever hear with an arrangement that’s drenched in emotion and atmosphere. Against a slow backdrop of wailing organ, piano, rhythm section, guitars and gently, rasping horns Loleatta gives a realistic rendition of the lyrics about a cheating husband. Female backing vocalists subtly accompany Loleatta, their addition just the finishing touch on what’s not only a hugely, moving track, but one of Loleatta’s best recordings on Aware.
Listening to Loleatta, it seems strange that the album wasn’t a much bigger success. The album featured some excellent tracks penned by a number of hugely talented songwriters. Ashford and Simpson, Sam Dees and Van McCoy either wrote or co-wrote tracks on the album. Loleatta brought these tracks to life using a combination of emotion, passion and power. Her manager and husband Floyd Smith produced the album, with his arrangements of the Sam Dees penned So Can I and Part Time Love, Full Time Full which Floyd wrote himself, being two of the best arrangements on the album. One wonders whether Aware was maybe the wrong label for Loleatta Holloway, and whether she might have been better on another label who could’ve promoted her music much better and more effectively. After all, Loleatta was a hugely talented singer and songwriter whose music deserved to be heard by a much wider audience. Standout Tracks: We Did It, Only A Fool, So Can I and Part Time Love, Full Time Full
LOLEATTA-LOLEATTA (AWARE RECORDS 1973).
LOLEATTA HOLLOWAY-CRY TO ME (AWARE RECORDS 1975).
One man who played an important role in Cry To Me, was Sam Dees. he wrote or co-wrote five of the tracks on the album, including the opening track Cry To Me, which was Loleatta’s most successful US R&B single, reaching number ten. A piano plays slowly as Loleatta’s half-spoken vocal enters, accompanied by chiming guitars and rhythm section. Her vocal is devastatingly sad, as she sings about her relationship breaking up, her man packing his bag and heading for the door. As he leaves, she sings if he needs a friend he’s got her. By now both her vocal and the arrangement have grown in power and drama. Strings sweep in, while the rhythm section add drama and backing vocalists accompany Loleatta hugely powerful, emotive vocal. Over nearly six minutes, Loleatta sings her heart out, accompanied by one of the best arrangements on the album. It’s almost impossible to listen to the track without getting caught up in the emotion and sadness of Sam Dees excellent lyrics. A quite brillant track.
The Show Must Go On is another slow, Sam Dees track that has similarities to Cry To Me. There’s a half-spoken drama laden introduction where chiming, shimmering guitars, swirling strings and the rhythm section combine before Loleatta’s dramatic, powerful vocal enters. Like before, she’s accompanied by gospel tinged backing vocalists as she sings about her turbulent relationship and the pain and sadness it’s caused her, but vows that the show must go on. The interaction between Loleatta and her backing vocalists works really well, so does the applause that cuts in, while lush strings sweep and swirl and horns blaze. Together, the combine brilliantly to help create a dramatic backdrop for Loleatta’s defiant and dramatic vocal.
Curtis Mayfield wrote Just Be True To Me, another slow, drama laden track, with strings at the heart of the introduction. They swirl grandly, while flourishes of drums, braying horns and guitars combine, to accompany a thoughtful vocal from Loleatta. Her voice is a bit more restrained, while behind her a full, dramatic arrangement unfolds. Stabs of keyboards, swirling strings and percussion play important parts in the arrangement’s success.
JOHN GARY WILLIAMS-JOHN GARY WILLIAMS.
JOHN GARY WILLIAMS-JOHN GARY WILLIAMS.
Sometimes, an otherwise good album is released at just the wrong time, and as a result, the album fails to do as well commercially, as it should’ve done. This was the case with John Gary Williams self-titled debut album John Gary Williams. His album was released just as Stax was experiencing financial problems that would result in the label folding. Sadly, this meant that the two times the album was released, it never received the promotion or attention it deserved. The album was first released in 1974 on the main Stax label, but failed commercially. John’s album wasn’t the only album to suffer at this time. Shirley Brown’s album Woman To Woman suffered much the same fate. She’d just had a number one US R&B single, and Stax decided to release an album of the same name. However, when it was released, it wasn’t a huge success, stalling at number eleven in the US R&B Charts and number ninety-eight in the US Billboard 200. Part of the problem was the lack of marketing and promotion of the album. Unfortunately, the same problem affected John’s album. A year later, in 1975, John Gary Williams was rereleased, this time on the Truth label, a subsidiary of Stax that released gospel music. Essentially, it was the same album with the Stax logo on the album, and a Truth label on the album cover. Like the release on Stax, the album failed commercially. By this time, Stax’s financial problems were almost critical, and even managing to find the funds to release a new single on Truth to accompany the rerelease of the album was a struggle. Eventually, Come What May was released as a single, which John regarded as his best single on Stax. It was destined to go the way of the album, failing commercially. By the end of 1975, Stax was no more, and the once great label folded. That was the end of John’s solo career, and saw him returning to his old group The Mad Lads.
John had been a member of The Mad Lads since signing for Stax in 1964. He had formed the group, then know as The Emeralds in high school. Along with William Brown, Robert Phillips and Julius Green, the group specialised in singing harmonies, in the same vein as The Impressions. Their sound was somewhat at odds with the much more gritty sound that Stax specialised in. There was a huge change in the group’s circumstances, when in 1966, John was drafted. By the time he returned home, he too had changed, becoming radicalized whilst in Vietnam. He started to get involved with The Invaders, a group connected to The Black Panthers. At this time, The Mad Lads’ music was hitting its peak, the group releasing some of their best music. However, around 1972, the group split, because of friction within the group. John’s career was also changing, with him wanting to become a solo artist.
Two years later, with the help of some of Stax’s musicians, including Michael Toles on guitar, Marvell Thomas on keyboards and Hot Buttered Soul on backing vocals, John’s solo album John Gary Williams was complete. Of the eight songs on the album, John wrote two and cowrote three others. He also produced five of the tracks and co-produced the other three with Willie Hall. So, with a cast of hugely talented musicians, John had produced his only solo album, which I’ll now tell you about.
John Gary Williams opens with I See Hope, a track with a lovely lush arrangement and a positive message. Swirling, sweeping strings accompany a funky rhythm section, The South Memphis Horns and chiming guitars which accompanies John’s tender vocal. Behind him, subtle, equally tender, backing vocals are provided by Hot Buttered Soul as the arrangement unfolds into a combination of sweeping, funk laden music, with Gary’s fragile voice sitting atop the arrangement. John and Carl Smith’s lyrics are a message of positivity and hope, about peace and equality. Together with John’s tender vocal and an arrangement that’s both lush and funky, it’s an irresistible and outstanding track. Hopefully, the rest of the album will be just as good.
There’s a change in tempo and style on I’m So Glad Fools Can Fall In Love. It’s a slow, tender ballad which John co-wrote with Lester Snell. This love song opens with John singing tight and gentle harmonies, which must take him back to his days with The Emeralds and Mad Lads. Behind him, the arrangement has an understated sound, which opens out to reveal piano, percussion, lush strings and a slow rhythm section. Guitars chime and shimmer, accompanying a harp while John’s vocal is slow and gentle, full of emotion and drama. He sings about being in love and how he came so close to loving the one he loves. Backing vocalists veer between a tender style to an emotive dramatic style. Add to that a thoughtful bass line that sits at the front of the arrangement, and it’s a hugely sad yet joyous track, one full of emotion and drama.
Honey is another of the slower tracks on the album, and is the first cover version, written by Bobby Russell and originally recorded by Bobby Goldsboro. John transforms Goldsboro’s saccharine pop hit, turning it into a quite beautiful slow, sad song, drenched in emotion and drama. The arrangement opens with chiming guitars reverberating before strings sweep in, accompanied by the rhythm section, piano and percussion. Against this slow and understated backdrop, John gives a heartfelt delivery of the lyrics. Throughout the arrangement there’s plenty of space within the music which suits John’s vocal and the sadness in the lyrics about a girlfriend who died suddenly. The longer the arrangement progresses, the better it gets, with a harp, piano and the lushest of sweeping strings helping to create the perfect backdrop for John’s tender and thoughtful vocal. By the end of the track, John has transformed the track, turning it into a quite beautiful saccharine free song.
The final track on side one of the original album was Loving You It (Ain’t Easy) sees the tempo increase slightly, on a track John wrote himself. It’s a song about the difficulties of being in a relationship and the betrayal that sometimes happens. When the track opens, there’s a dramatic and lush sound present, when the rhythm section combine with braying horns, before strings sweep in. Later, a piano, guitars and harp enter, accompanying John’s emotional, slightly sad vocal. He’s sad because his girlfriend is cheating on him, but still loves her. Guitars chime and shimmer, soaring, as they add a touch of drama, while lush strings add a sense of sadness, their sound matching the tenderness and fragility of John’s vocal. Overall, it’s another beautiful track, thanks to an arrangement that combines sadness, emotion and drama. Add to that John’s emotive, disconsolate vocal, and it’s a winning combination, resulting in one of the albums best tracks.
Side two of the album opens with Ask the Lonely, the second of the cover versions on the album. The song is written by William Stevenson and Ivy Joe Hunter and features another atmospheric vocal from John and slow, lush arrangement. Chiming, shimmering guitars and fluglehorn combine with percussion and rhythm section before John’s slow, emotive, voice briefly soars. After that, he give a heart breaking delivery of the lyrics about loneliness and broken relationships. Above the arrangement, floats a fluglehorn and flute, which together with shimmering guitars and slow drums create an arrangement drenched in emotion and sadness. This is the perfect backdrop for John’s deeply moving vocal, which is one of his best vocals on the album. Not only that, but it’s one of the most moving tracks on the album.
The third and final cover version of the album was Yvette Davis’ track How Could I Let You Get Away. It opens with grand, slow strings that swirl combining with the rhythm section, keyboards and guitars. They accompany John’s half-spoken introduction which gives way to the vocal proper after a dramatic flourish of drums. After that, John’s almost sweet, slow vocal is full of regret, having let the one he loved slip through his fingers. Later, his voice grows in strength, the pain and loss apparent, as his voice soars, sadness and regret never far away.Matching the regret and sadness in his voice is the arrangement. It’s slow and full of lush, sweeping strings, rasping horns and dramatic rhythm section. This combines beautifully with John’s vocal, resulting in a hugely emotive track, drenched in sadness and regret at the love he lost.
Open Your Heart (and Let Love Come In) opens with a slow and full arrangement, which sees slow, sweeping strings, piano, rhythm section and guitars combining with subtle woodwind before John’s vocal enters. His voice soars high, full of emotion, while backing vocalists accompany him, on this love song. Here the lyrics are quite beautiful, John wanting to fall in love with a woman, and help her to forget the pain and hurt of her past. Behind him, the arrangement is complex, with layer upon layer of sounds revealing themselves. Like other tracks, lush sweeping strings play an important part in “setting the scene,” while subtle horns, the rhythm section, piano, harp and chiming guitars fill out the sound. They create an arrangement that’s slow, laden in emotion and ultimately, designed to tug at your heartstrings. When you add John’s gentle, tender vocal to this, it’s a stunning combination, and a gorgeous song about love.
John Gary Williams closes with The Whole Damn World Is Going Crazy. Whether the lyrics were influenced by John’s experiences in Vietnam, is open to speculation. Certainly, the world he returned to, was very different, and this continued to be the case into the mid seventies, with the faux peace and love of the sixties long gone. When the track opens, the tempo is quicker, the rhythm section and swirling strings accompanying John’s vocal. They’re joined by rasping horns, guitars and backing vocalists as the track progresses. Meanwhile, John’s voice is tender, but full of disbelief at the things he’s witnessing. Neglect, cruelty, violence and hate are just some of the things that’s lead John to this conclusion. Although it’s a quite different track, because of the tempo and subject matter, it features a good vocal from John and a stirring, sweeping arrangement. They combine to create a song with a social conscious that seems a fitting way to end the album.
Before I bought this album, my only exposure to John Gary Williams’ music was through his work with The Mad Lads and hearing three of his singles on The Complete Stax Volt Soul Singles 1972-1975 box set. When I heard these songs, I realized that John was a hugely talented artists although I wasn’t sure of his cover of My Sweet Lord, a track I’m far from a fan of. I much preferred the other two tracks Come What May and The Whole Damn World Is Going Crazy. Then last year, I noticed that BGP had rereleased John’s only solo album. This I knew was a must have, and from the first time I heard it, I was smitten. It’s one of these albums where one great track follows another. There aren’t any bad tracks on the album, just winners and no filler. Since then, it’s been an album I’ve played many times, each time, loving the album even more. To me, it’s one of these hidden gems of an album that you sometimes discover. Previously, many albums have been described as “lost albums” and “previously unreleased,” and often, there’s a very good reason for this, they aren’t very good. This is far from the case here. It’s an excellent album, full of some lush arrangements and tender, emotive vocals. If you’ve never heard the album, it’s one that’s well worth buying, and will quickly, become one of your favorites. That was the case when I bought this album, a hidden gem by John Gary Williams, singer, songwriter and producer. Standout Tracks: I’m So Glad Fools Can Fall In Love, Loving You It (Ain’t Easy), Ask the Lonely and Open Your Heart (and Let Love Come In).
JOHN GARY WILLIAMS-JOHN GARY WILLIAMS.
THE STAPLE SINGERS-BE ALTITUDE: RESPECT YOURSELF.
THE STAPLE SINGERS-BE ALTITUDE: RESPECT YOURSELF.
One of the most important moments in The Staple Singers career was when the Reverend Jesse Jackson advised Al Bell to produce the group’s music himself. Before this, Steve Cropper Booker T and The MG’s guitarist and producer, had been in charge of producing the groups two previous albums. Previously, the group had been with Epic, but had been signed with Stax Records in the summer of 1968 by Al Bell, the company’s vice-president. Al Bell was a longtime friend of the Staples’ family, with their friendship having started in the mid-fifties. The Staple Singers’ two previous albums for Stax had been well received, but although full of good music, weren’t huge commercial successes. This must have been frustrating for the Staples’ family, who had signed their first recording contract back in 1952. However, with the intervention of the Reverend Jackson, and some decisive action from Al Bell, all that was about to change.
After Al Bell had spoken to Reverend Jackson, he decided to take the great man’s advice, and produce the group himself. Quickly, Al Bell decided that, instead of using the house band to play on The Staple Singers’ forthcoming album, he’d head down Highway 98, to another legendary studio. With The Staple Singers in tow, Al headed for Muscle Shoals, Alabama. Once there, he enlisted the services of The Muscle Shoals Rhythm Section and The Memphis Horns. Having laid down both the backing tracks and vocals, Al and The Staple Singers headed back to Memphis and the Stax studios on McLemore Avenue. Once there, the vocals were rerecorded, with the ones recorded at Muscle Shoals just being rough takes. Only one problem had to be resolved, when Purvis Staples decided to quit music, and set up his own management company. His sister Yvonne was brought in, and she sang his parts on the album. After this, overdubbing and mixing were completed, everyone realized that the album was not only very different to the groups previous albums, but very good indeed.
When Be Altitude: Respect Yourself was released in 1972, it became The Staple Singers’ most commercially successful album. It reached number nineteen in the US Billboard 200 and number three in the US R&B Charts. Three singles were released from the album. Respect Yourself the first single, was released in 1971, reaching number twelve in the US Billboard 100 and in the US R&B Charts. This would be surpassed by the second single I’ll Take You There, released in February 1972. Written and produced by Al Bell, it reached number one in both the US Billboard 100 and US R&B Charts. The final single taken from the album, was released later in 1972, and was This World. It failed to match the success of its two predecessors, only reaching number thirty-eight in the US Billboard 100 and six in the US R&B Charts. However, this period was the most successful of the group’s long career. They’d just had a number one single, three top ten singles in the US R&B Charts and in Be Altitude: Respect Yourself, an album that had just reached the top twenty. The big question was why was Be Altitude: Respect Yourself such a huge success, and what had changed in The Staple Singers’ music? That’s what I’ll now tell you.
Be Altitude: Respect Yourself opens with The World, the third single released from the album. It has a quite spectacular start with a soaring guitar assailing you from the right, before drums kick in at your left. They’re accompanied by bursts of blazing before the vocal enters. When it does, Mavis’ voice is a mixture of joyousness and restrained power. Behind her, a pounding driving rhythm section of David Hood on bass and drummer Roger Hawkins accompany the dual guitars of Jimmy Johnson on rhythm and Eddie Hinton on lead. Their playing is fantastic, fast and accurate, as their guitars chime, soar and scream. Together with the bursts of braying horns, they produce a fast paced, uptempo and joyful accompaniment to Mavis’ vocal. Although the track may have only reached number thirty-eight in the US Billboard 100 and six in the US R&B Charts, it’s a much better track than that. Three and a half-minutes where a fantastic vocal and arrangement unite, to produce one of the album’s best tracks.
If you were to ask most people to name a track by The Staple Singers, most would say Respect Yourself. Since its release, it has become one of the group’s best known and best loved tracks. It’s that familiar opening with keyboards, rhythm section and horns blazing before Pops’ understated vocal enters. Behind him, the rest of the group sing backing vocals, while a pounding rhythm section, guitars and keyboards accompany them. The lead vocal changes hands several times, with Mavis powerfully telling everyone to respect themselves. According to Mack Rice, the song was about encouraging African American people to respect themselves. This song about self-empowerment became important at a time when the civil rights movement was just about over. Meanwhile, the band have locked into a funk groove, and are feeding off each other, encouraging one another to greater heights. During the track, they, like The Staple Singers, just get better as the song progresses. It’s a stunning track, and by the end of the track, everyone involved must have realized that they’d just laid down a classic track.
Name the Missing Word is very different from the two previous tracks when it opens. It’s slow, spacious, floaty sound with chiming guitars rhythm section and keyboards being joined by subtle bursts of horns before Mavis slow, thoughtful vocal. Her vocal is both hugely emotional, laden with power and even a little anger, as she sings about a turbulent relationship. Quickly, the arrangement fills out, becoming fuller, melodic keyboards and chiming guitars. Add to this a harmonica solo that’s compliments the emotion in Mavis’ vocal, and lush, sweeping strings which get across the sadness and heartache in the lyrics. Together, they create a dramatic, slow arrangement. This is perfect for Mavis’ vocal which is translates the drama and emotion of the lyrics perfectly. Although very different from Respect Yourself, it demonstrates the versatility of The Staple Singers and their confidence in singing a variety of different styles of song.
The follow-up single to Respect Yourself was I’ll Take You There, which gave the group their first number one single in February 1972, spending just one week at number one. Their second and last number one single was 1975s’ Let’s Do It Again, written by Curtis Mayfield and released on his Curtom label. This song was part of the soundtrack to Sidney Poitier and Bill Cosby’s film, Let’s Do It Again. However, I’ll Take You There is one of the most moving songs on the album, albeit one with a lovely, feel-good sound. During the track, Mavis asks everyone to find heaven. When you listen to the introduction, many people will recognize it as being part of a reggae track The Liquidator. Al Bell wrote the song in one key, C, only using three chords, C, F and A. After the “borrowed” introduction, Mavis pleading, emotive vocal enters, with the rhythm section, chiming guitars and short snaps of horns accompanying her. Later, an electric piano is played by Barry Beckett, while engineer Terry Manning plays harmonica. Both instruments are important in the track’s success. Just as important were The Memphis Horns soulful contributions, which can be heard throughout the track. Like on many other tracks and albums, they helped transform the track. However, without Mavis almost preaching vocal, this wouldn’t have been the same track. Here, she demonstrated just how hugely talented a singer she was, giving a powerful, moving and emotive performance on this brilliant track.
Keyboards, percussion, rhythm section and guitars combine with The Staple Singers as This Old Town (People In This Old Town) opens. The song has elements of soul and funk in the driving arrangement and features Mavis giving another powerful vocal. Behind her, the rest of the group contribute backing vocals and tight harmonies while The Muscle Shoals Rhythm Section provide a funk laden arrangement. This sits well with Mavis soulful lead vocal and equally soulful contributions from the rest of the family. Towards the end, blazing horns cut in, as the boys from Muscle Shoals lock into another groove, driving the track along to its conclusion. From beginning to end, this song doesn’t disappoint, thanks to another great arrangement from Al Bell and the Muscle Shoals crew and of course, the intensity and emotion of Mavis Staples vocal.
When We the People opens, the track is spacious, even hesitant, with the rhythm section, keyboards and blazing horns entering. They seem unsure of whether to stick or twist, whether the track is going to be fast or slow, funky or soulful. In the end, Mavis grabs the track by the scruff of the neck, and with the help of the family and Muscle Shoals finest musicians, waves of spacious music unfold. It’s mainly the rhythm section, keyboards, guitars and braying horns that are responsible for this. During the track, the lead vocal changes hands, but always sounds best when Mavis regains control of the microphone. She’s definitely the star of the Staples’ family. Although the track started hesitantly, things got back on track, ultimately resulting in a good track, although maybe not as good as others on the album.
It’s a much more understated sound on Are You Sure, a track that’s very different but very good. Keyboards, chiming guitars and rhythm section accompany the group. Their vocals unite to produce a much more gentle, subtle sound. Behind them, the arrangement has similar qualities, understated, never once overpowering the vocal. When Mavis sings the lead, her voice grows in power and emotion as she sings the questioning lyrics. It gives way to the previous understated sound. Meanwhile, the arrangement now includes percussion and a mellotron, and meanders beautifully along providing a sympathetic backdrop to the vocal. Taken to together, the vocal and arrangement combine to produce a quite different track, but one that’s very good.
Who Do You Think You Are (Jesus Christ the Superstar)? is written by Roebuck “Pops” Staples and sees the group include another gospel influenced track. It’s the only track on the album that doesn’t quite work for me. The arrangement is good, with the addition of the hugely atmospheric Hammond organ a masterstroke. It wails beautifully throughout the track, especially as the track opens. It accompanies the rhythm section and vocal which are all slow and moody. Behind the Pops’ vocal, the rest of the group contribute backing vocals, while subtle strings sweep in, and chiming guitars play. My problem with the track is Pops vocal, it isn’t celebratory or joyful enough for the subject matter. If his voice was more like the backing vocals, it would be much better. Either that, or he should’ve let Mavis sing the song, she’d have transformed the track into what it could and should’ve been, joyous.
A Hammond organ plays, accompanied by rhythm section, guitars and blazing horns before Mavis sings a joyous vocal as I’m Just Another Soldier opens. There’s a spiritual nature to the lyrics, which Mavis brings to life magnificently. This is helped by an equally joyous arrangement which has the Hammond organ and rhythm section at its heart. Mavis is transformed into a soldier of the Lord, marching at the beat of his drum, preaching about love. As the track progresses, it veers between a march and a swinging arrangement with horns a swinging, while guitars chime, and the Hammond and rhythm section add drama and emotion. Apart from the arrangement, it’s Mavis joyful, celebratory vocal that brings this song to life, making it such an uplifting track. This proves my point about the last track, that if Mavis had been handed the vocal duties, it would’ve been a much better track.
Be Altitude: Respect Yourself closes with Who, which opens with keyboards, chiming guitars and rhythm section combining before Mavis’ dramatic vocal enters. Adding to the sense of drama is a Hammond organ and then sweeping strings that enter. Together, they combine with Mavis’ hugely emotional and passionate vocal about God and what he’s done, and does for everyone. Again, Mavis transforms the lyrics, breathing life and energy into them, with her gospel tinged vocal. Behind her, the arrangement is perfect for her vocal. It’s a stirring mixture of drama and emotion, full of energy that the band produce. They seem to lock into another groove, one that’s got made in Muscle Shoals written all over it. With an arrangement as good as this, combining with Mavis vocal, this is a fitting way to end the album, with a track that highlights The Staple Singers’ gospel roots.
I’ve thoroughly enjoyed reviewing Be Altitude: Respect Yourself, especially now that I’ve got a copy of the newly rereleased and remastered copy of the album. Joe Tarantino’s remastering of the album brings the album to life. Now it’s possible to hear things on the album that previously, you’ve never heard before. If you’ve got a previous copy of the album, and are unsure whether to buy this version, I’d recommend you to do so. Not only is the sound quality excellent, but it features two bonus tracks Walking In the Water Over Our Head and an alternate take of Heavy Makes You Happy, which are both good tracks. The album itself features for me, the best music The Staple Singers recorded on Stax. Al Bell’s decision to use the famed Muscle Shoals musicians was a controversial one, but one that ultimately, was a masterstroke. Doubtless, Steve Cropper must have been unhappy losing his control of the group’s music, given that their two previous albums had featured some great music. However, they weren’t commercially successful, that was the problem. Once Be Altitude: Respect Yourself was released, Al Bell’s decision was vindicated, after all a number one single and top twenty album was a pretty good result. Sadly, The Staple Singers next two albums on Stax, Be What You Are and City In the Sky failed to recreate the success of Be Altitude: Respect Yourself. Be What You Are released in 1973 only reached number 103 in the US Billboard 200 and number thirteen in the US R&B Charts. 1974s’ City In the Sky stalled at number 125 in the US Billboard 200 and number thirteen in the US R&B Charts. Of the six albums The Staple Singers released on Stax, Be Altitude: Respect Yourself was not only the most successful, but the best. They never bettered this album on Stax, and this is album to buy if you want to hear The Staple Singers at their very best. If you do, make sure you buy the newly remastered version, for the brilliant sound quality, which helps you to enjoy the excellent music on the album. Standout Tracks: The World, Respect Yourself, I’ll Take You There and This Old Town (People In This Old Town).
THE STAPLE SINGERS-BE ALTITUDE: RESPECT YOURSELF.
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![Be Altitude: Respect Yourself [Stax Remasters]](https://i0.wp.com/ecx.images-amazon.com/images/I/41tiE8l4U2L._SL500_AA300_.jpg)
AL GREEN-LIVIN’ FOR YOU.
AL GREEN-LIVIN’ FOR YOU.
A couple of nights ago, I was sitting listening to Al Green, one of my favorite Southern Soul singers, when when I realized that it’s been a while since I wrote about his music. Previously, I’ve written about two of his best albums Let’s Stay Together released in January 1972, and The Belle Album released in. Another time, I wrote about one of my favorite Al Green albums, Al Green Is Love, released in August 1975. This time, I’ve chose another of my favorite Al Green albums to write about, Livin’ For You.
Livin’ For You was Al’s seventh album, released back in August 1973. It’s one of Al‘s most successful albums, reaching number twenty-four in the US Billboard Charts and number one in the US R&B Charts. This was the fourth of six consecutive US R&B number one albums Al had. His run of number one R&B albums started with 1972s’ Let’s Stay Together and I’m Still In Love With You, Call Me and Livin’ For You in 1973, Al Green Explores Your Mind in 1975 and ended with Al Green Is Love. During this period, Al Green was one of the most successful artists in music, never mind soul music. Like his previous albums Let’s Stay Together and Call Me, Livin’ For You was certified gold, but was unable to match the success of I’m Still In Love With You which was certified platinum. After Livin’ For You, only Al Green Explores Your Mind was certified gold. Mind you, a haul of four gold and one platinum records was a pretty good return between 1972 and 1975.
Two singles were released from Livin’ For You. They were the title track Livin’ For You in December 1973, which reached number nineteen in the US Billboard 100 and number one in the US R&B Charts. This was Al’s fourth number one single, but the first that didn’t feature Al Jackson Jr., who’d re-joined his old group Booker T and The MG’s. The second single was the joyous Let’s Get Married. Remarkably, it only reached number thirty-two in the US Billboard 100 and number three in the US R&B Charts. Looking back, this seems almost unjust, but when you closely examine the chart placings of Al’s singles and albums, I always think that such great music deserved to fare so much better. Having said that, he received eight gold discs for his singles, with six of his singles reaching number one in the US R&B Charts. His only number on the Billboard 100 was Let’s Stay Together, which was also reached number one in the US R&B Charts. There’s certain sense of symmetry with the Let’s Stay Together album and Livin’ For You. Both albums had title tracks that when they were released as singles, were number one R&B hits and both were the opening track of each album.
Livin’ For You opens with the title track Livin’ For You, co-written by Al with producer and songwriter Willie Mitchell. A combination of gentle horns, Hammond organ, rhythm section and subtle chiming guitars play slowly, as they accompany Al’s raspy vocal. He sounds sad, full of regret and heartache as he asks for forgiveness, while Rhodes, Chalmers and Rhodes supplying beautiful backing vocals. This is all against an emotive backdrop that has at its heart rasping horns, swirling strings, chiming guitars and Hammond organ. Quite simply, it’s a beautiful opening track, featuring Al’s emotive vocal and Willie Mitchell’s trademark excellent arrangement.
Home Again starts slowly and spaciously, with the rhythm section, percussion, guitars, lush strings and braying horns accompanying Al’s joyous but thoughtful vocal. He’s glad to be home and with someone he loves. Behind him, the arrangement is perfect for his vocal with the tempo slow, horns rasping, while percussion and sweeping strings accompany the rhythm section and guitar as they too, play thoughtfully and with a tenderness. Again, the backing vocalists enter at just the right time, their lush and understated contribution lifting the track. When this is combined with Al’s vocal and the slow, spacious arrangement, it’s a winning combination, resulting in another tender and beautiful track.
Swirling, dramatic strings, chiming guitars and rhythm section combine to produce a slow, lush arrangement before Al’s vocal enters on Free At Last. There’s a sense of relief, yet sadness in his voice, when he sings about being free at last from a relationship that’s gone wrong. Meanwhile, guitars chime and the rhythm section provide the track’s heartbeat. Strings sweep in the background, and a Hammond organ adds an emotive and atmospheric sound, while the backing vocalists cut in, providing a contrast to Al’s powerful and emotive vocal. Of all the tracks on the album, this has long been a favorite of mine, because of the feeling and emotion in Al’s voice. To me, this is one of the album’s best tracks.
Joyful is the word that best describes Let’s Get Married. From the opening bars, when the rasping horns cut in, to be joined by guitars, the rhythm section and wailing, atmospheric Hammond organ, it’s just five and a half joyous music. Rhodes, Chalmers and Rhodes provide some of their best backing vocals on the album and the Memphis Horns give a masterclass. When the strings sweep, their sound is lush, yet almost serene. Al’s sings the lyrics he wrote himself joyously, turning this song into a pleading paean to love and happiness. The addition of the organ and horns behind his vocal is a masterstroke, multiplying his desire, pleas and longing. When the track ends, you feel that no woman would be able to resist the seductive, pleas and charms of Al Green.
The style changes on So Good To Be Here, which sees Al return home after an absence, caused by an affair. The tempo is slow, the sound understated, with percussion, the rhythm section, sweet, sweeping strings and an atmospheric Hammond organ combining perfectly. Add to this keyboards and chiming guitars, and this is the perfect backdrop for Al’s vocal. His voice is a mixture of joy and hope, tinged with regret and sadness. Again, the arrangement translates all these emotions perfectly, with strings lush and slow designed to tug at your heartstrings and like the Hammond organ, add atmosphere. Meanwhile, the tempo is kept slow, the rhythm section leaving space throughout the track, This too, adds to to a hugely emotive sound, which when combined with Al’s vocal works really well, resulting in a hugely moving track.
Another track written by Al was Sweet Sixteen. In total, Al wrote five tracks on the album and co-wrote three others. Sweet Sixteen is a quicker track, with swirling strings, blazing horns, driving rhythm section and guitars accompanying Al. His voice is strong, as he accentuates some of the notes dramatically. During the track, a smitten Al sings about having fallen for a much younger women. Horns punctuate the track, while the strings swirl and a punchy rhythm section drive the track along. Although the arrangement is faster and fuller, and Al’s voice laden with passion and desire, I’ve always felt that these weren’t Al’s best lyrics. This doesn’t mean it’s a bad song, just one that’s not as good as others on the album.
Only one cover version features on Livin’ For You and that’s Unchained Melody. Al really slows the song down, turning it into an emotive, slice of Southern Soul. A combination of wailing Hammond organ, slow, rhythm section and sweeping, swirling strings combine before Al’s slow and tender vocal enters. Behind him, the band keep the tempo slow and drenched in sadness and emotion. This is accentuated by the slow, strings, Hammond organ and gospel tinged, backing vocals that accompany Al. Together, they totally transform the song, turning it into a hugely emotive, moving and beautiful song, featuring one of Al’s tenderest vocals on the album.
My God Is Real indicates the direction Al’s life and music was heading. By 1976, he was an ordained Pastor, forsaking secular music for gospel music. Having said that, it’s a hugely impassioned vocal from Al, accompanied by an outstanding arrangement. When the track opens, it’s just Al accompanied by a Hammond organ, chiming guitars and rhythm section. Quickly, the arrangement grows, grand strings sweeping in, joined by some lovely backing vocals. Suddenly, rasping horns enter, just as the arrangement sounds hesitant. One of their contributions brings to mind a hook from Let’s Get Married. However, quickly, this dissipates and the they help produce a powerful and passionate gospel tinged sound, with the help of backing vocalists, piano and Hammond Organ. By the end of the track, Al has demonstrated the strength of his faith and what it meant to him back then.
Livin’ For You closes with Beware, another track written by Al. It has a gentle, almost hesitant start, with chiming guitars, keyboards and rhythm section combining. When Al’s tender vocal enters, this changes, with the tempo slow and the sound having a subtlety. It’s just chiming guitars, keyboards, Hammond organ and rhythm section that accompany Al, with the backing vocalists occasionally contributing during an epic track lasting eight and a half minutes. During the track, Al sings about wanting to make someone love him. This he does against a backdrop of acoustic and rhythm guitars, wailing Hammond organ and rhythm section, his vocal transformed to a half spoken plea. He’s desperate for love, lonely, wants and need loving. By now the track is almost a jam, with Al’s voice laden in passion, soaring, with along the arrangement, which now includes blazing horns. Although a lengthy track, it allows Al to improvise, taking his music in another direction, one with a looser, more freeform structure. I really like this track, but many people may not. They may prefer Al’s much more usual style. However, personally, this is a good way to end the album, allowing Al and his band to demonstrate their talent and versatility.
By the time Al released Livin’ For You, he was on a roll. He’d released a number of hugely successful albums, that started Let’s Stay Together, through I’m Still In Love With You and Call Me his previous album. Al had become a talented songwriter writing five and co-writing three other tracks on the album. Of these tracks, only Sweet Sixteen lets the album down slightly. Apart from that, Livin’ For You is an excellent album, with Al at his very best, his voice laden with a combination of everything from emotion and passion, to sadness and regret. As usual, Willie Mitchell produced the album, bring out not only the best in Al, but the best on every musician on the album. Playing on the album, were the creme de la creme of Memphis music. From the rhythm section, Memphis Horns and Memphis Strings, to Rhodes, Chalmers and Rhodes, the album is a combination of hugely talented people combining brilliantly to produce some of the best Southern Soul of the seventies. If you’ve never heard this album, it’s well worth buying. Along with all of Al’s music between 1971 and 1977, it deserves its part in any self-respecting record collection. Back then, Hi Records had some hugely talented artists on the label, including O.V. Wright, Otis Clay, Syl Johnson and Ann Peebles. For anyone who loves Southern Soul, Hi Records is a veritable feast just waiting to be devoured. However, the man who put Hi Records on the map is Al Green, with brilliant albums like Livin’ For You. Standout Tracks: Livin’ For You, Home Again, Let’s Get Married and So Good To Be Here.
AL GREEN-LIVIN’ FOR YOU.
IRMA THOMAS-IN BETWEEN TEARS.
IRMA THOMAS-IN BETWEEN TEARS.
Irma Thomas, The Soul Queen of New Orleans career in the music business has spanned six decades, with her first single (You Can Have My Husband But) Don’t Mess With My Man on the Ron label charting back in 1960. Since then, Irma has recorded for some of the best know soul labels, including Minit, Chess and Imperial. She was a contemporary of artists like Gladys Knight, Aretha Franklin and Dionne Warwick. Unlike her contemporaries, Irma never found the mainstream success they enjoyed. Sadly, her longevity didn’t translate into commercial success, but Irma Thomas is a hugely respected artist who has released over a dozen albums and over thirty singles. One of these albums was Irma’s third album In Between Tears, released in 1973 on the Fungus record label. This album was later rereleased in 1981 on the Charly label.
In Between Tears saw Irma team up with legendary producer Swamp Dogg with Duane Alman playing guitar. Due to the hurricane in 1969 that had reeked havoc Irma’s beloved New Orleans, she had to move Los Angeles. Once there, her musical career was put on hold, with Irma working in the retail sector. That was until 1973, when Irma released the single She’ll Never Be Your Wife on the Fungus label. Her comeback was complete when she entered the studio with Swamp Dogg at the helm to record In Between Tears. When the album was released, it wasn’t a huge commercial success, but instead, is now considered a minor classic, which demonstrates just what deep soul is about. The big question is, what difference had irma’s absence from the music industry made to her music, and was there a different sound on Between Tears?
In Between Tears opens with the title track In Between Tears, a track that was written by Jerry Williams Jr. and Doris Troy. When the track opens with chiming guitars, rhythm section and piano accompanying Irma, the tempo is quick, the sound full and Irma’s voice world weary, but strong. She’s backed by sweet, tight, female backing vocalists while, the bass line is fast, strings sweep in adding a sense of sadness, while a piano and chiming guitars complete the line-up. As Irma sings the lyrics, she gets across the sense of anger, sadness and betrayal in the lyrics, about a woman whose husband has left her. Even though Irma’s been away from the music industry for four years, her ability to make a song her own, hasn’t deserted her. She sings the lyrics as if she’s lived them a thousand times, and combined with Swamp Dogg’s faster and fuller arrangement, made all the better by the addition of female backing vocalists, this is an excellent track to start the album.
She’ll Never Be Your Wife was Irma’s comeback single, after a year year absence from music. When the track opens, a piano, swirling strings, guitars and the rhythm section combine before Irma’s vocal enters. Her voice has a deep, throaty sound, perfect for the heartache and pain in the song. The tempo is slower, the sound laden with emotion, grand sweeping strings a wailing Hammond organ the latest addition to the arrangement. Again, Jerry Williams Jr song is about betrayal and a relationship breaking up, with Irma refusing to sign the divorce papers, telling her man, that his new lady will never be his wife. Like the opening track, Irma is able to get across the emotions involved in this situation perfectly, her powerful voice full of anger and bitterness at this betrayal. Backed by another great arrangement from Swamp Dogg, the album just keeps getting better. Hopefully, the next seven songs will be just as good.
It’s a dramatic combination of reverberating guitars, strings drenched in sadness, short bursts of horns and the rhythm section that accompany Irma as These Four Walls opens. Her voice is strong as she sings about how happy she is, being within these four walls, albeit, her man is still married, with a family to feed. Some day, whether in hope or belief, she says, they’ll be together. Accompanying her are female backing vocalists, whose voices soar soulfully in unison, while the arrangement is slow and dramatic, but slightly spoiled by the constant reverberating guitar. It’s a sound that you quickly tire of, and whoever was responsible, spoiled an otherwise excellent arrangement and song. However, regardless of that, Irma’s vocal is hugely emotive, laden with hope and desire.
What’s So Wrong With You Loving Me opens with a slow, spacious introduction, chiming guitars, rhythm section and piano combining before Irma’s strong emotive vocal accompanied by backing vocalists whose voices soar high. The arrangement veers between a slower style and then quickens, allowing both Irma and her band to get across the drama in the lyrics. They’re about two married people having an affair, and how they have to lead a double life, flitting around in pursuit of their forbidden love. During this track, Irma’s voice is a combination of power and passions, constantly questioning. Swamp Dogg’s arrangement is stirring and dramatic, using drums, piano and strings to get across the duplicity and danger this relationship is fraught with. Together with Irma’s vocal, it’s a potent combination resulting in an outstanding track.
It’s a very different sound and style on You’re the Dog (I Do the Barking Myself). Blazing horns, chiming guitars, piano and driving rhythm sections accompany Irma’s powerful, dynamic vocal. She sings about how she feels the roles are reversed in the relationship, how she’s keeping her man and he needs to buck his ideas up. Behind her, chiming sometimes, screaming guitars accompany the bursts of braying horns and dramatic piano while, backing vocalists accompany a now, roaring, screaming Irma, whose frustrated and angry. Although very different in style from previous tracks, this song allows Irma to demonstrate not only her versatility as a vocalists, but her hugely powerful vocal.
The style changes on Coming From Behind/I Wish Someone Would Care. It opens with a monologue from a miserable and weary, but bitter and angry Irma against a backdrop of slow rhythm section, piano and chiming guitars which are interspersed with drama and space. This monologue is about how Irma’s man has left her, how sad and miserable she is, but how she knows he’ll return, which brings out the anger and bitterness in her voice. Although this works well, it maybe goes on a bit too long. Things change when I Wish Someone Would Care starts, with the tempo still slow, the arrangement still featuring those chiming guitars, piano and slow rhythm section. Irma’s voice grows in power, becoming a roar, laden with emotion and sadness, as she almost pleads for somebody to care for her. Her voice sits atop an spacious, understated arrangement, allowing Irma’s voice to take centre-stage. This it does, with her emotive performance having much in common with the previous track. Personally, as much as I enjoyed the monologue, I much prefer the emotion ridden pleas of Irma on I Wish Someone Would Care, a truly impassioned performance.
When Turn My World Around bursts into life, it’s immediately apparent that this track is something special. From the bursts of blazing horns, guitars and driving rhythm section that combine with Irma’s weary vocal, the tempo is quick and the sound full. At a breakneck pace, a brilliant track unfolds, with Irma lost, needing love and affection, her lover having left her. Lush strings sweep in, joining backing vocalists while Swamp Dogg’s arrangement that features braying horns throughout the track, that match the passion and energy of Irma’s emotionally charged vocal. By the end of the track, Irma and Swamp Dogg have worked their magic, creating one of the album highlights.
One thing that I’m not a fan of on a soul album, are rock guitars. That to me is a no-no. Recently, I wrote a review of an Ann Peebles album that featured a track that bore the scars of this aberration. When We Won’t Be In Your way begins, I’m horrified to hear this unwelcome addition. The introduction is drama laden with wailing Hammond organ, dramatic rhythm section and soaring, screaming guitars. They give way to a brow-beaten, weary Irma, who has gathered up her kids and left her husband. Horns cut in, briefly blazing, giving way to more screaming guitars. However, although they succeed in creating a sense of the turmoil Irma’s describing, they overpower everything else. This is unfortunate as it despoils the rest of the arrangement at this point. What’s even worse is that this song features an outstanding and hugely emotive vocal from Irma. The sad thing is that this would’ve been a great song without the screaming, rock guitars.
In Between Tears closes with I’d Do It All Over You, another faster track that sees Irma forget about the sadness and heartache of a relationship, as she sings about how she’d do it all again. There’s a sense of defiance and bravado, even vulnerability in her vocal. Behind her piano, rhythm section and guitars combine to produce as fast paced arrangement, with the addition of blazing horns the perfect finishing touch. Together, they combine to create a fast, furious and fulsome backdrop for Irma’s now, roaring, screaming vocal, which is laden with defiance and bravado. Such an excellent, energetic and dynamic track seems the perfect way to end this album, as anything else would seem like second best.
After four years away from the recording studio, Irma Thomas had lost none of her enthusiasm, energy and talent. On In Between Tears she delivers each song with a mixture of emotions. One minute she’s heartbroken and despairing, the next, she’s feisty, full of defiance and bravado. During some songs, there’s a world weary sound to her voice, as if she’s lived a dozen lives, when in reality, she was only thirty-two. This demonstrates one of Irma’s talents, the ability to bring the story behind the lyrics to life. When she does this, she becomes a masterful storyteller. Of the nine songs on the album Swamp Dogg, aka Jerry Williams Jr. wrote of cowrote eight of them. Not only that, but he produced the album as well. With a crack band behind her, the result was an album that deserved to do so much better. Unlike many albums, this album is long on quality and short on filler. Sadly, the album wasn’t a huge commercial success. It has been released several times since then by various labels, but in my opinion, the best way to buy it is as part of a compilation released by Kent Soul in 2008. It features the album plus the rest of Irma’s 1970s recordings, in total nineteen great tracks. This allows you to hear some brilliant music from The Soul Queen of New Orleans. Standout Tracks: In Between Tears, She’ll Never Be Your Wife, These Four Walls and Turn My World Around.
IRMA THOMAS-IN BETWEEN TEARS.
ANITA BAKER-COMPOSITIONS.
ANITA BAKER-COMPOSITIONS.
Some time ago, I wrote an article of Anita Baker’s seminal 1986 album Rapture, one of my favorite soul albums of the eighties. I’ve long been a fan of Anita’s music, and have for some time, been meaning to write another article on Anita’s music. Today, while I was listening to a number of albums, I came across my copy of Anita’s fourth album Compositions. After listening to what is another of my favorite Anita Baker albums, I decided that this was a good album to write about, because it sees a slight change in Anita’s music, when a jazz influence was introduced to her music. This didn’t affect her popularity though.
Like Rapture and Giving You the Best That I Got, it was produced by Michael J. Powell, who formed the Detroit based soul group Chapter 8, which Anita was the lead vocalist for. He had produced Anita’s two previous platinum certified album. Compositions was released back in June 1990, and featured four songs that Anita either wrote or co-wrote. The album reached number five in the US Billboard 200, was certified platinum and won Anita a Grammy Award for the Best Female R&B Performance at the 1991 Grammy Awards. Unlike the album, the singles released from the album weren’t as successful.Talk To Me was the first single released from the album in 1990. Although it reached number four in the US R&B Charts, it only reached number forty-four in the US Billboard 100. Soul Inspiration, the second single of 1990, only reached sixteen in the US R&B Charts and seventy-two in the US Billboard 100. When Fairy Tales was released as the third single in 1991, it reached number eight in the US R&B Charts. Although the singles failed to match the success of Compositions, Anita Baker’s career was going from strength to strength. After just four solo albums, Anita was one of the biggest soul singers of the time. On Compositions, Anita demonstrated not only her talents as a vocalist, but as a songwriter, writing four of the songs. It’s that album that I’ll now tell you about.
Compositions opens with Talk To Me which Anita cowrote with Michael Powell and Vernon Falls. It’s a piano led track, with the rhythm section, percussion and guitars combining with keyboards before Anita’s thoughtful vocal enters. Her vocal is slow, as she accentuates notes while she asks her partner to talk to her, share his problems and worries. As the track progresses, her alto vocal grows in power and emotion, while a lovely piano led arrangement unfolds. Greg Phillinganes on piano and the rest of this tight band take a welcome diversion into jazz territory, while Anita give’s an outstanding, emotive vocal. If the rest of the album is as good as Talk To Me then this is going to be a magical musical journey.
Perfect Love Affair sees the piano add atmosphere and brief, bursts of drama to the introduction while the rhythm section, percussion and guitars accompany Anita on this slow track. Immediately, this proves to be a fitting predecessor to Talk To Me, with Anita turning back the clock, remembering when she met her partner, and they embarked on their perfect love affair. Meanwhile, keyboards have joined the track, which has the piano at the heart of sound, ably assisted by percussion and the rhythm section. There’s a lushness to this slow, quite beautiful track. Anita’s voice is laden with emotion and passion, with backing vocalists accompanying her later in the track. Like the opening track, both Anita and her band combine brilliantly on a track she cowrote with Joel Davis. Although quite different from Rapture, it still features the trademark vocals of Anita Baker.
Whatever It Takes To Make You Happy is a track that slowly, reveals wave after wave of beautiful music, which as the track unfolds, just gets so much better. During this track, Anita demonstrates her vocal range, delivering the lyrics with a combination of power and emotion. Behind her, the arrangement features a combination slow rhythm section, chiming guitars, piano and keyboards. Together, the play slowly and thoughtfully, with the piano, keyboards and chiming guitars at the heart of arrangement’s success. Guitars and keyboards melodically combine, their sounds reverberating behind Anita’s powerful vocal. When Michael J. Powell’s arrangement is combined with Anita’s vocal, this is a potent combination, resulting in yet another great track from Anita.
Soul Inspiration was written by Grammy Award winning songwriter Terry Britten and Graham Lyle, of Gallagher and Lyle. Chiming guitars, keyboards, piano and rhythm section combine before Anita’s quieter, much more subtle vocal enters. Against a sweeping backdrop of piano, rhythm section, keyboards and guitars, Anita’s voice grows in power and strength. She accentuates notes, while the arrangement grows, becoming grand and dramatic, quite similar to certain songs on Rapture, albeit Anita’s style has a slight jazz influence. Adding the finishing touches to one of the album’s highlights are female backing vocalists. Their much more restrained voices provide a contrast to Anita’s powerful vocal, while bursts of horns cut in, accompanying the piano as the track reaches its impressive crescendo.
There’s quite a pronounced jazz influence on Lonely. This is apparent pretty much from the start of the track. Compositions was an album that saw Anita’s music become jazz tinged. However, this didn’t impact upon sales, with the album being certified platinum in the US for sales over one million copies. Piano and rhythm section combine with Anita’s jazz tinged vocal. Keyboards and percussion join with piano and rhythm section as Anita’s voice grows in power, before the piano leads the track into a swinging slice of jazz. This very different style of vocal and arrangement works well, although it’s quite a departure from her usual style. Along with Anita, pianist Greg Phillinganes steals the show. His piano playing is exquisite and both he and Anita demonstrate both their talent of versatility on Lonely.
When No One To Blame opens, the introduction reminds my of the introduction to No One In the World, one of the best tracks on Rapture. After that, it’s a quite different track, lacking dynamism of No One In the World. Having said that, it isn’t a bad track. Far from it. It’s just the introduction means comparisons will be made. This is a much slower and thoughtful track, with just a hint of jazz shining through. A piano and rhythm section combine before Anita’s subtle vocal enters. Percussion, keyboards and guitars join the mix, while Anita’s vocal is quite different from previous tracks, much more restrained. It grows in power slightly, but is still considered as she sings about being in love and trying to resist the feeling. This isn’t possible, as she’s almost infatuated and is translated into her vocal. It grows in power as she gets across the hopelessness she’s experiencing, trying to fight the feeling. The best way to describe this track is a slow burner, one of these tracks that takes a while to unfold and reveal itself. When it does, it becomes a good song, laden with emotion and feeling, albeit not as good as the previous five tracks.
A combination of percussion, piano, rhythm section, keyboards and guitars accompany Anita on the floaty More Than You Know. It’s a much better track than the previous track, one with a bigger, fuller sound and much more dynamic vocal from Anita. Space is left in the track however, which combines elements of Rapture era Anita Baker with shades of jazz. This isn’t surprising considering Earl Klugh guests on guitar, playing a lovely, tender solo during the track. Meanwhile, Anita’s voice is loud and powerful, making good use of her wide range. More Than You Know is an excellent track, one that reminds me of the brilliance of Anita’s best ever albumRapture.
Love You To the Letter is another track where the jazz influence is immediately noticeable. This is the case when a piano plays a jazz influenced introduction, accompanied by drums played with brushes in a jazz style. The tempo is slow, the arrangement spacious, while Anita’s vocal has a tenderness. Keyboards and a bass join the arrangement which is a lovely laid back slice of jazzy music, which is hugely sympathetic to some beautiful lyrics about the joy and beauty of being in love. It’s an epic jazz workout lasting nearly seven and a half tender minutes, which just fly by as you’re in raptures listening to Anita’s tender and beautiful vocal.
Compositions closes with Fairy Tales co-written by Anita with Michael J. Powell and Vernon Falls. After the tender, beauty of the previous track, Fairy Tales has a lot to live up to. The question is, can it manage to do so? When the rhythm section, keyboards, guitars, percussion and piano combine with Anita’s vocal things sound promising. Quickly, Anita’s vocal grows in power as the tempo quickens, and a melodic, sometimes dramatic jazz tinged arrangement unfolds. Anita turns back the clock remembering the fairy tales her mother told her, how her future would be bright, whereas reality was far from that. Her dream never came true, it was a case of paradise lost. Anita’s voice sounds disappointed and full of sadness, bitterness and regret. During the track the piano takes the track into a length jazz drenched musical journey which is very different from the rest of the album. It’s a catchy, virtuoso performance from Greg Phillinganes, with Anita seemingly confident that he won’t steal the show. With playing like that he very nearly does, but in the end, Anita is very definitely the star of this excellent track which matches the expectations of the previous track nicely.
Although Compositions was quite different from Rapture, it’s still an excellent album, one of my favorite Anita Baker albums. Nothing will ever surpass the seminal Rapture, but Compositions comes a worthy second. On this album, there was a jazz influence in Anita’s music, both in her vocals and in the arrangements. This wasn’t overdone, and is best described as jazz tinged. There’s still the usual soulful side of Anita’s music, plus the energy and dynamism that I’ve come to expect in her voice. During this album, she delivers the nine songs with a combination of emotion, power, passion and tenderness. Of the nine songs on the album, I’d say that eight are of the highest standard, with When No One To Blame a slow burner, not quite as good as the rest. The albums features some really talented musicians with pianist Greg Phillinganes one of the stars of the album. With Michael J. Powell producing this album like he had each of her solo albums, this was a recipe for another hugely successful album. This was the case, with the album being certified platinum after selling over one million copies. If you’ve never heard this album, this is one of Anita Baker’s best albums. Although twenty-one years old, the album has a timeless quality like all good music has. It’s well worth buying and together with Rapture, are the perfect introduction to Anita Baker’s brilliant music. Standout Tracks: Talk To Me, Whatever It Takes To Make You Happy, Soul Inspiration and Love You To the Letter.
ANITA BAKER-COMPOSITIONS.
JIMMY HUGHES-WHY NOT TONIGHT?
JIMMY HUGHES-WHY NOT TONIGHT?
Between 1962 and 1970, Jimmy Hughes only released three albums before retiring from music and withdrawing from public life. Why I hear you ask? The answer to that is quite simple, Jimmy became disillusioned that his music wasn’t being sufficiently promoted by Volt Records’ boss Al Bell, as well of becoming tired of touring and being away from his family. Instead, he took a job working for the US government making parts for nuclear power plants. After that, his only involvement in music was singing in his church choir. Sadly, Jimmy Hughes’ music never found the success of his cousin Percy Sledge. However, the three albums Jimmy Hughes recorded feature some excellent music. These albums were recorded for three of the best known record labels of the sixties Vee-Jay, Atco and Volt.
Someone who played an important part in Jimmy Hughes’ career was record producer Rick Hall of Fame Records. in 1962, Jimmy had auditioned for Rick Hall and he was so impressed that he recorded Jimmy’s debut single I’m Qualified, a track Rick had co-written with Quin Ivy. Before this, Jimmy’s only musical experience had been singing in the gospel quartet The Singing Clouds. This debut single was released on the Philadelphia label Guyden. After the single was recorded, Jimmy returned to his day job in a rubber factory,
Two years later, Jimmy and Rick Hall’s path’s crossed again, when Jimmy returned to Rick with a ballad he’d written Steal Away. The song based on the gospel song Steal Away To Jesus, was recorded in just one take. Little did Jimmy and Rick realize it, but this one song would help define the Muscle Shoals sound that become so hugely popular and famous. After recording the follow-up single Try Me, which reached number sixty-five in the US R&B Charts, an album entitled Steal Away was recorded. It was released in 1965 on the Vee-Jay label. On that album, are some of the first songs penned by Dan Penn and Spooner Oldham.
After the release of his debut album, Jimmy toured with some of the great names in soul music, including Sam Cooke, Bobby Womack and Jackie Wilson. When Jimmy’s next few singles failed to build on the success of his first two singles, Jimmy was sidelined whilst Vee-Jay focused on acts like The Four Seasons and The Beatles. On the back of Jimmy’s cousin Percy Sledge’s successful classic single When A Man Loves A Woman, Rick Hall managed to get Jimmy a new deal for his label to be distributed by Atlantic. This coincided with an upturn in Jimmy’s fortunes. His next three singles on Fame, Neighbor, Neighbor reached number four in the US R&B Charts and sixty-five in the US R&B Charts in 1966, while I Worship the Ground You Walk On reached number twenty-five in the US Billboard 100. In 1967, Why Not Tonight reached number five in the US R&B Charts and ninety in the US Billboard 100. Jimmy’s next single It Ain’t What You Got reached number forty-three in the US Billboard 100. It was 1967 that the album this article is about Why Not Tonight was released. After that, Jimmy only released one further album.
Jimmy’s third and final album Something Special was released on Volt Records in 1969. By now, Jimmy was disillusioned, having become fed-up being away from his family on tour. What didn’t help was his belief that Al Bell, who produced his album, hadn’t promoted his album sufficiently. He felt that other acts were being promoted much better than he was. His quote was he felt like the “low man on the totem pole,” described his feelings perfectly. After that, Jimmy decided enough was enough, and he returned to “civilian life,” after eight years in the music business. Although Jimmy Hughes career may not have had the longevity of his contemporaries, he produced three great albums. The second of those was Why Not Tonight, which I’ll now tell you about.
Why Not Tonight opens with the title track Why Not Tonight which opens with a combination of slow guitars, organ and rhythm section before Jimmy’s vocal enters. There’s a sense of sadness and longing in his voice as he asks how long will his girlfriend keep him waiting. Adding to the deeply sad and thoughtful sound are female backing vocalists whose voices rise in unison soulfully, against a slow, emotive arrangement that’s made up of piano, guitars and rhythm section. It’s a lovely slow song, full of emotion and longing, thanks to Jimmy’s vocal and the slow, spartan arrangement.
The tempo increases with I’m A Man of Action written by Jimmy himself. Rasping horns combine with an organ, rhythm section and guitars, while Jimmy’s voice is strong and joyful. Behind him, the arrangement is quicker and fuller, with bursts of braying horns, a driving rhythm section adding drama, guitars and a wailing Hammond organ completing the chugging arrangement. Together, they combine to produce a faster, uptempo slice of sixties soul, featuring a joyous vocal from Jimmy and an equally, joyful arrangement, made all the better with the addition of rasping horns and punchy rhythm section.
I Worship the Ground You Walk On sees the tempo drop again, with a dramatic, emotive arrangement accompanying Jimmy’s deeply moving, besotted vocal. Rasping horns, piano, chiming and guitars combine with a slow rhythm section that provides the track’s heartbeat. The arrangement is laden with drama, thanks to short, sharp bursts of horns sitting atop the arrangement while Jimmy’s passionate, heart-rending vocal demonstrates how he could throw himself into a song, and in the process, bring the track to life. What really helps his vocal is Rick Hall’s arrangement. A slower tempo and looser, style with space left within the arrangement works perfectly. Add to that, Jimmy’s vocal and the result is a hugely moving track.
Neighbor, Neighbor was one of Jimmy’s hit singles reaching number four in the US R&B Charts and sixty-five in the US R&B Charts in 1966. There’s a real bluesy sound and feel to this dance-floor friendly track. The track has an old-fashioned sound featuring an upright bass, blazing horns, chiming guitars and drums accompanying Jimmy’s quicker swinging vocal. It’s a track that swings along, horns at the heart of the track’s success and Jimmy telling his neighbor that what goes on behind his door is his business, nobody else’s. Of the tracks on the album so far, this is easily the best, thanks to the tempo, style and lovely old-fashioned sounding arrangement.
Slow spacey drums, tambourine and guitars combine with Jimmy’s vocal, which is accompanied by backing vocalists at the start of It Was Nice. Their addition is a masterstroke, and it’s almost call and response they sing with Jimmy. Behind them, the tempo is slow, with a brief burst of horn cutting in, while guitars, rhythm section and tambourine complete the line-up. Jimmy meanwhile, sings about being deeply in love, almost infatuated by his lover. As a result, there’s a sense of bliss and joy in his vocal. This is the second of the three songs written by Jimmy on the album, and originally, it was the b-side of Jimmy’s 1965 single Goodbye My Lover Goodbye. Although maybe not single material, it’s a little gem of a track, with another joyous vocal from Jimmy and sympathetic arrangement by producer Rick Hall.
The second side of the original album is another Dan Penn and Spooner Oldham penned track, Slippin’ Around With You. This album was one of the first to feature songs by two men who’d become one of the most successful songwriting partnerships, Penn and Oldham. One of Rick Hall’s talents was being able gather around him a group of hugely talented writers and musicians. They were the latest writers to arrive at Fame and provided four tracks for Why Not Tonight. This is a quicker track, with flourishes of piano, bursts of blazing horns, driving rhythm section and female backing vocalists uniting soulfully before Jimmy’s quick, powerful and emotive vocal enters. During the track, the tempo is quick, space is at a premium in the arrangement which drives along a melange of horns, piano guitars and rhythm section accompanying Jimmy jubilant vocal. Although the track has the perfect Northern Soul tempo, it was his another Fame artists Art Freeman, whose version that gained popularity of the Northern Soul scene. However, Jimmy’s jubilant version would still go down well on many dance-floors today.
Bells chime as Midnight Affair dramatically and slowly reveals itself. It’s a tale of late night assignations sung and played slowly, with a piano, brief bursts of horns, chiming guitars, organ and slow, drama laden rhythm section that accompany Jimmy’s pleading, desperate vocal. Like the previous track, it’s a Penn and Oldham song, although a very different one. Of the two, I much prefer the drama and almost desperation in Jimmy’s vocal, set against a slow, dramatic and moody arrangement. It’s a track with a strong narrative that Jimmy brings brilliantly to life.
It’s A Good Thing is the third in trio of Penn and Oldham tracks on side two. The track had been influenced by the music of The Impressions, whose music was hugely popular at this time. However, Jimmy pulls out a great vocal on this track, which is accompanied by an equally great Rick Hall arrangement. Backing vocalists open the track, bringing to mind the sound of The Impressions. They give way to bursts of horns, rhythm section and guitar, before Jimmy’s vocal. His voice is full of emotion as he sings about love, and wanting to be in love with a woman who doesn’t love him. Behind him, dramatic horns, cut in, while the backing vocalists almost serenade Jimmy, their voices the perfect accompaniment to his. Although people have said the song was influenced by The Impressions, I prefer to say that Jimmy was paying homage to them, on this excellent Penn and Oldham track.
Jimmy the lover man enters stage left on the far from subtle, somewhat salacious even concupiscent I’m the Loving Physician. Quick, soaring guitars, rhythm section and short stabs of horns accompany a boastful vocal from Jimmy. He’s joined by swooping female backing vocalists, who accompany Jimmy’s quick, confident vocal, while guitars and rhythm section drive the arrangement along. To me, it’s a good enough track, but lacks the lyrics lack the quality of the previous three tracks on side two. Maybe they’ve a lot to live up to, having been penned by Penn and Oldham. However, both the vocal and arrangement are good, it’s just the lyrics let the side down somewhat.
Why Not Tonight closes with I Stand Accused written by Jerry and William Butler with Curtis Mayfield. This is a trio of big names collaborating so much is expected of this composition. It doesn’t disappoint either. From the slow, emotive introduction that sees backing vocalists, a wailing Hammond organ, chiming guitars and the rhythm section accompany one of Jimmy’s best vocals on the album. It’s laden with emotion and feeling, with Jimmy’s sadness and regret almost tangible, because he loves a woman whose in love with another man. Behind him, Rick Hall’s arrangement is perfect for Jimmy’s vocal. Like the vocal, it has sound full of sadness and emotion because of the combination of the Hammond organ, chiming guitars and rhythm section. Add in the backing vocalists, and you’ve the complete package, the perfect backdrop for Jimmy’s vocal. This is a hugely emotional and quite beautiful track, one of the album’s highlights and perfect to close the album with.
Listening to Why Not Tonight?, it seems incredible that the album wasn’t a much bigger success. Jimmy Hughes has an excellent voice, and is one of the unsung heroes of soul music. His music deserved to be heard by a much wider audience, and it’s understandable that having recorded such an excellent album and failing to receive the commercial success it deserved, he became disillusioned by the music industry. On Why Not Tonight he had everything going for him. Great songs written by hugely talented songwriters like Penn and Oldham and the Butlers, Jerry and William with Curtis Mayfield, plus two he wrote himself, He was backed by some of the best musicians of the time, the Muscle Shoals rhythm section and had Rick Hall one of the best producers, producing the album. Despite all of this, the album wasn’t a huge success. After this album, Jimmy recorded just one more album Something Special, released on Volt. It wasn’t a commercial success, and wasn’t helped by what Jimmy saw as a lack of promotion, Jimmy quit the music industry. By then, he was tired of constant touring and being away from his family. Instead, he returned to “civilian life,” turning his back on music, apart from in the church. This was the music industry’s loss. That day, music lost a hugely talented singer and songwriter, someone who had so much more to offer musically. Thankfully, all three of Jimmy’s albums are now available on Kent Soul. Why Not Tonight can be found on Why Not Tonight? The Fame Recordings Volume 2. Steal Away The Early Fame Recordings is the first in the trio of rereleases, with Something Extra Special The Complete Recordings featuring Jimmy’s final album and the rest of the music he recorded for Volt. As usual, Kent have produced three excellent compilations, which allow those who want to hear Jimmy’s music either again, or for the first time, the opportunity to do so. So go on, treat yourself to three CDs’ of music from one of soul music’s unsung heroes. Standout Tracks: Why Not Tonight, I Worship the Ground You Walk On, It’s A Good Thing and I Stand Accused.
JIMMY HUGHES-WHY NOT TONIGHT?
A TASTE OF HONEY-A TASTE OF HONEY.
A TASTE OF HONEY-A TASTE OF HONEY.
Not long ago, I was listening to a number of compilations of disco classics released by Harmless Records. Between 2010 and 2011 they released a total of twelve compilations of disco tracks. This was the perfect opportunity to reacquaint myself with some of the music I’d grown up listening to. On the albums were a number of well known and some less well known tracks. One of the many tracks that I knew were A Taste of Honey’s huge hit single Boogie Oogie Oogie, one of the most infectiously catchy songs you’ll ever hear. It was on the excellent compilation Disco Discharge-Disco Ladies, which features twenty-one 12 inch singles over two discs. A few weeks later, I was looking for a couple of albums that I wanted when I noticed that A Taste of Honey’s debut album A Taste of Honey had been remastered and rereleased. Back in 1978 when the album was released, I never bought the album, but decided to take the plunge and buy it. Would the rest of the album be as good as the hook-laden Boogie Oogie Oogie?
When I received the album and started reading the credits, I noticed that Fonce and Larry Mizell had produced the album for Sky High Productions. That was a good omen, as the Mizell brothers had produced many big names. Their previous work included Donald Byrd, The Jackson 5, Bobbi Humphrey, The Blackbyrds and Johnnie Hammond. They’d produced albums for some of the biggest labels in music, Blue Note, Motown, Epic and Prestige. Looking again at the album credits I noticed Wade Marcus had arranged the strings on the album. He’d previously produced Stevie Wonder, Gary Bartz, Donald Byrd and The Emotions. Clearly, an experienced production team had been assembled for A Taste of Honey’s debut album.
Although A Taste of Honey had been formed in 1971 by co-vocalist and bassist Janice-Marie Johnson, Carlita Dorhan co-vocalist, Perry Kibble keyboards and drummer Donald Ray Johnson. Over the next few years, the line-up changed a few times, with Gregory Walker joining as lead vocalist. Unfortunately, he decided to leave just before Boogie Oogie Oogie was released. After honing their sound for six years, the group were signed by Capitol Records. It was in a club that the Mizell brothers spotted the group, and convinced Capitol to audition them. This they did, with the group signing a five album contract. When it came to recording their debut album Taste of Honey, the Mizell brothers were chosen to produce it.
Taste of Honey was released in 1978 and featured the huge hit Boogie Oogie Oogie. It had reached number one in the US Billboard 100, the US R&B Charts and the US Dance Charts. This was almost unheard of in the US, reaching number one in the three major charts. Meanwhile, the single was a huge hit in the UK in 1978, reaching number three. Part of the success of the single was it had crossover appeal, attracting a wide range of record buyers. The success of Boogie Oogie Oogie must have helped sales of the album Taste of Honey. it reached number six in the US Billboard 200 and number two in the US R&B Charts. This was the group’s most successful studio album.
Another Taste released in 1979 failed to match the success of their debut album, reaching just fifty-nine in the US Billboard 200 and twenty-six in the US R&B Charts. Their third album Twice As Sweet, released in 1980, did much better, reaching number thirty-six in the US Billboard 200 and twelve in the US R&B Charts. It featured the single Sukiyaki which reached number three in the US Billboard 100 and number one in the US R&B Charts. Their final album Ladies of the Eighties saw their popularity slip again reaching number seventy-three in the US Billboard 200 and fourteen in the US R&B Charts. It seemed that they couldn’t quite replicate the success of Boogie Oogie Oogie and their debut album A Taste of Honey, which I’ll now tell you about.
A Taste of Honey opens with Boogie Oogie Oogie a bona fida disco classic with the most uplifting introduction you’ll ever hear. It’s all there a quick, funky, buzzing bass, chiming, shimmery, guitars, bouncy drums, percussion and keyboards combining before the sweetest of vocals enters. After that, it’s just a joyous five and a half minutes of music. The Mizell brothers arrangement heads of into a funky workout with one of the best bass lines you’ll hear outside a Chic track. Occasional screaming guitars, handclaps, sweet backing vocals, the funkiest of rhythm sections and keyboards to produce a classic disco track, laden with hooks and the most joyous sound. Even thirty-three years later, it’s timeless classic of the disco genre.
This Love of Ours is the polar opposite of the previous track. It’s a lush sounding love song, full of swirling strings that are responsible for a somewhat dramatic sound. This track allows the group to demonstrate that they’re far from one trick ponies, just able to produce disco classics. Drums, dramatic, swirling strings and a slow bass combine before Hazel Payne’s lead vocal enters. It too, is slow, but thoughtful and emotive. From there on, both the arrangement and vocal just get better, with chiming guitars joining the arrangement as the sweet vocal becomes full of emotion and heartache. In the background, the strings are at the heart of the arrangement, as drums inject bursts of drama, while guitars chime, combining perfectly with the strings. Although very different from the opening track, it’s a very beautiful song thanks to the vocal and arrangement.
As Distant opens, a dirty, funky bass combines with flourishes of piano, and drums creating a dramatic, funky introduction which promises much, but does can it deliver. A burst of guitar signals the arrival of the vocals. They’re subtle, lush even, and are accompanied by sweeping strings and the still funk influenced combination of rhythm section, percussion and guitars. The arrangement meanders along, with strings at it’s heart, while the vocal drops in and out of the mix. Occasionally, a funky laden breakdown occurs, but quickly, things return to a much more understated sound. Later, the vocal becomes stronger, becoming a cross between a snarl and roar. Towards the end of the track, the quality of sound isn’t the best, becoming fuzzy. That sounds like a problem with the remastering. Did the track deliver? It did, although what sounded like a delicious slice of funk, ended up just to have a drizzle of funk, in among the sweeping, lush sounding music.
When World Spin begins, it’s a bold sound that eventually unveils itself, with the rhythm section punchy, guitars chiming and strings swirling and sweeping dramatically while a considered, almost deliberate vocal sits atop the arrangement. It’s quickly apparent that the Mizell brothers have gone for a big production here, with the sound much fuller, impressive and with an almost grandiose drama. By comparison, the vocal is slightly weak, compared to the previous track and the quality of the arrangement. Part of the problems seems the style of vocal, which is quite deliberate. Midway through the track, the style changes, with a funky breakdown, giving way to some jazz influenced chiming guitars. Later, the vocal improves, and is much better. However, like the previous track, the sound quality sounds blurred and jumpy towards the end of the track. Definitely a remastering problem. Overall, the arrangement is excellent as you’d expect from the Mizell brothers, with the vocal improving as the track progresses.
The third single released from the album was Disco Dancin’ which only released number sixty-nine in the US R&B Charts. Listening to the track, that seems fair. Straight away, it’s obvious that this track lacks the quality of the previous ones. This is the case with the lyrics. They’re slightly stilted, wooden even, and there’s an awkwardness about the arrangement. It sounds like a funk based track trying to dress up as a disco track, and doesn’t work. This is a pity, because the standard of playing on the track is excellent, it’s just musicians can only play what they’re told to play. When the track opens, a hugely funky bass and excitable vocal combine, before the rhythm section, keyboards and guitars combine with the vocal. After that, the hugely repetitive, rather poor lyrics are sung against a backdrop of funk influenced rhythm section, guitars and a proliferation of keyboards and synths that don’t gel well, sounding awkward. Without wanting to sound repetitive, the sound quality isn’t great at the end of the track, again, becoming fuzzy. Overall, a disappointing track.
Hopefully, You will make up for the previous poor track. When it opens with a funk influenced introduction that gives way to a track that has Chic as its influence. However, A Taste of Honey don’t have Niles and Bernard. It’s not a bad song, but it’s not one of their best either. After the combination of rhythm section, keyboards and guitars gives way to the vocal which is delivered in short, sharp bursts, against a backdrop that’s drenched in funk thanks to the reliance on the rhythm section and guitars. Occasionally, the vocal sounds sweeter, with almost a lush sound, but returns to its previous style. What the group appear to be trying to achieve is a funk based track that can masquerade as a disco track. It doesn’t quite work, even when the keyboards play a bigger part and the arrangement starts to open up. Although better than the previous track, it isn’t as good as the opening four tracks. This makes me think of the Odyssey album I reviewed recently, when side one was far better than side two. History does have a tendency of repeating itself, is a very true statement.
If We Loved is a slower ballad, with swirling, dramatic strings, piano, keyboards and rhythm section combining with chiming guitars as backing vocals enter. They give way to Hazel Payne’s lead vocal which is slow, emotion and passionate as she sings about, being in love and how she could make her lover happy. Backing vocalists sing tight harmonies, subtly, while the slow arrangement meanders along with the rhythm section keeping the tempo slow. Guitars chime, while a saxophone solo soars above the arrangement and strings sweep gently in. This is a much better song, with the vocal perfect for the lyrics and the lovely slow, sometimes dramatic, arrangement. Maybe a couple of slower songs would’ve been preferable to a couple of the faux disco tracks.
Following on from the lovely If We Loved is another slower track, Sky High, which has a spacious arrangement, with strings playing an important part in the arrangement. Hazel Payne sings the lead vocal, her voice perfect for this type of track. When the track opens, chiming guitars and dramatic swirling strings give way to Hazel’s lovely sweet vocal. The rhythm section, percussion and sweeping strings combine with the chiming guitars, providing a backdrop for Hazel’s vocal. During the track, subtle changes in tempo and short, sharp bursts of drama from the drums and strings add variety, while the chiming guitars and strings combine beautifully with the vocal. It seems that like the previous track, Sky High sees a return to form for A Taste of Honey. This is thanks to a gorgeous vocal and equally beautiful arrangement from the Mizell brothers.
A Taste of Honey closes with Your In Good Hands which was the second single from the album, which failed to chart. This is a pity as it’s a lovely slow track, with flourishes of drama and another quality vocal from Hazel. It’s chiming guitars and swirling strings that opens the track before Hazel’s slow, emotive and passionate vocal enters. The track has an old fashioned arrangement that features sweeping and swirling strings, chiming shimmering, guitars and tight backing vocals, set against a slow arrangement which features a slow rhythm section, piano and guitars. During the track the lushest of strings feature as does an excellent piano solo. Together with one of the best vocals on the album, this is the perfect way to end the album, with one of the best tracks.
Before I bought the recently remastered copy of A Taste of Honey, I’d only heard a few tracks by the group. Obviously, I was aware of the disco classic Boogie Ooogie Oogie and a few other tracks, but I didn’t really know what to expect. After the first five tracks, I was pleasantly surprised, having enjoyed each track with was of a high standard. Then when I heard Disco Dancin’ and You, I wondered if it was all downhill from here after two pretty poor tracks. Thankfully, the final three tracks made up for these two tracks. Bringing the Mizell brothers onboard to produce the album was a masterstroke. Their experience in production lead to to a really polished sound on the album, with their arrangements of the highest quality. A less experienced producer might not have achieved such a polished sound and as successful an album. With them at the helm, A Taste of Honey had both a hugely successful single in Boogie Oogie Oogie and an equally successful album in A Taste of Honey.
However, one thing that disappointed me was the sound quality. Towards the end of many of the tracks the sound became fuzzy and thick, and wasn’t of the quality of the rest of the tracks. This is surprising as the album has just been recently remastered. I listened to the album on a high end stereo and headphones and the problem was quite noticeable. It slightly spoiled my listening and it always seemed to happen at the same point, towards the end of the track. Apart from that, the rereleased album on BBR Records is a good package, featuring three bonus tracks, two of Boogie Ooogie Oogie and one of my nemesis Disco Dancin’. Overall, I enjoyed A Taste of Honey, and think the album is well worth a listen, as seven of the nine tracks are really good. My only caveat is the sound quality. If like me, you’re someone who pays close attention to remastering and technical issues, then it may annoy you somewhat. However, surely that’s worth living with to hear the joyous disco classic Boogie Ooogie Oogie again. Standout Tracks: Boogie Ooogie Oogie, This Love of Ours, If We Loved and Your In Good Hands.
A TASTE OF HONEY-A TASTE OF HONEY.
THE THREE DEGREES-THE DEGREES.
THE THREE DEGREES-THE DEGREES.
Previously, I’ve written about The Three Degrees before, an article about their fourth album International, which was their second and final album on Philadelphia International Records. They only recorded two albums on Philadelphia International Records, but these two albums were the ones that launched their careers, turning them into a hugely popular and commercially successful international act. During this period, the line-up of The Three Degrees was the classic lineup of Sheila Ferguson, Valerie Holiday and Fayette Pinkney. This was the lineup of the group between 1967 and 1976. After that, Fayette Pinkney, one of the original members of the group left in 1976. So, The Three Degrees and International, feature what many people consider the classic lineup of the group and some of the best music they ever recorded.
The Three Degrees signed to Philadelphia International Records after their contract with their previous record label Roulette had expired. Whilst on Roulette, the group had released two albums Maybe in 1970 and So Much Love in 1972. Neither albums were hugely successful, with Maybe reaching 139 in the US Billboard 200 and sixteen in the US R&B Charts, So Much Love failed to even enter the US Billboard 200 and only reached number fifty-six in the US R&B Charts. Their most successful single so far was Maybe, released in 1970, which reached number four in the US R&B Charts and number twenty-nine in the US Billboard 100. However, once they signed to Philadelphia International Records and with Gamble and Huff now guiding their careers, all this would soon change. For the next three years, and two albums, their world would change immeasurably.
Having signed for Philadelphia International Records in 1972, The Three Degrees first album for their new label was released in 1973. On its release, it reached number twenty-eight in the US Billboard 200 and thirty-three in the US R&B Charts. In the UK the album fared even better, reaching number twelve. Four singles were released from the album, with the Gamble and Huff penned When Will I See You Again being the most successful, reaching number two in the US Billboard 100 and number four in the US R&B Charts. Meanwhile, it reached number one in the UK.
The other three singles released from the album didn’t do quite as well. Dirty Ol’ Man reached number fifty-eight in the US R&B Charts, but reached number one in the Netherlands. Year of Decision reached number seventy-three in the US R&B Charts, and number thirteen in the UK. The final single released from the album I Didn’t Know, reached number eighteen in the US R&B Charts.
At this time, The Three Degrees had provided the vocals for two hit singles with Philadelphia International Records’ house-band M.F.S.B. TSOP (The Sound of Philadelphia) reached number one in the in the US Billboard 100 and US R&B Charts. In the UK it only reached number twenty-two, Their second collaboration with M.F.S.B. Love Is the Message, reached eighty-five in the US Billboard 100 and forty-two in the US R&B Charts. So two years after signing for Philadelphia International Records, The Three Degrees had both a number one and number two single in the US, and a hugely successful album The Three Degrees. Their career had been transformed, helping make them one of the most successful groups Philadelphia International Records. It’s that album The Three Degrees, that I’ll now tell you about.
The Three Degrees opens with Dirty Ol’ Man, a Gamble and Huff track, which reached number one in the Netherlands. Unfortunately, the single didn’t do so well elsewhere, reaching just number fifty-eight in the US R&B Charts. When the track opens the tempo is quick, and the arrangement has a full sound. Swirling, lush strings, a punchy rhythm section and chiming guitars at the heart of the sound while Sheila sings about a married man who has problems keeping his hands to himself. Her voice is loud and scathing, as she sings the lyrics, accompanied by Valerie and Fayette whose backing vocals are equally powerful, but later become softer and more subtle. Throughout the track the tempo is quick, with no let up in what’s a catchy, bright and sweeping arrangement. Part of the track’s success is down to the way the sweeping, swirling strings, chiming guitars and quick, punchy rhythm section combine. Add to that excellent vocals and it’s a winning combination, the perfect track to open the album.
When Can’t You See What You’re Doing To Me opens, there are two major differences from the opening track. The tempo is slower and the vocal is much gentler, quite subtle. Meanwhile, the slower arrangement sees the rhythm section, bursts of horns and chiming guitars combine before the a lovely gentle vocal enters. Throughout the track, drums punctuate the track with sharp, bursts of drama. Matching the sadness of the lyrics, about a woman being mistreated by her partner, are the sweeping strings that enter. They provide a contrast to the drama, and capture the mood perfectly. Flourishes of strings and dramatic bursts of drums highlight the broken promises in the lyrics, and are the perfect accompaniment for the sadness and sense of betrayal in the vocal. Credit is due for Lenny Pakula’s arrangement, and Gamble and Huff’s production. Together with The Three Degrees, they bring to life quite brilliantly Bruce Hawes and J.B. Jefferson’s lyrics.
A Woman Needs A Good Man begins slowly with grand, dramatic sweeping strings, bursts of rasping horns, a stab of a wailing Hammond organ accompanying The Three Degrees harmonies. After that, the rhythm section enter, adding brief bursts of drama to accompany the vocal, which is slow and thoughtful. Then, the tempo speeds up, with the vocal becoming laden with emotion and drama, while a funk influence briefly shown through. This recurs, with bursts of horns getting in on the act, while the vocal is much louder, full of passion and feeling. However, many women nowadays will disapprove of the line “she needs good man, she needs a strong man.” Although the track features some deeply emotional vocals, and the arrangement by Norman Harris is good, I’m not sure about the constant speeding up and slowing of the tempo. Personally, the song might suit being sung in a slower style throughout. That’s just a personal opinion, and many people may disagree with it.
The most successful song on the album was When Will I See You Again. It reached number two in the US and number one in the UK, becoming one of the group’s most successful and popular singles. Even today, it’s often played on the radio, and still sounds as good as it did nearly forty years ago. This was the third Gamble and Huff penned track, all of which were released as a single. A combination of organ, the lushest of strings and rhythm section combine before the breathy vocals enter. When they do, chiming guitars join, accompany one of the best vocals on the album. It’s emotive, questioning and full of passion. Bursts of horns accompany those lush strings, with the rhythm section and organ at the heart of the arrangement, accompanying Sheila’s soaring vocal. Meanwhile, Valerie and Fayette’s backing vocals are softer, sweeping behind Sheila’s lead vocal. By the end of the track, you realize that this was just one of these tracks where everything combined perfectly. The right group and right singer sang some fantastic vocals, and were accompanied by a hugely talented group of musicians M.F.S.B. Add to that, Bobby Martin’s beautiful arrangement and Gamble and Huff’s production, and you’ve a track that demonstrates just what made The Sound of Philadelphia so special and hugely popular.
I Didn’t Know is an uptempo and uplifting love song with another excellent arrangement, this time by Richard Rome. Bursts of rasping horns, sweeping, swirling strings, a punchy rhythm section organ and guitars complete the lineup on this faster dance-floor oriented track. It features a joyous and passionate vocal from Sheila and some of the best backing vocals on the album. They’re almost Supreme-esque in nature, as they sweep in and out of the track. From the opening bars of the track, it’s immediately apparent this is a special track. You’re not disappointed. The longer it progresses, the better it gets, with the arrangement and vocal uniting as one to create a fantastic track. Why it didn’t do much better than a number eighteen peak in the US R&B Charts is beyond me? An absolute stomper.
On this album there are three tracks penned by Bruce Hawes and J.B. Jefferson. I Like Being A Woman is the second of these. Again it’s a faster tempo, with a lovely bright upbeat sound that greets the listener. A combination of piano, rasping horns, punchy rhythm section and strings that accompany the vocal, which is powerful and joyous. The lyrics are about being in love and the joy of being a woman. Meanwhile, grand strings, accompany the rhythm section, chiming guitars and piano, with occasional contributions from an organ and horns. Later in the track, Sheila half-speaks the vocal against a sweeping, punchy and drama filled arrangement. This is effective, although many independent women may take umbrage with some of the lyrics, especially the comments about women’s liberation. Having said that, both the arrangement and vocals combine well, creating a joyous sounding, and sometimes, punchy and drama laden track, which features some excellent vocals.
If and When is the third of the Bruce Hawes and J.B. Jefferson penned tracks on the album. It’s a very different sounding track, with a hugely dramatic opening with rolls of drums, flourishes of piano and dramatic strings combining before Sheila’s slow and thoughtful vocal enters, as she sings about a relationship about to end. Behind her Valerie and Fayette’s backing vocals soar emotively, while the earlier drama continues. Strings sweep and shimmer, while the rhythm section provides dramatic stabs and flourishes as guitars chime and the piano plays. When taken with the vocals it’s hugely powerful, deeply moving and drama laden. A brilliant vocal combining masterfully with another of Lenny Pakula’s arrangements to produce another emotive and excellent track from The Three Degrees.
The Three Degrees closes with the third and final Gamble and Huff track on the album Year of Decision, and one of the best tracks on the album. Whereas the previous track was full of emotion and sadness, this track is uplifting and joyous. Straight away, an uptempo, quicker arrangement combines with some incredibly joyous vocals. Keyboards, rhythm section, rasping horns and chiming guitars combine before The Three Degrees joyous vocals combine powerfully, as they soar united. It’s a really catchy hook-laden track that sweeps along beautifully, with lush strings joining the arrangement. This to me, is just the finishing touch to this arrangement by Norman Harris. Everything about it works perfectly, a combination of sounds that come together to produce a timeless classic, that deserved to do far better than number seventy-four in the US R&B Charts. Thankfully, it reached number thirteen in the UK, where it was a much bigger hit.
This is the second of two albums The Three Degrees albums for Philadelphia International Records that I’ve reviewed recently. My first was their second album on Philadelphia International Records, International which was an excellent album, and my favorite of the two albums. The Three Degrees is also a very good album, featuring some wonderful music. Of the eight tracks, the Gamble and Huff penned tracks Dirty Ol’ Man, When Will I See You Again and Year of Decision are my favorite tracks, Credit must go to When Can’t You See What You’re Doing To Me and I Didn’t Know which features an excellent arrangement by Richard Rome. Like many of the albums on Philadelphia International, there is no filler on the album, just eight great tracks. From the first to last track, The Three Degrees sing each song with a mixture emotion, joy and passion. Whatever emotion is required, they provide it. They were ably assisted by some hugely talented musicians in M.F.S.B. with whom they had two hit singles Love Is The Message and TSOP (The Sound of Philadelphia). The album was produced by two of the most important men in seventies soul music Gamble and Huff, who enlisted the help of arrangers like Norman Harris, Bobby Martin, Richard Rome and Lenny Pakula. They arranged the eight songs on the album, with Gamble and Huff adding their magic in the production process. All these people helped to make The Three Degrees huge stars worldwide. During the time they spent on Philadelphia International they produced their best music, music which recently, has been remastered and rereleased on BBR Records. Both International and The Three Degrees are now available after a near thirty year absence. Each album features bonus tracks, with both of The Three Degrees collaborations with M.F.S.B. on the album. So not only do you get this album, but you get Love Is the Message and TSOP (The Sound of Philadelphia). Should you want to reacquaint yourself with The Three Degrees music, or hear it for the first time, this is the perfect opportunity. If you don’t when will you see this album again? Standout Tracks: Dirty Ol’ Man, When Will I See You Again, I Didn’t Know and Year of Decision
THE THREE DEGREES-THE DEGREES.
ODYSSEY-ODYSSEY.
ODYSSEY-ODYSSEY.
Back in December 1977, Odyssey had a major hit on their hands with a disco classic Native New Yorker, a track which, thirty-four years later, is still a hugely popular dance-floor classic. Back then, having loved the tracks I’d heard from the album, I decided to try and find a copy of the album. However, the album hadn’t even entered the charts in the UK, so finding a copy wasn’t an easy task. I tried all the record stores in the large town I lived in, but to no avail.
Fast forward four years, and I’m now living in a tiny village of one thousand people, and on a shopping trip the next town, I decided to have a look at the latest albums that had been released. Having decided upon what to buy, I spy a pile of cheaply priced albums. My friend and I decided to crate dig, sensing maybe, there might be a few hidden gems there. This was indeed the case, and having picked a small pile of albums, saw it sitting there, a copy of Odyssey’s debut album Odyssey. Not only that, but it was for the princely sum of one pound. Quickly, I added the record to my now growing pile of goodies. Getting the album home, I’m delighted with my purchase, adding it to my quickly growing collection. All goes well, until a few years later, disaster strikes.
By then, I’d moved house a few times, and in the process, amassed a large collection of albums and CDs. I’d bought a new high-spec hi-fi, one without a turntable. For the first time in my life I was turntable-less. One problem though, was I was lacking in place. Having updated most of my vinyl albums to CD, i decided with sadness, to sell my treasured vinyl. With a heavy heart, I let them go, receiving a fair price, which I promptly invested in more albums. However, there were a few albums that I didn’t have on CD, with Odyssey’s debut album Odyssey one of them. I had a compilation of their best songs, but now that album. Imagine my delight when I noticed it had been rereleased and remastered. Immediately, I bought a copy, and quickly, reacquainted myself with it.
Immediately, I’m transported back to December 1977, when I first heard the familiar opening bars of Native New Yorker, sung by sisters Lillian and Louise Lopez and former New York City police officer Tony Reynolds. Native New Yorker, like many of Odyssey’s later singles, proved more popular in UK than the US, reaching number five in the UK, while it reached number twenty-one in the US Billboard 100 and number six in the US R&B Charts. However, the album fared much better in the US, reaching thirty-six in the US Billboard 200 and sixteen in the US R&B Charts. In the UK, the album failed to chart. When the follow-up to Native New Yorker, Weekend Lover was released, it only reached number thirty-seven in the US R&B Charts and fifty-seven in the UK.
After that, the group had a number of successful singles in the UK between 1977 and 1982. In July 1980, Use It Up and Wear It Out gave the group their only number one single, staying at number one for four weeks. Despite the single’s huge success failed to even chart in the US Billboard 100.
Following on from their debut album Odyssey, the follow-up album 1978s’ Hollywood Party Tonight failed to chart in the UK, and in the US only reached number 123 in the US Billboard 200 and seventy-two in the US R&B Charts. After that, Odyssey’s albums like their singles, became popular in the UK. Their third album, Hang Together released in 1980, reached number thirty-eight in the UK, proving more popular than in US, where it only reached number 181 in the US Billboard 200 and sixty-six in the US R&B Charts.
Building on their new-found success in the UK, 1981s’ I’ve Got the Melody reached number twenty-nine in the UK and 175 in the US Billboard 200 and sixty-two in the US R&B Charts. 1982 saw Odyssey release two new albums Happy Together and The Magic Touch of Odyssey. Although the former reached number twenty-one in the UK, the group’s popularity was beginning to wain. The album only reached number twenty-three in the US R&B Charts. It was the last of Odyssey’s albums to chart in the US. Their second album of 1982 only reached number sixty-nine in the UK, and never charted in the US. Joy, released three years later in 1985, reached number sixty-nine in the UK and was the last album the original album of Odyssey released. Since then, the line-up has changed a number of times, and sadly, Tony Reynolds died in February 2010. Then, much to my surprise, I noticed that Odyssey had released a new album in 2011, entitled Legacy. It however, failed to chart in the UK and US. However, it’s an album that was released thirty-four years ago in 1977, Odyssey, that I’ll now tell you about.
Odyssey opens with the disco classic Native New Yorker, which has that familiar introduction that transports me back to December 1977. Michael Brecker’s saxophone slowly plays, accompanying lush strings, chiming guitars, keyboards and a punchy rhythm section before the Lopez sisters sing the lead vocal. Her voice is warm, with a joyous sound as she sings about the sights and bright lights of New York City, accompanied by the other two members of the group, singing tight harmonies and beautiful, subtle backing vocals. Meanwhile, the arrangement is fast, full and fantastic. So much is going on, all of it good, with a fast, funk laden bass, accompanying the lushest of strings, while Michael Brecker’s saxophone and Richard Tee’s piano playing are two of the tracks highlights. Of all the tracks Odyssey recorded, this was their masterpiece, a timeless dance-floor classic, that sounds as good today as it did in 1977.
Ever since Native New Yorker was released, I’ve always wondered why Ever Lovin’ Sam was the B-side to Native New Yorker. Surely, this track would’ve been a potential single? It opens with grand flourishes of piano before softening, when the vocal enters with a prominent bass line. The vocal has a similar joyous sound to Native New Yorker, although the tempo is much slower. Later, bursts of horns cut in, with the lushest of strings joining shortly after. When drums play a prominent part, the tempo lifts, with the song swinging deliciously along. Here, the lyrics about a younger woman having a relationship are sung with passion and joy, with the rest of the group contributing some soft, gentle backing vocals. It’s a catchy song, a tale of love against the odds, with another excellent vocal and arrangement.
The second single from the album was Weekend Lover, which deserved to do much better than its peak of number thirty-seven in the US R&B Charts and fifty-seven in the UK. It’s another hook-laden melodic track, with one of the best vocals on the album accompanied by a lush, sweeping arrangement, that has elements of funk within it. Weekend Lover has a hesitant opening before strings sweep grandly in accompanied by a slow, careful bass, drums and percussion. They accompany the thoughtful, yet still joyous lead vocal that questions the future of their relationship with a married man, but has succumbed to its forbidden charms. Meanwhile, like the previous two tracks, a melodic, catchy arrangement unfolds. Chiming guitars, lush sweeping strings and punchy rhythm section join with percussion to create an arrangement that veers between slow and hesitant to a faster, fuller style, with just a little funk making its presence felt. Likewise, the vocal veers between soft and melodic to a louder, stronger, passion laden style. By the end of this lovely, catchy and hook-laden track, I’m left shaking my head, wondering why such a great track failed to do much better when released as a single back in April 1978.
You Keep Me Dancin’ closed side one of the album. It’s a slow, tender song with a really sad sound, because of the way the vocal is delivered and an arrangement that features strings at its heart. The rhythm section, tight harmonies, percussion and chiming guitars combine before the lead vocal enters. She sings about a relationship that gradually, faded away. When the lush, sad strings combine with percussion, slow rhythm section and subtle backing vocals, it’s a potent combination, one that’s been designed to tug at your heartstrings. The track combines sadness and drama, so much so, that you end up feeling sad and sorry for the lovelorn character in the song. Having succeeded in tugging at your heartstrings, with this quite different, but very beautiful, sad song the perfect way to close side one of the album.
Side two of Odyssey opens with The Woman Behind the Man, by far the weakest song on the album. It has a slight reggae sound and feel, with Odyssey singing about creationism. Birdsong and snatches of a conversation open the track, before slow, melodic keyboards enter, accompanied by more birdsong, strings and acoustic guitar. The lyrics which later mention historical figures, are sung in a reggae style. Quickly, the tempo increases, but if anything, the song gets worse. Neither the vocal, nor the arrangement, have anything to commend them. It’s a faux reggae song that should’ve been omitted from the album. Take my advice, program your CD played to miss this track out.
Easy Come, Easy Go/Hold De Mota Down has a Latin influenced sound when the track opens. It’s an improvement on the previous track, opening with a fast piano solo, driving rhythm section, percussion and blazing horns before the lilting vocal enters. The tempo is quicker, the sound infectious, full of drama and percussion created by drums, piano and percussion. Later, grand, swirling strings enter, providing another layer of sounds and a contrast to the drama. Chiming, screaming, guitars combine with the piano, percussion and rhythm section to combine an uptempo, uplifting and carefree sound, made all the better by a jubilant, blissful vocal. This is a much better infectious slice of Latin influenced music.
A piano opens Golden Hands, playing quickly, before the rhythm section, strings and guitar combine to produce a dramatic sound. After the drama dies down, the tempo is slower when the vocal enters, singing about a young boy who is determined to fight his way out of poverty, one way or the other. The lyrics aren’t the best on the album, and are stilted, somewhat wooden even. Thankfully, the arrangement is better. It quicken, filling out, sweeping along with drums and piano used to inject drama, while bass, guitars and percussion combine. Meanwhile the vocal is good, veering between a tender to more powerful style, accompanied by bursts of rasping horns and sweeping strings. Sympathetic and subtle backing vocals accompany the lead vocal, and like the lead vocal and arrangement are sound good, but are let down by some weak lyrics.
Odyssey closes with Thank You God For One More Day. Grand, dramatic strings, piano, rhythm section and guitars combine with a joyful lead vocal as Odyssey give thanks to God for granting them each day. The arrangement is quick, fulsome and has a joyous, gospel influenced sound, with rasping horns, driving rhythm section, lush, sweeping strings and backing vocalists combining to achieve this. It’s a track that’s catchy and has an infectious, feel-good sound. My only criticism are the lyrics. Like the previous track, they’re slightly weak and aren’t the best on the album. However, it’s a good track to close side two of the album, thanks to the joyous sound of the track.
I hadn’t heard this album for many years before reacquainting myself with it recently. However, one thing that hasn’t changed, is my opinion of the album. I’ve always thought that it’s an album of two contrasting sides. Side one was a much better side, with four great songs, while side two has one good song, two average ones and one really poor one. When I had the original album, I used to tend to play side one much more than side two. Mind you, side one opened with the brilliant Native New Yorker, the excellent Ever Lovin’ Sam and the equally good Weekend Lover and Even You Keep Me Dancin’. After that, things go slightly downhill, except Easy Come, Easy Go/Hold De Mota Down. Apart from that track, side two is pretty average, with The Woman Behind the Man being easily, the worst track on the album.
It’s always seemed to me that Odyssey were a group who could release some wonderful singles, but couldn’t quite release an album of great songs. There always seemed to be a couple of tracks that just let the rest of the album down. This was the case on their debut album Odyssey, released in 1977. Part of the problem was the group tried to change styles too often. On the album were a disco classic Native New Yorker, the Latin influenced Easy Come, Easy Go/Hold De Mota Down, the reggae tinged The Woman Behind the Man and the gospel influenced Thank You God For One More Day, I’ve always thought that Odyssey were at their best when they produced dance-floor friendly tracks, like their disco classic Native New Yorker. It’s just a pity that all the tracks on Odyssey weren’t as good as Native New Yorker. If they were, what an album it would be. Standout Tracks: Native New Yorker, Ever Lovin’ Sam, Weekend Lover and Even You Keep Me Dancin’.
ODYSSEY-ODYSSEY.
BILLY PAUL-WHEN LOVE IS NEW.
BILLY PAUL-WHEN LOVE IS NEW.
In a previous article I wrote about one of Billy Paul’s best know albums Let ‘Em In. After his hugely successful 360 Degrees of Billy Paul, released in 1972, which helped make Billy Philadelphia International Records’ first male superstar, 1976s’ Let ‘Em In is one of his best known and most successful albums. However, the album that preceded Let ‘Em In, 1975s’ When Love Is New, is the album this article is about. It’s probably, Billy Paul at his most political and socially conscious on side one of the album. These first three tracks on the album People Power, America (We Need Light) and Let the Dollar Circulate are very different to Marjorie which closes side one of the album. These three tracks are a long way from Me and Mrs Jones, but demonstrate a side to Billy that many people might well be unaware of. The rest of the album sees normal service resumed, with Billy singing his heart out on three long, slow, tender ballads like the title track When Love Is New and Let’s Make A Baby. Although just seven tracks and thirty-seven minutes long, it features Billy Paul at his very best. When the album was released, it reached number seventeen in the US R&B Charts, staying in the charts for seventeen weeks. This album marked the end of an era, with this the last ever album to feature the original M.F.S.B., the legendary Philadelphia International house band. Not long after this, they quit the employ of Gamble and Huff, reconvening as The Salsoul Orchestra. So as well as allowing the listener to revel in the sound of Billy Paul, it allows them to bid a fond farewell to one of the best ever house bands, M.F.S.B.
When Love Is New opens with People Power, a song with a message, one that asks the people to come together and make a stand, and help forge a new and brighter future for the US, still reeling after the resignation of disgraced President Richard Nixon. The track opens with a combination of chiming guitars, dramatic swirling strings, keyboards and drums before a flourish from the rhythm section signals both the entry of Billy’s frustrated and angry vocal, and a quicker, fuller arrangement. While Billy preaches about the need for unity and People Power, the arrangement unfolds to reveal a dramatic and dynamic driving sound, with the driving rhythm section, keyboards, chiming guitars at the heart of the arrangement while, percussion, grand swirling strings and blazing horns combining to match the frustration yet hope of the lyrics. Billy meanwhile, is accompanied by female backing vocalists, whose sweet and soulful voices unite, the perfect contrast to Billy’s much more powerful vocal. M.F.S.B. on this last hurrah for Gamble and Huff, provide a fast, powerful and emotive backdrop for Billy’s vocal, and the lyrics by McFadden, Whitehead and Castarphen. Together, the produce a powerful, potent and important message for the people of the fifty-one states.
America (We Need Light) is a paean to the soon to be new political administration that would enter The White House in 1976, about the changes needed to get the US back on its feet. The introduction is funk laden thanks to the rhythm section and guitars, before the lush, strings sweep in accompanying a powerful and hopeful vocal from Billy. Here, the tempo is quick as the songs sweeps along, with the rhythm section, chiming guitars and sweeping strings mainly responsible for creating an uplifting, melodic sound that matches the hope in Billy’s vocal. Although deeply political and full of social consciousness, this is a brilliant track with one of the best arrangements on the album, one that matches Billy’s hopeful pleas.
The third and final of the socially conscious songs on When Love Is New is Let the Dollar Circulate. When drums, bass chiming, shimmery guitars and blazing horns combine with grand strings during a lengthy and drama laden introduction, they’re just building up to Billy’s entrance. Eventually, he does, proceeding to sing about the economic woes of the US and how to rectify them, money must flow and circulate through the economy. As well as producing some excellent music, Billy offers free of charge, some interesting and insightful economic advice. His vocal is considered, a mixture of frustration and hope, as behind him, another fuller arrangement unfolds. It’s a combination of sweeping strings, clavinet, punchy rhythm section and braying horns. They create an arrangement that marches along to the beat of Earl Young’s drums for one last time. Adding to the fuller, compelling arrangement are the female backing vocalists whose softer voices provide a contrast to Billy’s clearly frustrated vocal. Like the previous two tracks, Billy delivers a message to the people, using the medium of some majestic music, reaching the ears of people who might ignore similar messages from the politicians who they no longer trusted.
Closing side one of the album was Marjorie, a jazzy number, that seemed out of place following three such socially conscious tracks. It has a quicker tempo, floating along with a quaint old-fashioned sounding arrangement that brings to mind an era long gone by 1975. Having said that, it’s a catchy track, almost infectious that has you transfixed for its duration. Piano, rasping horns, lush strings and the rhythm section turn back time as does Billy, who reverts to jazz crooner, and carries it off with aplomb. The addition of subtle female backing vocalists, punchy, rasping horns, lush strings and bursts of drama from the rhythm section bring to mind a big jazz band, with its members in dinner suits as they accompany Billy. This is added to, when the tinkling piano enters, adding just the finishing touches to this very different and very good retro sounding song. It’s a nice way to end side one after the three political and socially conscious tracks.
Opening side two, was the first of the three long, slow love songs When Love Is New. The tempo is slow, there’s a lushness to the sound and tenderness to Billy’s vocal. Strings lush and sweet enter, accompanied by a slow, subtle rhythm section piano and chiming guitars accompanying Billy’s gentle, tender vocal. There’s space aplenty throughout the arrangement, that sees horns gently rasping and the female backing vocalists as Billy sings about how it feels when love is new, and how after a while, love goes stale. Instead, he sings they must keep their love new, doing so thoughtfully and tenderly, accompanied by a beautiful lush and spacious arrangement that helps make this the best track on the album, one that’s utterly beautiful and up there with the best of Billy’s ballads and love songs.
The second of the three love songs on side two of the album is I Want Cha Baby which opens with the sultriest of saxophones accompanied by a slow piano, chiming guitars and slow rhythm section accompanying Billy’s pleas to the love of his life. Strings sweep in, followed by a dramatic burst of drums and horns, with subtle, sweet female backing vocalists. This continues throughout what is a beautiful yet drama laden track, featuring another excellent arrangement and probably, the tenderest of vocals from Billy. He pleads and persuades his way through just over six minutes of beautiful dramatic and beautiful music, resorting to a half-spoken vocal as he tries to win the affections of his love. Quite simply, this is one of the most seductive tracks on the album, and should carry a government health warning.
When Love Is New closes with Let’s Make A Baby, which, when it was released as a single reached number eighteen in the US R&B Charts and eighty-three in the US Billboard Charts. Again, Billy is at his persuasive best, pleading and attempting to woo his lover into making two into three. The tempo is slow, the sound spacious as keyboards, chiming guitars and rhythm section combine with Billy’s tender, seductive vocal. Lush strings sweep in and breathy female backing vocalists join in, helping Billy create a masterpiece in seduction lasting a lengthy seven minutes. Later, his vocal grows in emotion as he sings passionately about bringing another life into the world. Together with what was M.F.S.B. on their last appearance on a Philadelphia International album, Billy produces another brilliant track, rounding of a run of three beautiful, slow love songs with one of the best tracks on the album.
Listening to When Love Is New, I still believe that although side one has some powerful messages about the political and social issues of the day, many of which are still relevant today, I much prefer side two of the album and the suite of three love songs. That’s not to say that the three songs that open the album are bad songs, quite the opposite. They’re three great songs which deal with very important and real subjects, and feature some impassioned vocals, intelligent and thoughtful lyrics and of course, great arrangements. These arrangements were the swansong for one of the best house bands ever, M.F.S.B. After this, they left Philadelphia International and became The Salsoul Orchestra, creating many more moments of musical brilliance, backing artists like Loreatta Holloway. That however, was still to come. On side two of the album, Billy does what he does best, sings some beautiful, slow love songs, with just three songs lasting over nineteen sultry and seductive minutes. To me, this features some of the best love songs Billy recorded on Philadelphia International. In fact, it’s hard to remember another album where three great love songs like When Love Is New, I Want Cha Baby and Let’s Make A Baby, all followed one another. So powerful are they, that they require handled with care, and should be used responsibly. If not, tracks one and two might inadvertently make three. So When Love Is New features something for all the fans of Billy Paul, whether it’s social comment or love songs, they’re both here on this brilliant album. Enjoy. Standout Tracks: People Power, When Love Is New, I Want Cha Baby and Let’s Make A Baby,
BILLY PAUL-WHEN LOVE IS NEW.
THE O’JAYS-BACK STABBERS.
THE O’JAYS-BACK STABBERS.
Back in August 1972, after Gamble and Huff had previously managed to convince The O’Jays not to quit the music industry, the group released their debut album Back Stabbers. Having already released a series of singles and albums in the sixties for various labels including Minit, Imperial and Bell, nothing could’ve prepared them for the success that was about to come their way. Their debut single, Back Stabbers reached number three in the US Billboard 100 and number three in the US R&B Charts, while reaching number fourteen in the UK. The single was certified gold, having sold over 500,000 copies. This wouldn’t be the last single from the album that was certified gold.
Following on from this success, their debut album Back Stabbers reached number ten in the US Billboard 200 and number three in the US R&B Charts. Within less than a year, the album was certified gold, having sold over 500,000 copies. Quickly, it became one of the most important albums in the history of The Sound of Philadelphia. Since then, it’s seen as one of the most important soul albums of the seventies, and can be found in Rolling Stone magazine’s list of the 500 greatest albums of all time. The three remaining of the original five O’Jays had a lot to thank Gamble and Huff for. Eddie Levert, Walter Williams and William Powell’s lives were transformed, and the success of the album didn’t end there.
Although the second single released from the album 992 Arguments only reached number fifty-seven in the US Billboard 100 and thirteen in the US R&B Charts, the next single surpassed even the success of Back Stabbers. When Love Train was released in December 1972, this Gamble and Huff penned song reached number one in both the US Billboard 100 and US R&B Charts, while reaching number nine in the UK. Like Back Stabbers, it was certified gold, and became The O’Jays only US number one. One further single was released from the album, Time To Get Down, another Gamble and Huff composition. Unlike the joyous Love Train, Time To Get Down only reached number thirty-three in the US Billboard 100 and number two in the US R&B Charts. However, two million selling singles Back Stabbers and Love Train, and a million selling album Back Stabbers, was a pretty good way to start your recording career on Philadelphia International Records. However, what made Back Stabbers such a hugely successful album? That’s what I’ll now tell you.
The O’Jays debut album Back Stabbers opens with When the World’s At Peace, a track that opens with a dramatic sound that combines elements of funk with soul. There’s even a rock influence with the soaring, screaming guitars, that combine with blazing horns and a funky, driving rhythm section. It’s after that that The O’Jays’ vocal enters, loud and passionate, singing about the world being at peace, which, back in 1972, seemed as impossible as it does now. While a punchy, driving and clever, repetitive arrangement unfolds behind them, the lead vocal is accompanied by tight harmonies and soulful, backing vocals. Meanwhile, the arrangement is a quick, fulsome melange of a funky piano playing minor chords, while the rhythm section join in with the funk influence and punchy, blazing horns. Matching the faster, near frantic arrangement is a powerful, soaring lead vocal, supplemented by faster, harmonies and backing vocals. Although this is quite different to other tracks on the album, The O’Jays deliver their message with emotion and passion, mixing elements of funk and soul to do so with aplomb.
The million selling single Back Stabbers was the song that helped make The O’Jays one of the most popular and successful soul groups of the early seventies. This track is a warning about other men who will smile and shake their friend’s hand, but in reality, are plotting to steal their friend’s wife or girlfriend. A roll and flourish of piano, drums, chiming guitars and lush sweeping strings combine before a much gentler, but frustrated and angry vocal enters. Quickly, the lead vocal changes hands, with each member sounding equally dismayed and disgusted. Behind them, one of the best arrangements on the album is unfolding. It’s an infectious combination of dramatic, yet beautiful music, thanks to the combination of lush, sweeping strings, chiming, shimmery guitars, piano and drums, while the horns and rhythm section deliver punchy, brief bursts of drama. When combined with The O’Jays’ vocal with veers between gentle and considered, to a frustrated and cynical sound. Quite simply both their vocal and the arrangement are masterful, resulting in one of The O’Jays best ever tracks.
Who Am I starts with a gentle and subtle piano, percussion and slow, considered bass accompanying the gentle, melodic lead vocal, and tight harmonies from the rest of the group. After that, a brief burst of horns and drums, gives ways to grand, sad sounding strings, percussion and occasional chiming guitars, while one of the most moving vocals on the albums unfolds. The rest of the group sing some beautiful, subtle close harmonies, totally sympathetic to a hugely emotive and deeply sad vocal. There’s a subtlety to the arrangement that meanders slowly and sadly along, only interrupted by brief, sharp bursts of drama courtesy of the drums. However, what makes this such a beautiful, moving song is the vocals, made all the better by a sympathetic and subtle arrangement from Norman Harris.
The style and tempo changes with the uplifting and joyous (They Call Me) Mr Lucky, another track that features some brilliant vocals from The O’Jays. A lead vocal that’s a combination of power, emotion and joy is accompanied by close, joyous backing vocals and an arrangement that has a real uplifting, feel-good sound. This is thanks to an arrangement that has a somewhat old fashioned sound, with lush strings, chiming guitars, punchy drums, stabs of piano and percussion contributing to an arrangement that just swings along. This is an infectious, joyous combination, featuring some lovely lyrics from Gamble and Huff about how you feel lucky when you’re in love with someone special.
Closing side one of the album is yet another uptempo and joyful sounding track penned by Gamble and Huff, Time To Get Down. Here, the tempo is quicker, the arrangement fuller, and from the opening bars to close notes, just three and a half magical, magnificent minutes. This begins when the trademark Gamble and Huff drums enter, accompanied by keyboards, guitars and bass, before a quick burst of horns signals the arrival of another joyous lead vocal. It’s accompanied by equally joyful, backing vocals which soar beautifully above the lead vocal. Behind them, the arrangement has filled out, the faster tempo incorporating bursts of subtle horns, rhythm section, keyboards and guitar. Together, they provide the perfect, joyous backdrop for one of The O’Jays best vocals on the album. However, why the single didn’t fare better than number thirty-three in the US Billboard 100 and number two in the US R&B Charts puzzles me.
Side two of the album opens with 992 Arguments, which was the second single released from the album, and the follow-up to Back Stabbers. Unlike it’s brilliant predecessor, it only reached number fifty-seven in the US Billboard 100 and seventeen in the US R&B Charts. That, however, doesn’t mean it’s a bad song, quite the opposite, it’s a very good song. It’s quite different from the three previous tracks, and is a song that’s laden with drama, and quite emotionally charged, about a turbulent relationship. Straight away, bursts of dramatic drums, stabs of piano, braying horns and bass combine before the passionate, frustrated lead vocal enters. Strings sweep and swirl, while a wailing Hammond organ and percussion adds to the already dramatic arrangement. As the song progresses, the tempo quickens and gets fuller, with the rest of The O’Jays contributing punchy, angry backing vocals. This is an epic tale of woe, lasting over six emotionally charged and frustrated minutes, and the longer the track progresses, the more the drama builds and builds, climaxing in a dynamic crescendo. It’s an excellent track, very different to tracks like Back Stabbers and Love Train, featuring great vocals and an outstanding drama drenched arrangement.
Listen To the Clock On the Wall is a song about adultery and the guilt that comes hand in hand with forbidden, stolen moments of love and passion. Arranged by Leonard Pakula the track is a compelling description of secret assignations and stolen love, in the same vein as Candi Staton’s Mr and Mrs Untrue. When the track opens the repetitive nature of part of the arrangement is a masterstroke, the percussion getting across time slipping away quickly, while the sweeping strings, chiming guitars and braying horns combine to produce an atmospheric and dramatic backdrop for the vocal. It’s laden with frustration and emotion, as it’s accompanied by brief bursts of dramatic drums, while the rest of The O’Jays contribute soulful, tight harmonies and backing vocals. Together with the arrangement, it’s a dramatic and compelling track, full of emotion, sadness and betrayal.
Following on from the drama and emotion of the previous track Shifty, Shady, Jealous Kind of People is a song with a strong narrative, that describes perfectly, the jealous, interfering and mean-spirited people who can’t stand to see people get on and improve their lives. They always want to know people’s business and do them down. Jealousy and bitterness runs through their veins in equal parts to their blood. As the song opens, keyboards, rhythm section and angry, braying horns combine with grand, disdainful strings to combine the perfect backdrop for the frustrated and angry vocal that enters. It’s powerful, full of disgust, while tight harmonies almost mock them, with their sweet, united voices. This works beautifully, when combined with the arrangement that gets across the anger, frustration and disgust of the lyrics. In three and a half minutes, this mini-drama penned by Gamble and Huff with McFadden and Whitehead gets across the emotion, frustration and anger felt by anyone who has had the misfortune to meet Shifty, Shady, Jealous Kind of People. Quite simply, a mocking, mini-masterpiece aimed squarely at these people.
Sunshine is a slow ballad, a love song, featuring some great vocals and a slow arrangement laden with emotion and drama. Drums, chiming guitars, piano and percussion combine before a thankful, joyous and powerful vocal enters, accompanied by tight, harmonies and backing vocals. Meanwhile, the arrangement meanders beautifully along, with strings, lush and sweet, sweeping in, while the arrangement veers between dramatic and melodic. Thom Bell’s arrangement is stunning, full of emotion and beauty, with his ability to combine just the right choice of instruments at the right time, to achieve maximum effect. The combination of the slow tempo, melodic, moving and dramatic arrangement and one of the most beautiful vocals on the album result, in another stunning track.
Back Stabbers closes with Love Train, the second million selling single from the album. It was The O’Jays only number one in the US and is best described as three minutes of brilliant, joyful, hook laden, feel-good music, that demonstrates just what made The O’Jays and The Philly Sound so massively, popular. When we board the “train,” the speed is quick, the sound joyous thanks to the most infectious arrangement and vocal. Chiming guitars, driving rhythm sections, lush, sweeping and swirling strings keyboards and blazing horns combine with a hugely, joyous and passionate vocal. It’s accompanied by the rest of The O’Jays who give a similarly uplifting performance against a backdrop of some fast-paced strings, blazing horns, punchy drums and one of the best bass lines on the album. For three minutes you’ve to resist the temptation to rejoice at the brilliance and beauty of the track. You want to give thanks and rejoice to The O’Jays, arranger Thom Bell and producers Gamble and Huff for achieving three minutes of musical perfection, which are the perfect way to end the album. After all, anything else would be a let down.
Over the last few months, I’ve reviewed three of The O’Jays studio albums on Philadelphia International Records, Ship Ahoy, Family Reunion and Back Stabbers. These album had been unavailable for some time, and many people longed to either buy a copy to replace their cherished vinyl copy or hear these albums for the first time. Thankfully, they’re now able to do so, as all three albums have been remastered and rereleased. This allows a new generation of music fans to share what those of us who were around back then, to love and enjoy. Along with Harold Melvin and The Blue Notes, The O’Jays have always been one of my favorite groups on Philadelphia International. During their time on the label, they released some of the best soul music of the early seventies. This includes Back Stabbers, the album that made The O’Jays stars. On the album were two classic Philadelphia International tracks Back Stabbers and Love Train, both million selling albums. However, this album is more than just two brilliant singles. It features ten songs, each of which see The O’Jays at the top of their game. They were ably assisted by the masterminds behind The Sound of Philadelphia, Gamble and Huff, along with arrangers like Thom Bell, Bobby Martin and Norman Harris, and songwriters like McFadden and Whitehead and Bunny Sigler. Together, this creative team helped The O’Jays make a hugely successful album, which is one of the most important and influential seventies soul albums. If you’ve never heard it, now is your chance to hear some brilliant music by one of the best soul groups of the seventies, The O’Jays. Go on, get on the train. Standout Tracks: Back Stabbers, Time To Get Down, Sunshine and Love Train,
THE O’JAYS-BACK STABBERS.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
Although Harold Melvin and The Blue Notes had originally been formed back in the early fifties, as The Charlemagnes, and became The Blue Notes in 1954, it wasn’t until August 1972, that the group released their debut album, originally entitled I Miss You. However, after the success of If You Don’t Know Me By Now, the second single released from the album, Philadelphia International Records decided to repackage the album, giving it a new cover and title, Harold Melvin and The Blue Notes. The now entitled Harold Melvin and The Blue Notes, reached number fifty-three in the US Billboard 200 and four in the US R&B Charts. This was a more than satisfactory outcome for what many people perceive is the classic line up of the group. This was Teddy Pendergrass singing lead vocal, with Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson singing harmonies and backing vocals.
After this, the group embarked on its most successful period, with Black and Blue their second album, released in September 1973, reaching number twenty-seven in the US Billboard 200 and five in the US R&B Charts. It featured one of their most successful singles, The Love I Lost (Part 1), which reached number seven in the US Billboard 100 and number one in the US R&B Charts. Meanwhile, the group were hugely popular in the UK, with the single reaching number twenty-one.
1975 saw the group’s popularity soar, with them releasing two hugely successful albums. The first was To Be True, which reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. It became the group’s first album to be certified gold. Later that year, To Be True’s success was surpassed by Wake Up Everybody, which reached number nine in the US Billboard 200 and number one in the US R&B Charts. Not only that, but it was certified platinum, have sold over one million copies. As if that wasn’t enough, Wake Up Everybody (Part 1), the first single released from the album reached number twelve in the US Billboard 100 and number one in the US R&B Charts.
Back then, it seemed, the group could do no wrong, but that would change when Teddy Pendergrass left the group and the group changed labels to ABC Records. After that, the group never replicated the success of the period between 1972 and 1975, on Philadelphia International, when is seemed the group could do no wrong. However that was all in the future, and back in August 1972, the group were about to embark on a four year adventure when they became of the best know purveyors of the Philly Sound, the first installment of which was I Miss You, which I’ll now tell you about.
I Miss You opens with the title track, I Miss You, penned by the two geniuses behind Philadelphia International Gamble and Huff, and like the rest of the album, recorded at the SIgma Sound Studios. Suddenly, after eighteen long years, Harold Melvin and The Blue Notes had at last, recorded their debut album, and what a start to the album I Miss You is. When the track opens, a hugely moving arrangement unfolds, with vibraphone, rhythm section and an atmospheric Hammond organ, almost groaning in sympathy to Teddy’s plight. His vocal is laden with emotion, sadness and regret as he sings how his baby has left him, and how he’s alone and heartbroken. Behind him, The Blue Notes tight, subtle harmonies sympathetically accompany Teddy. Meanwhile, the arrangement is a combination of understated and dramatic. As the track progresses, the drama builds and builds, with a combination of dramatic piano, rhythm section, chiming guitars, wailing Hammond organ and lush, sweeping strings achieving this wonderfully. Over an epic eight and a half minutes, a heartbroken Teddy emotionally sings his heart out. The additional of a one-way telephone conversation during the track, is a masterstroke, especially, against Teddy’s desperate vocal. On I Miss You, Teddy is definitely the star of the show, but much of the credit must go to Thom Bell for a brilliant arrangement, and of course Gamble and Huff for their production of the track. Overall, it’s a brilliant track to open this debut album, which deserved to do much better than its number fifty-eight peak in the US Billboard 100 and number seven in the US R&B Charts when released as the first single from the album.
Ebony Woman begins with a flourish of piano, grand strings, which swirl and sweep, while Teddy’s considered and thoughtful vocal enters, accompanied by The Blue Notes adding some beautiful, backing vocals, against a backdrop of sweeping, lush strings and a flourishes of dramatic piano. There’s a lovely old-fashioned sound to the arrangement, thanks to the addition of the rasping horns, sweeping strings and tight, soaring backing vocals. This starts to give way to a more modern sound, when the rhythm section, chiming, shimmery guitars enter and the sound fills out. However, regardless of whether the sound is old-fashioned or modern, Teddy launches himself into the song, delivering the lyrics with emotion and passion, while The Blue Notes accompany him. Although very different to the opening track, it’s still laden with emotion, passion and features an arrangement that combines something old, with something new, and of course The Blue Notes.
The final song on the first side of the original album was Yesterday I Had the Blues, another epic track, written by Gamble and Huff. This track lasts seven and a half magical minutes, starting slowly and spaciously, with the mood laid back, while a flourish of piano, moody bass and chiming guitars accompany subtle, backing vocals by The Blue Notes. When an atmospheric Hammond organ plays, that’s the signal for Teddy’s deeply emotive vocal to enter. He nails the lyrics, singing how he was desperate yesterday, but things have changed and he’s found love. Behind him, the arrangement is atmospheric, moody and dramatic. A saxophone briefly drenches the arrangement, combining perfectly with the lushest of sweeping strings and the Hammond organ. Meanwhile, Teddy’s slow but beautiful heartfelt vocal is made all the better by The Blue Notes thoughtful contributions. For seven and a half minutes, you’re transfixed by the most beautiful music, thanks to Teddy, The Blue Notes and one of the best arrangements on the album. Quite simply, ballads don’t get much better than this.
After saying that ballads don’t get much better than Yesterday I Had the Blues, side two of the album opens with If You Don’t Know Me By Now, which defeats that statement at a stroke. This was song that when it was released as a single, prompted Philadelphia International to give the album a new title and cover. Although just three and a half minutes long, these are some of the most beautiful, moving and tender minutes of music. They open with the lushest of strings, a slow, careful rhythm section and chiming guitars, before horns interject subtly and briefly. It’s only then that The Blue Notes sing the tenderest of backing vocals, before Teddy takes centre-stage. He sings the lyrics slowly, giving a dramatic and heartfelt delivery of the lyrics, with The Blue Notes harmonizing. His pleas that his lover must know him and trust him by now, are from the heart, full of sincerity and emotion. Behind him, the rhythm section provide the song’s slow, heart achingly sad heartbeat, while a piano, sweeping strings and guitars achieve musical perfection, matching Teddy and The Blue Notes brilliance. Of all the ballads the group recorded, this is the best. Absolutely beautiful, tender and moving, yet laden in drama.
Be For Real sees Teddy chastising his woman for her boastful ways and love of materialism, when his half-spoken vocal enters, accompanied by slow drums, percussion, keyboards, gently chiming guitars and subtly rasping horns. Everyone plays with subtly and thoughtfulness, and that’s the case when a Hammond organ enters, adding it’s unique and atmospheric sound to the swirling saxophone and twinkling piano that become prominent in the arrangement. Teddy meanwhile, isn’t a happy man, sad, frustrated and angry that his lover is making his friends look bad, because they don’t have what he has. After four minutes, the track opens out, with Teddy’s voice growing in power and passion, soaring soulfully, accompanied by The Blue Notes whose harmonies blend perfectly with Teddy’s lead vocal. Still the arrangement has a lovely understated sound and feel, that later, grows, full of emotion and drama. This sees dramatic flourishes of piano, sweeping strings, chiming guitars, a floaty flute and driving rhythm section provide the perfect backdrop for Teddy and The Blue Notes as the song reaches its climax. When it does, it surpasses everything that’s gone before during the previous seven minutes. It’s a dramatic, fulsome and emotional ending to a hugely powerful song with an important message, that demonstrates not just Teddy’s talent and versatility as a vocalist, but that of the magnificent Blue Notes.
After such an emotionally charged ending to the previous track, Let Me Into Your World sees the Harold Melvin and The Blue Notes, drop the tempo on another gorgeous track, which features some tight, vocal harmonies. Although the tempo drops, there’s still plenty of emotion and drama within the track. As the track opens, drums, keyboards and strings combine before breathless backing vocals from The Blue Notes. While Teddy emotive lead vocal is accompanied by shimmery guitars, prominent bass, swirling strings and brief bursts of horns, The Blue Notes sing some of the tightest, most soulful harmonies on the album. Meanwhile, Teddy, as usual, launches himself into the song, his vocal rising laden with feeling and passion, powerfully. The arrangement rises and falls in waves, its beauty constantly revealing itself and enchanting you. By the end of the track, what makes this such a great track is the interplay between Teddy and The Blue Notes, whose contributions demonstrate that although Teddy may have been the lead singer, this was far from a one man band.
I Miss You closes with Let It Be You, another of the Gamble and Huff penned tracks. When you spend as much time listening to the music of Philadelphia International Records as I have over they years, you soon realise just how prolific and successful a songwriting partnership this was. This track demonstrates their talents as songwriters and producers perfect, and is a fitting track to close the album. A combination of dramatic soaring harmonies, slow sweeping strings, blazing horns, piano and rhythm section open the track. After that, Teddy’s powerful vocal enters, laden in feeling and passion, while the rest of the group accompany him, their voices uniting dramatically, matching Teddy every step of the way. Meanwhile, the arrangement has become hugely dramatic and stirring. Braying horns, sweeping strings and flourishes of piano compete with the rhythm section and guitars, ultimately uniting in a spectacular climax, with Teddy and The Blue Notes united voices. Not only is this spectacular and dramatic, but it’s a fitting and quite brilliant ending to this album.
In previous articles I’ve written about how it’s a misnomer to call any artist an overnight success. Usually, this is far from the truth, and Harold Melvin and The Blue Notes prove my point perfectly. Eighteen years after the group was formed, they released their debut album I Miss You. Even then, it was only after the release of the seminal If You Don’t Know Me By Now, as the second single that the group’s fortunes changed. The single reached number three in the US Billboard 100 and number one in the US R&B Charts. This prompted Philadelphia International to change the album’s title from I Miss You, to Harold Melvin and The Blue Notes, and give the album a new cover. After that, the album sold well, peaking at number fifty-three in the US Billboard 200 and number four in the US R&B Charts. That was just the first step on a musical adventure that saw Harold Melvin and The Blue Notes release three further hugely successful albums, that saw them become one of the most popular soul groups of that time. I Miss You which is a fantastic album, was just the first step to stardom for Teddy Pendergrass, Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson. Over the next three years they release three more albums Black and Blue, To Be True and Wake Up Everybody. Of these albums, I’ve previously reviewed Black and Blue and Wake Up Everybody, both of which are excellent albums. If you’re unfamiliar with the music of Harold Melvin and The Blue Notes, I can thoroughly recommend all of these albums, of which I Miss You, is a good introduction to some brilliant music. Standout Tracks: Yesterday I Had the Blues, If You Don’t Know Me By Now and Let Me Into Your World.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
CANDI STATON-CANDI STATON.
CANDI STATON-CANDI STATON.
Sometimes, I decide to write more that one article on an artist, if they’ve released a number of highly regarded or important albums. However, sometimes, my reasons for writing about an artist more than once are that as well as being an important and influential artist, they’re an artist whose music I love. Candi Staton, falls into the three categories I’ve mentioned. I’ve long been a huge fan of Candi’s music, and recently, was delighted when a compilation of all the music Candi recorded for Fame Records was released. Previously, the Honest Jon’s label had released an excellent compilation of her music on Fame Records, but the Kent Soul compilation features forty-six tracks over two discs, including many previously unreleased tracks. This is the perfect introduction to the music of Candi Staton, back when she was The First Lady of Southern Soul.
Back when she was with Rick Hall’s Fame Records label, Candi released three outstanding, critically acclaimed albums, all of which, are among some of my personal favorite albums. Of all the Southern Soul singers whose music I enjoy, Candi is right up their at the top of my list of favorite singers. Previously, I’ve written about Candi’s 1969 debut album I’m A Prisoner and her 1971 album Stand By Your Man. The latter of these two albums saw Candi nominated for a Grammy Award for her version of the Tammy Wynette penned Stand By Your Man.
The last of the three album’s she recorded for Fame Records was Candi Staton, released in 1972. This was the last album that Rick Hall produced for Candi, and featured In the Ghetto, Elvis Presley’s 1969 hit single. When it was released as a single, it reached number twelve in the US R&B Charts, and entered the top fifty of the US Billboard 100. This track saw Candi once again, nominated for a Grammy Award. After the released of Candi Staton, Rick Hall had negotiated a new contract for Candi with United Artists, which started with Candi’s next album 1974’s release Candi. However, her final album, Candi Staon, on Rick Hall’s Fame Records featured some of the best music she’d recorded, and it’s that album I’ll now tell you about.
Candi Staton opens with Do It In the Name of Love, a funky slice of Southern Soul, that opens with bursts of blazing horns, the rhythm section and chiming guitars combining before Candi’s charismatic and passionate vocal enters. She’s accompanied by soulful, backing vocalists, a wailing Hammond organ and the combination of funk laden, braying horns, guitars and rhythm section. Together, they produce a hugely atmospheric backdrop for Candi’s vocal, which is now a combination of power and passion, that brings Bobby Bloom and Neil Goldberg’s lyrics about a nervous lover to life. Together with Rick Hall’s fulsome, emotive arrangement, this is an excellent track to open Candi’s third and final album on Fame Records.
Darling You’re All That I Had sees Candi singing about the love she lost, and how her man has left her, leaving her feeling sad, lonely and used. Again, Rick Hall manages to arrange the track in such a way to match the sadness, emotion and drama of Candi’s vocal. To do this, horns drench the track, when it opens, with the rhythm section, guitars and lush, sweeping strings all part of his arrangement. He uses horns to add both emotion and drama, while the strings help get across the sadness and desperation in Candi’s voice. Adding to an already moving arrangement is a piano, which combines beautifully with the dramatic, bursts of horns and lush strings. When this is combined with Candi’s deeply emotional, sad vocal, it’s a potent and winning combination from The First Lady of Southern Soul.
Pam Sawyer and Gloria Jones cowrote Blackmail, and when you hear the lyrics, they’re written from a woman’s perspective. They’re about how when a man has been rejected by a woman, he’ll stoop the lowest level, threatening to tell her husband about their stolen kiss. Here, Candi gets across how worried, petrified she is, being blackmailed by her rejected beau. The track has a faster tempo, with Candi’s voice laden with emotion, demonstrating the fear and worry someone would experience in such a situation. Likewise, the quicker arrangement is full of swirling strings, punchy horns, with a piano prominent in the arrangement, while the rhythm section and guitars drive the track along. Mean while, backing female vocalists cut in, their voices soaring in unison, just like the blazing horns. This much faster, punchier and driving arrangement is perfect for Candi’s distraught and panicky vocal.
In 1969 Elvis Presley had a hit with In the Ghetto, written by Mac Davis. When you listen to that version of the song, it’s a man singing about the problems and worries a woman bringing up children in poverty is experiencing. Although that version is deeply moving, I’ve always felt the song suits a woman singing it. Now many people have recorded versions of this track, but my favorite version, is Candi’s. She seems to be able to get across the hopelessness and pain the character is experiencing. Combine that with Rick Hall’s arrangement, and you’ve got the definitive version of the song, like Candi sung the definitive version of Stand By Your Man. As the track opens, an atmospheric and emotive, combination of the rhythm section, guitars, swirling, shivery strings and a hugely moving harmonica accompany Candi’s thoughtful, dramatic and melancholy vocal. Backing vocalists accompany Candi throughout the track, adding subtle, considered vocals that compliment Candi. Later in the track, Candi’s voice grows in power and emotion, as she delivers the heartache and hopelessness of the situation. Horns rasp, a guitar cuts in repeatedly, while stings shiver and swirl and that heart-achingly sad harmonica cuts in. By the end of the track, you can’t failed to be moved by Candi’s rendition of Mac Davis’ song and Rick Hall’s beautiful arrangement. I defy anyone to find a better version of this song, ever.
The final song on side one of the original album was Wanted: Lover, which previously, had been released on Fame as a single by James Govan, which incidentally, is one of the tracks on the forthcoming The Fame Studios Story 1961-1973 box set on Kent Soul. Personally, this is a track that I think suits a female voice much more than a male vocal. When the track opens with dramatic, blazing horns, sweet, soulful backing vocalists singing in unison, while the rhythm section and horns provide a sultry sounding arrangement. When Candi’s vocal enters, it’s strong and confident as she sings, neigh pleas about wanting a lover, while waves of the catchy, sultry arrangement unfold dramatically. Candi’s vocal is made all the better by the addition of the growling horns and soulful backing vocalists. Like previous tracks, Rick Hall is a magician, able to arrange the song in such a way that when his arrangement is combined with Candi’s vocal they bring the song to life, and tell the story that lies within the lyrics. It’s the perfect, passion laden track to close side one of the album.
Side two of the album opens with The Best thing You Ever Had, written by George Jackson. It’s one of the album’s standout tracks, which is apparent even after a few bars of the track. Guitars, drama laden braying horns, swirling strings and rhythm section combine to produce an emotionally charged, faster and fuller arrangement before Candi’s strident vocal bawls that she was the best thing her man ever bad. As she sings, her voice is full of confidence, anger and maybe even relief, at being free. Accompanying her are a trio of female backing vocalists, whose high soaring vocals match Candi’s confident vocal. Although just two and a half emotionally charged minutes long, this track demonstrates Candi’s versatility and talent as a vocalists, as she makes these lyrics come alive brilliantly.
Lovin’ You, Lovin’ Me sees the tempo and style change with lush sweeping strings at the heart of the introduction, before with a swirl they drop out and give way to Candi’s thoughtful, tender vocal as she sings about how glad she’s to have found her lover. As Candi sings, the rhythm section, guitars and piano play slowly and thoughtfully, allowing Candi’s vocal to take centre-stage. Later, with a flourish, the strings rejoin, adding brief bursts of drama, their lushness adding to an already understated arrangement that flows beautifully along. Barbara Wyrick’s lyrics are quite beautiful, and the way Candi delivers them is just perfect. There are no dramatics, just a thoughtful, considered delivery of them, which when combined with the understated arrangement, works beautifully.
After the tenderness of the previous track, Candi ups the tempo, on the dramatic, horn laden I’ll Drop Everything and Come Running. The horns growl and blaze as the track opens, joined by the rhythm section and chiming guitars before Candi’s powerful, emotive voice enters. From there on, the arrangement is a combination of braying horns, soulful backing vocalists and driving rhythm section as Candi tells her lover how she’d drop everything come running to him. Matching her passion, is the arrangement, with the horns perpetually punctuating the track, while backing vocalists cut in, their voices powerful, as they unite. Throughout the track, space is at a premium, while emotion and passion run high, on this fantastic sultry, funky slice of soul.
You Don’t Love Me No More is another emotionally charged track, with Candi realizing her man no longer loves her any more. It’s a slow, dramatic slice of the finest Southern Soul. Emotive, horns slowly drench the introduction, while a piano adds atmosphere and the rhythm section provide the track’s slow, atmospheric heartbeat. When Candi sings, she knows her man don’t love her any more, but tells him he’ll never find anyone as good as her. Meanwhile, chiming, shimmery guitars and a wailing, atmospheric Hammond organ cuts in. These addition makes an already brilliant arrangement even better, resulting in one of the most moving, hugely dramatic tracks on the album, thanks to Candi’s heart wrenchingly moving and sad vocal.
Candi Staton closes with The Thanks I Get For Loving You a track that Candi wrote herself. Chiming guitars, drama laden, swirling strings and a driving rhythm section combine at the start of the track before Candi’s angry vocal enters. She’s sings how she’s through with her man, fed up with his cheating, but warns him confidently, that she’s the best he’ll ever get. Behind her, backing vocalists seem accompany her, almost saying go girl, you tell him. Meanwhile behind her, one of the best arrangement on the album is unfolding. Wailing guitars, drama laden piano and strident strings combine with a rhythm section that provides the track’s pulse. Together this is hugely effective, and provides the perfect backdrop for Candi’s angry yet confident vocal. Quite simply, this is the perfect track to close the album with. Not only is it one penned by Candi Staton, but features an outstanding, emotive vocal, and a hugely sympathetic arrangement from Rick Hall that lifts it to the next level.
As someone who has been a fan of Candi Staton’s music for many years, I always look back at the three albums she recorded for Fame Records as “vintage” Candi Staton. Much as I love her later work, this for me, is the best music she ever recorded. She was working with a hugely talented producer in Rick Hall, who to me, brought out the very best in Candi. Rick Hall had gathered some of the most talented house bands in America back then. This included guitarist Jimmy Johnson, bassist David Hood and drummer Barry Beckett, who just replaced Spooner Oldman. This wasn’t the only advantage Rick Hall had over other studios. He also had some of the best songwriters around, including Dan Penn and later, George Jackson, who replaced him. Together, they all worked with Candi, helping her to produce three critically acclaimed and quite brilliant albums. This lead to Candi been crowned the The First Lady of Southern Soul, a title she richly deserved. Of her three albums for Fame, I like each of them equally, but if forced to name just one, I think Candi Staton would be my choice. These albums were very different to Candi’s later disco tracks like Young Hearts Run Free and her million selling Acid House hit with The Source You Got the Love. Since then, Candi has made something of a comeback, recording two new albums for Honest Jon’s His Hands and Whose Hurting Now. Recently, Candi was touring the UK and now aged seventy-one gave great performances that won her a new generation of fans. Should you wish to hear some of her earlier recordings on Fame, you can either choose from the Candi Staton compilation on Honest Jon’s or Candi Staton Evidence: The Complete Fame Records Masters on Kent Soul. Both are good value, and feature some brilliant music, so my advice would be buy both, and experience the brilliant music of Candi Staton, The First Lady of Southern Soul. Standout Tracks: In the Ghetto, The Best thing You Ever Had, You Don’t Love Me No More and The Thanks I Get For Loving You.
CANDI STATON-CANDI STATON.
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JEAN CARN-JEAN CARN.
JEAN CARN-JEAN CARN.
By the time Jean Carn signed for Philadelphia International Records in 1976, she’d been involved in the music business since the late sixties. After studying at Atlanta’s Morris Brown College, Jean became know as a hugely versatile vocalists, with a five octave range and the ability to sing in a variety of styles. She’d planned to continue her musical education in New York, at the prestigious Juilliard School of Music, but met Doug Carn, a jazz pianists. Jean became the vocalist for Doug’s jazz fusion band, before she featured on three of Doug’s albums on Black Jazz Records. These were 1971s’ Infant Eyes, Spirit of the Land released in 1972 and 1973s’ Revelation. Jean’s vocal brought her to the attention of both jazz fans, and a band that was about to record their debut album Earth, Wind and Fire.
Not long after the release of 1971s’ Infant Eyes, Jean had come to the attention of Earth Wind and Fire who were about to record their debut album Earth Wind and Fire. Hooking up with Earth Wind and Fire allowed Jean to demonstrate her versatility as a vocalist,because previously, she’d just sung jazz music. So, Jean became a member of the group for their first two albums on Warner Bros. Their debut album Earth Wind and Fire released in 1971, reached number 172 in the US Billboard 200 and twenty-four in the US R&B Charts. Their second album, also released in 1971, The Need of Love reached number eighty-nine in the US R&B Charts and thirty-five in the US R&B Charts. However, Jean wasn’t credited as a member of the group.
In 1975, Jean became the vocalist for Norman Connors, featuring with Michael Henderson on the 1975 hit single Valentine Love. Coincidentally, another Philadelphia International Records vocalist Phillis Hyman was another featured vocalist for Norman Connors. The following year, 1976, saw Jean sign for Philadelphia International, where she would record four albums.
Jean’s debut album on Philadelphia International was entitled Jean Carn, and released in 1977. When it was released, the album reached number twenty-four in the US R&B Charts. This album was produced by Gamble and Huff, and featured Jean singing a combination of soul and jazz tracks. When Free Love was released as a single, it fared well, reaching number twenty-three in the US R&B Charts.
The following year, in June 1978, her follow-up album Happy To Be With You was released. It featured the brilliant track Don’t Let It Go To Your Head, which was released as a single. Amazingly, it didn’t do as well as her debut single for Philadelphia International, only reaching number fifty-four in the US R&B Charts.
This was followed by 1979s’ When I Find You Love. Her fourth and final album for Philadelphia International, was Sweet and Wonderful, which was released on the subsidiary TSOP label, in 1981. After five years, Jean decided to leave Philadelphia International, heading to another of soul music’s great labels, Motown.
Having left Philadelphia International, Jean signed to Motown, where she released Trust Me In 1982. This was the only album she released on Motown, and the only album she released until 1986s’Closer Than Close in 1986. After that, Jean released three further albums including You’re A Part of Me in 1988, which was released on Atlantic Records. Seven years later, Jean released two further albums, Carne Sings McCoy and Closer Than Close. Since then, Jean hasn’t released any further albums. However, the album this article is Jean’s debut album, Jean Carn, which I’ll now tell you about.
Jean Carn opens with the Gamble and Huff penned Free Love, which was released as single, reaching number twenty-four in the US R&B Charts. When the first staccato notes of Free Love bursts brightly from your speakers, it’s apparent Gamble and Huff foresaw Jean as Queen of the dance-floors. A combination of punchy rhythm section, soaring, chiming guitars and percussion quickly lock into a groove to accompany Jean’s charismatic vocal, before sweeping, swirling strings enter. From there, the track sweeps quickly, with blazing horns and drums dramatically punctuating the track, When Jean’s voice softens, she’s joined by sweet, brief bursts of backing vocalists. Together with rest of the catchy, mostly lush sounding arrangement, this brilliant and timeless dance track is the perfect way to open the album. One thing though, why didn’t it do much better when released as a single?
The tempo and style changes on No Laughing Matter, which is a lovely ballad, that allows Jean to demonstrate her versatility as a vocalist. Very different is Jack Faith’s arrangement, which has a lovely understated quality, with lovely, lush strings, percussion and piano at the heart of it’s beauty. Later, horns gently and subtly, interject, combining with the rhythm section and adding to an already beautiful arrangement. Meanwhile, Jean’s vocal is thoughtful and gentle, her phrasing perfect as she sings another Gamble and Huff penned track. Here, the lyrics are a mixture of sadness and joy. The joy is when Jean sings about being in love and how precious life is, and the sadness come when she sings about having a bad start in life. When Jack Faith’s arrangement is combined with Jean’s vocal, the result is stunning, a beautiful and hugely moving song, featuring a beautiful vocal and arrangement.
I’m In Love Once Again has a spacious and dramatic introduction, with a harp, percussion, drums and brief bursts of horns combining, slowly and gently, before after a dramatic burst of drums, Jean’s high and thoughtful vocal enters. She’s accompanied by a gentle piano, rhythm section, grand, sweeping strings and guitars. Like the opening track, the arrangement is punctuated by dramatic bursts of drums and strings. This is one of these tracks that the longer it goes on, the better the arrangement gets. It seems to take a couple of minutes before the track really opens out and reveals it’s beauty. Much of the track’s success is down to Jean’s now powerful, emotive and passionate vocal which is accompanied by quicker, sweeping strings, rasping horns chiming guitars and the rhythm section. Towards the end, a prolonged piano solo, adds the finishing touches to what is a fine track, thanks to Jean’s power laden and passionate vocal, and a slow burner of an arrangement.
There’s a jazz influence present in Don’t You Know Love When You See It which features a dramatic arrangement from Bobby Martin. A wailing, atmospheric Hammond organ, dramatic braying horns, slow moody rhythm section and chiming guitars combine to produce an arrangement that has elements of soul and jazz present before a slow, considered vocal from Jean enters. Her voice soars powerfully, as she uses her five octave range to its full. Behind her, the arrangement has a dramatic, moody sound because of the slow tempo and the combination of instruments deployed. This includes rasping, wailing horns, sweeping strings, chiming, shimmering guitars and a slow, thoughtful rhythm section. Although very different from previous tracks, both Jean’s thoughtful and dynamic vocal and Bobby Martin’s slow, moody and atmospheric arrangement combine to produce a drama laden, but excellent track.
Where Did You Ever Go is the slowest track on the album, and is another ballad, written and produced by Dexter Wansel. The arrangement has a “big” melodramatic sound, with strings sweeping emotively and dramatically, while a piano adds a sense of drama. Jean meanwhile, gives a hugely emotional, dramatic performance, as she sings about being left alone by her lover. Dexter Wansel drops the strings in at just the right moment, ensuring they’re deployed at the most effective time. This really works, adding to the sadness and loss Jean sings about. Again, she uses her wide vocal to really get across the sadness of the lyrics. Unlike other tracks, the arrangement relies upon fewer instruments, and this less is more attitude works well, with the piano and strings combining beautifully with Jean’s emotive, drama laden vocal.
The sound of waves breaking on a beach, seagulls, a boat’s horn and church bells open You Are All I Need. This gives way to a slow, dramatic lush strings, rasping horn and a quicker, rhythm section and percussion before a gentle, floaty vocal from Jean enters. Quickly, against a backdrop of atmospheric rasping horns, the lushest of sweeping strings and the rhythm section combine to produce an arrangement that veers between a quicker yet gentle flowing arrangement, to a jazz funk influenced sound when the rhythm section and horns get into a groove and are allowed to demonstrate their considerable talents. Sometimes however, the arrangement has a hesitancy, and the earlier flowing sound almost stumbles along, because of the latest change in tempo. Meanwhile, Jean’s vocal changes in style, ranging from a gentle, thoughtful style, to a much more powerful, passionate style, and even to a style that’s jazz tinged. However, my problem with this track is the constant changes in tempo and style. For me, it doesn’t quite work, and although not a poor track, it’s the weakest track on the album, which is a shame considering Jean’s great vocal.
Things get back on track with If You Wanna Go Back another of the Gamble and Huff penned tracks. This is one of the dance floor orientated songs on the album, and has long been a favorite of mine. From the opening bars of the track, you realize that it’s something special. Rhythm section, piano, quick, lush, sweeping strings combine to create a “bouncy,” joyous sound before Jean’s emotive, charismatic vocal enters. It matches the brilliance of the arrangement, which sweeps along beautifully, with the strings, piano and rhythm section, being joined by bright, bursts of joyful horns. Together with Jean’s vocal and Bobby Martin’s arrangement, you can trace house music’s lineage to tracks like this. Tracks like this had a huge influence on the sound on the nascent house music of the eighties, because of their arrangements and vocals. Many house tracks “borrowed” heavily the sound of tracks like this with their use of piano, horns and strings and a female vocal atop the arrangement. However, much as I love house music, they were but pretenders to the throne, because Gamble and Huff, and arrangers like Bobby Martin could produce and arrange much better tracks, including this brilliant track.
Like the previous track, You Got A Problem is track written by Gamble and Huff, and arranged by Bobby Martin. Similarly to the previous track, they sprinkle their magic dust over this track, resulting in another joyous sounding slice of Philly Soul. A combination of blazing horns, fast sweeping strings, driving rhythm section and chiming guitars combine to produce a quick, joyful backdrop for Jean’s strong, soulful vocal. She’s accompanied by backing vocalists whose tight, sweet and soulful contributions are the perfect accompaniment to Jean’s fuller, passion laden vocal. Meanwhile, one of the best arrangements on the album is unfolding. The winning combination of sweeping strings, punchy, braying horns, piano, guitars and rhythm section that accompany Jean’s vocal help to produce one of the album’s best tracks, only surpassed by Free Love.
Jean Carn closes with Time Waits For No Man, and like the previous tracks has a bright, uplifting arrangement which sees strings, pounding rhythm section, bursts of horns and chiming guitars combine before Jean’s powerful and emotive vocal enters. During the track Jean displays her power and versatility as a vocalist, bring the lyrics to life, while behind her the arrangement is fast and fulsome, with the rhythm section driving the track along. Punchy horns interjects, while strings sweep and swirl and later, keyboards help fill the sound out. Like previous tracks, backing vocalists supplement Jean’s vocal, with their voices subtly enveloping her vocal. When all of this is combined with Jean’s vocal, the end result is a good track, although not quite of the standard of the previous track. That maybe is an unfair comparison, because You Got A Problem is an outstanding track. Maybe if the running order had been reversed, and this was the penultimate track, instead of the final track, I wouldn’t be drawing this comparison. However, Time Waits For No Man is a good track, and a good way to end what was an excellent debut album from Jean Carn.
As regular readers of this blog will have gathered, I’m a huge fan of Philadelphia International Records, and all the music Gamble and Huff released on that label. Their work with Jean Carn on her debut album features some wonderful music, especially the Free Love and You Got A Problem, two of the four tracks they cowrote on this album. On this album, some of the most talented people working at Philadelphia International all worked on the album. This included McFadden and Whitehead, Dexter Wansel who wrote and produced tracks on this album. Two people whose role in not just this album, but many of the albums on Philadelphia International are Bobby Martin and Jack Faith, who arranged a number of the tracks on this, and many other albums. Of course, without M.F.S.B. the legendary Philadelphia International house band this, and other, albums wouldn’t have sounded as good as they did. M.F.S.B featured some of the most talented musicians in Philadelphia, and on this album, they provided the perfect backdrop for Jean’s vocal. Although this was Jean’s debut solo album, it’s a really mature album. By 1977, she was an experienced and versatile vocalist, blessed with a five octave range. On Jean Carn, she used that voice magnificently, singing songs with a combination of tenderness and power, bringing to life the stories behind the nine songs. Why the album didn’t do better, always puzzles me. It only reached number twenty-four in the US R&B Charts. An album with such great music on it deserved to do much better. Thankfully, the album was rereleased in 2004, on Demon Music Group together with Jean’s second album Happy To Be With You. This allows either those who missed the album originally, or were too young back in 1977, to hear the first two albums from the hugely talented Jean Carn. Standout Tracks: Free Love, No Laughing Matter, If You Wanna Go Back and You Got A Problem.
JEAN CARN-JEAN CARN.
THE CHI-LITES -THE CHI-LITES.
THE CHI-LITES -THE CHI-LITES.
The early seventies were a great time for anyone who loved soul music. It seemed that during that period, labels throughout America were consistently producing some fantastic music. Several cities had successful labels, all of which were releasing both critically acclaimed and commercially successful music. This seemed to be the case throughout America. Philadelphia had Philadelphia International Records, home of The O’Jays, Harold Melvin and The Blue Notes and Billy Paul and Philly Groove home to The Delfonics and First Choice, Memphis was home to Hi Records who had Al Green, Ann Peebles and Otis Clay on their roster, while Stax had artists like Booker T and The MGs’, Johnnie Taylor, Shirley Brown and Isaac Hayes and Fame had Candi Staton. Detroit had Motown, home to Marvin Gaye, Diana Ross and Stevie Wonder, before the label moved to Los Angeles. Meanwhile, Chicago had Cadet home to Terry Callier and Rotary Connection, while Curtis Mayfield’s Curtom label had Donnie Hathaway, The impressions and Leroy Hutson. Another of Chicago’s hugely successful and important labels was Brunswick, which was home to Jackie Wilson and The Chi-Lites.
From the release of their debut album in 1969, The Chi-Lites had been one of Brunswick’s most popular and successful groups. Their debut album was Give It Away in 1969 was a combination of cover versions and original material, and although it only reached number 180 in the US Billboard 200, it reached number sixteen in the US R&B Charts.
When they released their second album 1070s’ I Like Your Lovin’ (Do You Like Mine?) was a somewhat controversial release, featuring just three new songs, with the remaining tracks have been on their debut album Give It Away. The album failed to chart, although the single Are You My Woman (Tell Me So?) reached number seventy-two in the US Billboard 100 and eight in the US R&B Charts.
By the time their third album (For God Sake) Give More Power To the People was released in 1971, The Chi-Lites made their breakthrough, twelve years after first being formed in 1959. The album reached number twelve in the US Billboard 200 and three in the US R&B Charts. On the album was Have You Seen Her, one of the group’s best loved and most successful songs. It reached number three in both the US Billboard 100 and the UK.
Surpassing the success of For God Sake) Give More Power To the People was 1972s’ A Lonely Man, which reached number five in the US Billboard 200 and number one in the US R&B Charts. The album featured Oh Girl which reached number one in both the US Billboard 100 and US R&B Charts. Also on the album was a cover of Marvin Gaye’s Inner City Blues (Make Me Wanna Holler).
A Letter To Myself was The next album, released in 1972. It wasn’t as successful as their two previous albums, reaching number fifty in the US Billboard 200 and number four in the US R&B Charts. Looking back, this was the start of the fall in The albums. After this, their albums didn’t sell in such huge amounts.
The Chi-Lites, the album this article is about, was released in 1973. Although it only reached eighty-nine in the US Billboard 200 and number three in the US R&B Charts, it featured some wonderful music. Songs like Homely Girl, Stoned Out of My Mind and Too Good To Be Forgotten were on this album, and considering the quality of the music on the album, it’s lowly chart placing in surprising.
After this, The Chi-Lites only released two further albums on Brunswick. These were Toby in 1974 which only reached number 181 in the US Billboard 200 and twelve in the US R&B Charts. Their final album for Brunswick 1975s’ Half A Love only reached number forty-one in the US R&B Charts. Following the release of Half A Love, The Chi-Lites signed to Mercury Records. Sadly, the two albums they released on Mercury failed to chart, and after that, they changed labels several times, but failed to replicate their earlier success on Brunswick. However, the music they released on Brunswick was some of the best soul music of the early seventies. One of these albums was 1973s’ The Chi-Lites, which features some great music, which I’ll now tell you about.
The Chi-Lites opens with Homely Girl, the musical equivalent of the children’s tale The Ugly Duckling, where a plain girl grows up and is transformed into a beautiful woman. The song is sung from the perspective of the only guy who spotted the inner beauty of the Homely Girl. When the track was released as the third of four singles from the album, it reached number fifty-four in the US Billboard 100 and three in the US R&B Charts. In the UK, the single reached number five. It’s that familiar piano solo that opens the track, before the rhythm section, guitars and bursts of horns combine before Eugene Record’s heartfelt vocal enters. He’s accompanied by the rest of the group singing sweet, soulful backing vocals, while a flute floats above the rest of the arrangement. As the song progresses, horns interject, while strings sweep lushly accompanying the lead and backing vocals. By now, Eugene has told the story brilliantly, against a quite beautiful arrangement, and made all the better by the addition of strings, horns and backing vocals. The end result is a masterful and hugely memorable slice of soul music, the perfect way to open the album. However, why wasn’t it a much bigger hit in the US Billboard Charts, because it was a huge hit here in the UK?
After such a memorable opening track, The Chi-Lites follow this up with Go Away Dream. The rhythm section, chiming guitars, swirling strings and horns open the track, with an introduction that although slow, has bursts of brief drama thanks to the horns and drums combining. After that, Eugene sings the lead, singing about dreaming about how he keeps dreaming about a woman, but never gets to meet her. His vocal gets across the frustration and unfairness he feels, while gentle backing vocals briefly accompany him. Meanwhile understated lush strings, gentle piano and slow rhythm section provide the mainstay of the arrangement and occasional braying horns add bursts of drama. When these two “parts” of the arrangement combine, they provide the perfect backdrop for Eugene’s tale of frustration and disappointment. Like the previous track, this is a song with a story behind it, and although not in the class of Homely Girl, it’s still an excellent song.
Too Good To Be Forgotten is a slightly quicker track, with a fuller, more dynamic arrangement. This track was another of the singles released from the album. It was the fourth single and for some reason, wasn’t released in the US, but reached number ten in the UK. When the track opens, the tempo is quicker, with a catchy, feel-good sound apparent when a combination of rhythm section, guitars, flute and backing vocals accompany Eugene’s lead vocal which has a joyous sound. Horns blaze in, serenading his vocal adding to the already catchy, joyful track that’s unfolding. Meanwhile, Eugene, accompanied by similarly joyous backing vocalists, tells a tale of being distracted by a beautiful woman on his way home, and he can’t get her out of his mind. By now, a catchy hook laden track has revealed itself, one with an infectious, feel-good sound, thanks to a combination of an a faster, fuller sounding arrangement and Eugene’s joyous vocal. Together, they create one the catchiest songs on the album, and one that deserved to be released as a single in the US.
I Found Sunshine, has similarities to the previous track. The tempo is quicker, the sound fuller and there is a joyful, feel-good sound apparent from the opening bars. A combination of clavinet, rhythm section and sweet, bright horns play before Eugene’s faster, melodic vocal enters, with the rest of The contributing backing vocals. At times, the arrangement has similarities with some of Stevie Wonder’s early seventies music, thanks to the use of the clavinet. Throughout, the track the tempo is quick, the sound fuller and totally joyous. Much of the credit must go to Eugene Record who wrote the track, and produced the album. He seemed able to combine the right instruments at just the right time. During the track, the addition of clavinet and horns, and the way they drop in and out of the track, is a masterstroke, especially the way they combine with the vocals. When the song was released as the second single from the album it reached forty-seven in the US Billboard 100 and seventeen in the US R&B Charts, In the UK, the track only reached number thirty-five. For such a catchy, uplifting slice of soul, this was a disappointment. Surely this brilliant track deserved to do much better.
The final track on side one of the original album was I Never Had It So Good (And Felt So Bad) a slow, hugely sad track about a man whose just been divorced. When the track opens, swirling, dramatic strings are accompanied by a bass and equally dramatic horns before a half-spoken vocal enters. It’s accompanied by the strings, bass and horns before a sad, rueful vocal from Eugene enters, with the rest of the group providing sympathetic backing vocals. As the track progresses, the arrangement veers between an understated, sad sound to a much fuller drama laden sound. Both help bring the sadness and emotion of the lyrics to life and get over the sense of regret and loss felt. Although quite different from the previous tracks, it’s a hugely moving, track full of sadness, regret and sorrow.
Side two of the album opens with Marriage License, a somewhat tongue in cheek song that compares the Marriage License with a driving license. The track was co-written by Eugene and Alonnzo Tucker, who regularly wrote songs for Jackie Wilson. When the track opens, the tempo is slow, with keyboards, backing vocals, horns and bass accompanying Eugene’s vocal. Behind him, string sweep, a flute floats above the arrangement while drums and braying horns inject brief, bursts of drama. Eugene sings the song thoughtfully, his voice tender, with the backing vocals subtly accompanying him. Although both the vocal and arrangement are really good, the lyrics aren’t the best on the album. They lack depth and aren’t of the standard of Homely Girl, Too Good To Be Forgotten or I Found Sunshine.
I Forgot To Say I Love You Till I’m Gone is a much better track, after the somewhat disappointing previous track. From the opening bars the tempo is quicker, the sound uplifting with the rhythm section and guitars driving the track along, before punchy horns and swirling strings enter, accompanying a quicker, joyful vocal from Eugene. Adding to an already good arrangement is a piano, and swooping backing vocals. However, my only criticism is the occasional fat sound from the horns, which seems out of place. Apart from that, everything comes together to create another catchy, upbeat tale about being in love, beautifully sung by Eugene with another good arrangement.
It’s a grand, dramatic sound that opens One Man Band (Plays Alone), a song co-written by Thom Bell and Linda Creed. Thom Bell had produced The Delfonics for Philly Groove Records and later, The Stylistics. Drums, sweeping, swirling strings and bursts of drama laden horns combine before Eugene sings about being alone, having being hurt and let down by people. He’s content to spend time alone, living in his own world. Behind the arrangement combines beauty and drama, with grand sweeping strings, a gentle country influenced piano and subtle bursts of horns creating the beauty, while rasping horns create drama. They combine with one of the best vocals on the album. Both Eugene and the other combine perfectly. Their vocals are thoughtful, full of emotion and sympathetic to the lyrics, getting across both the contentment and disappointment. Although this is cover of a track originally recorded by Ronnie Dyson, it works really well for The Chi-Lites , and is one of the best songs on the second side of the album.
Bet You’ll Never Be Sorry is best described as a catchy track that swings along. It features an arrangement that veers between bursts of brief, musical drama and a lovely understated sound. When the track opens, when drums, blazing horns, guitars, bass and sweeping strings combine to produce a stirring, dramatic sound to before Eugene’s vocal enters, During the track his vocal ranges from a gentle, thoughtful style to one that matches the bursts of drama of the arrangement. One of the things I’ve always like about the track is the slightly old fashioned swinging arrangement. This sees the rhythm guitar sitting atop the arrangement, while around it, lush, strings sweep, horns provide bursts of drama and the rhythm section provide the track’s heartbeat. Matching the quality of the arrangement is the vocal, with Eugene seemingly reserving one of his best and most joyous vocals for this track, which was originally recorded by Gerald Sims, who wrote the song.
The Chi-Lites closes with the first of the singles released from the album, Stoned Out of My Mind, which reached number thirty in the US Billboard 100 and three in the US R&B Charts. It’s an uptempo track with rhythm section, braying horns, guitars and keyboards before Eugene’s gentle vocal about infidelity enters. He’s accompanied by the other Chi-Lites, whose soulful accompaniments are sympathetic to Eugene’s moving keyboards and guitars combine to produce a fast moving, fulsome arrangement that provides a contrast to Eugene’s sad, gentle vocal, which is laden with frustration and worry. Together they combine to produce a to produce one of the album’s best tracks and the perfect track to close the album with.
I’ve always thought that The Chi-Lites was one of the group’s most underrated albums. It failed to recapture the commercial success of their earlier albums, but featured some brilliant music. There is a wide variety of songs on the music from ballads to faster, much more uptempo songs. However, each track features some great vocals from Eugene and tight, harmonies from the rest of The Chi-Lites. Similarly, the arrangements on the album are each of the highest quality, thanks to Eugene Record’s slick production. On the album he uses the lushest of strings and blazing horns to good effect, creating the perfect backdrop for his lead vocal. Although lacking the militancy of their earlier albums, it’s crammed full of ten slices of the finest and sweetest soul music. Great songs, sung beautifully with emotion and feeling, together with arrangements featuring a cast of some of the finest musicians around, all helped to make this the beautiful and brilliant album it is. Even though the album is thirty-seven years old, it has a timeless quality, similar to the music released on labels like Philadelphia International, Fame, Stax and Hi. Like the music released by these labels, albums like The Chi-Lites are like bottles of fine wine, they mature with age. Standout Tracks: Homely Girl, I Found Sunshine, One Man Band (Plays Alone) and Stoned Out of My Mind.
THE CHI-LITES -THE CHI-LITES.
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