THE DELFONICS-THE DELFONICS.
THE DELFONICS-THE DELFONICS.
Growing up, The Sound of Philadelphia was one of the biggest musical influences in my life. For a number of years, it seemed to provide the soundtrack to my life. Sice then, I’ve been inseparable from that sweet, beautiful sound. Over thirty years later, hardly a day goes by when I don’t listen to an album on Philadelphia International Records. They however, weren’t the only Philadelphia based record label releasing some stunning soul music. Between 1967 and 1974 Philly Groove Records, founded by Stan Watson and Sam Bell in 1967, released a number of great albums. Watson and Bell had legendary producer Thom Bell in charge of A&R, and among the most famous of the artists he brought to label were First Choice and The Delfonics. Between 1968 and 1974, The Delfonics released five albums on Philly Groove, including their 1970 eponymous album The Delfonics, which this article is about. However, before that, the brothers Hart, William and Wilbert plus Randy Cain released two other albums, La La Means I Love You and Sound of Sexy Soul.
The Delfonics debut album La La Means I Love You was released in 1968, and was a combination of original material and cover versions. Among the original material were the singles La La Means I Love You, I’m Sorry and Break Your Promise. Of the three singles, La La Means I Love You was the biggest hit, reaching number four in the US Billboard 100 and number two in the US R&B Charts. Three years later in 1971, the single reached number nineteen in the UK. Apart from the original material, cover versions of songs like Bacharach and David’s The Look of Love and Alfie featured on the album, alongside The Shadow of Your Smile and Hurt So Bad. When the album was released, it reached number 100 in the US Billboard 200 and fifteen in the US R&B Charts.
Their second album Sound of Sexy Soul, released in 1969, again featured a mixture of original material and cover versions. Again, it was produced by Thom Bell, who together with William Hart the group’s lead singer, co-wrote five of the songs.Two of these were released as singles Ready Or Not Here I Come Can’t Hide From Love) and Somebody Loves You. Although Ready Or Not Here I Come Can’t Hide From Love) only reached number thirty-five in the US Billboard 100 and fifteen in the US R&B Charts, the song has since become one of The Delfonics best known songs. The album when it was released, peaked at number 155 in the US Billboard 200, but reached number eight in the US R&B Charts.
When their third album The Delfonics was released in 1970, it was a much bigger success, reaching number sixty-one in the US Billboard 200 and four in the US R&B Charts. Unlike their two previous albums, The Delfonics featured only original material. The Bell and Hart songwriting partnership contributed seven of the tracks, with Hart contributing two other songs. Of the five singles released from the album, Didn’t I Blow Your Mind (This Time) was the most successful, reaching number ten in the US Billboard 100, three in the US R&B Charts and selling over one million copies, and winning a Grammy Award for the Best R&B Performance by a Duo or Group. Although two other singles gave the group top ten US R&B singles, neither was as successful as Didn’t I Blow Your Mind (This Time), one of the most important soul singles of the time. Little did The Delfonics know it, but this was the high-point of their recording career, the slickest, most cohesive and highest quality of their five albums.
Two years later, in 1972, Tell Me This Is A Dream was released, and to this day, is an album that divides the opinion of both critics and fans alike. This was the first album the group had released since Randy Cain left the group. He was replaced by Major Harris, and sang on the group’s two final albums. Like the previous album, all of the songs on the album were original material. The first of the three singles released from the album Hey Love is perceived as an important breakthrough in soul music, because of the new and unique use of harmonies. Hey Love reached number fifty-two in the US Billboard 100 and fifteen in the US R&B Charts, proving the most successful of the three singles. Similarly, the album didn’t perform as well as it’s predecessor The Delfonics, reaching 123 in the US Billboard 200 and fifteen in the US R&B Charts.
The fifth and final album The Delfonics recorded for Philly Groove was Alive and Kicking. Sadly, the album wasn’t well received by critics, with the material being perceived as lacking the strength and quality of previous albums. This translated to sales of the album and three singles released from it. Of the three singles, only I Don’t Want To Make You Wain entered the US Billboard 100, reaching number ninety-one. Similarly, sales of the album weren’t good, reaching just number 205 in the US Billboard 200 and thirty-four in the US R&B Charts. Part of the problem was that when Alive and Kicking was being produced, Thom Bell was also producing albums by two other Philadelphia groups The Stylistics and Blue Magic. Not long after Alive and Kicking was released, The Delfonics decided to call it a day. They split up, and that was the end of the group in its original form.
After the group split up, two groups emerged from The Delfonics, and both toured performing The Delfonics’ music. Over the years, the line-ups have changed with new members joining and leaving the group over the next thirty years. In 1999, William Hart’s group recorded an album as The Delfonics. Forever New was released by Volt, but failed to chart. However, it’s an album that was released twenty-nine years before Forever New was released, entitled The Delfonics that I’ll now tell you about.
The Delfonics opens with probably, their most famous track, the beautiful and brilliant love ballad Didn’t I Blow Your Mind (This Time). From the opening bars of the track when two burst of French horns open the track, until the closing notes, it’s one of the best ways to spend three minutes twenty-three seconds. A combination of piano, percussion, guitars and rhythm section William Hart’s melancholy, contemplative vocal. Behind him, the arrangement is complex, made up of an eclectic combination of instruments. This works wonderfully as slow, emotive waves of rueful, lush strings, guitars, drums, timpani, and subtle French horns combining to produce both drama and a deeply moving, sad sound. Even an electric sitar is deployed by Thom Bell along with the timpani and French horns in an effort achieve the right sound for the melody. Such was Bell’s determination to achieve perfection on the track. Accompanying William’s lead vocal, are Wilbert Hart and Randy Cain, whose voice have a similar gentle, wistful sound, that when combined with William’s unites quite beautifully. Together with an arrangement that’s almost symphonic, and slow, laden in emotion, Thom Bell succeed in producing a song that’s not only hugely memorable and iconic, but one of the most beautiful songs you’ll ever have the privilege of hearing. Not only is it the best song on the album, but it’s one of the best The Delfonics ever recorded. It was also a forerunner of the music that Gamble and Huff would produce on Philadelphia International Records.
Funny Feeling was the third of five singles released from the album. It reached number ninety-four in the US Billboard 100 and forty-eight in the US R&B Charts. Having to follow Didn’t I Blow Your Mind (This Time) on the album isn’t easy. It’s similar to having your painting hung next to Picasso or Constable in an art gallery. Straight away, it’s apparent the sound and style are almost the polar opposite to its predecessor. Guitars, a soaring vocal, driving rhythm section and rasping horns combine to create a faster tempo and full sounding arrangement. Even the vocals are quicker, louder and punchier, matching the arrangement perfectly. Meanwhile, rasping horns, stirring strings, a funk influenced rhythm section and chiming guitars combine with the vocals, reminding me of the tempo and style of many a Motown hit. Although very different to the opening track, it’s catchy, dramatic, not short of hooks and has a feel-good sound. Maybe a very different sounding track was the best way to follow Didn’t I Blow Your Mind (This Time), so comparisons couldn’t be drawn.
Another lovely slow track is When You Get Right Down To It, which features some great interplay between the three Delfonics. This was the last single released from the album, reaching fifty-three in the US Billboard 100 and twelve in the US R&B Charts. The song also benefits from a lovely melodic sound, and it seems strange that it didn’t do better as a single. Maybe because this was the fifth single released from the album, the record buying public wanted to hear new material from The Delfonics. When the track opens, drums, keyboards, percussion, guitars and horns combine before the vocal enters. A lush sound and slow tempo are perfect for another slightly wistful, thoughtful lead vocal. After that, each member of the group take turns of singing the lead vocal, while the other two members retreat, singing some beautiful harmonies. Behind them,Thom Bell’s arrangement sweeps along, incorporating slow string, percussion, chiming guitars, gentle bursts of horns and the rhythm section. A flute floats atop the arrangement, it’s sound providing a complete contrast to other instruments. My only criticism of the track is the sharpness of the drums. I much prefer the drum sounds on the Gamble and Huff produced tracks on Philadelphia International Records. However, having said that, this is the sound of The Delfonics that I much prefer, with the slower melodic arrangement combining with the gentle, thoughtful vocals. Together, the combine to produce a beautiful sounding song, one of the album’s best tracks.
Baby I Love You is a song about being in love, and is another track that demonstrates just how hugely talented The Delfonics were. Here, their vocal matches the beauty of the lyrics, with the vocal consider, tender and sung with a combination of emotion and passion. The arrangement is much more subtle, with the lushest of strings, rhythm section and guitars combining with bursts of French horns. Sometimes, the strings and drums punctuate the track with brief bursts of drama, highlighting the love expressed in the vocal. On this track, there’s one of the strongest bass lines on the album. It doesn’t overpower other instruments, but together with the drums, provides the track’s heartbeat. Some of the tracks on the album haven’t as strong a bass line, and this detracts from the sound. However, everything about the track seems to combine brilliantly, resulting in a tender, beautiful song about being in love. Like the previous track, it’s one of the album’s standout tracks.
The Delfonics Theme (How Could You) is an instrumental, one that’s able to combine emotion, sadness and drama during what is an almost grand, orchestral sounding track. it’s a combination of chiming guitars, percussion, grand sweeping strings, braying horns and slow rhythm section. Over four and a half minutes, a track that wouldn’t sound out of place as part of a film soundtrack unfolds. A combination of the slower tempo and almost grandiose sound works well, and was a good way to close the first side of the album. It’s a very different track because of the lack of William, Wilbert and Randy’s vocals. Their only contribution was a short burst of harmonies, which helped lift the track. One wonders though, whether some more of their harmonies would’ve made an already good track, even better.
Side two of The Delfonics opens with Trying To Make A Fool of Me, the second single released from the album. It reached number forty in the US Billboard 100 and eight in the US R&B Charts. This was the follow-up to Didn’t I Blow Your Mind (This Time) and although not quite in that league, isn’t that far behind. Partly responsible for such a great track are William and Wilbert’s interchanging vocals. William sings one line of each verse, and Wilbert the next. Add to that the unique sound of the Wurlitzer piano which features throughout the track. Like Didn’t I Blow Your Mind (This Time), when the track opens, you immediately realize that the song is something special. A combination of dramatic drums, stirring, equally dramatic strings, flute and keyboards open the track, before the gentle, relaxed vocals enter. They’re a contrast to the arrangement which veers between a calmer, understated sound to a much more dynamic, dramatic sound. Guitars chime, while strings sweep and sharp sounding drums combine with gently rasping horns. Together with the vocal that wistfully asks and wonders whether they’re being made a fool of by their lover, it’s very much a winning combination, and although not quite as good as Didn’t I Blow Your Mind (This Time), it’s an excellent track, and the perfect way to open side two of the album.
Down Is Up, Up Is Down is a much faster track, with driving rhythm section, French horns, swirling strings and percussion combining before the vocal enters. It’s a very different sounding track, with the quicker tempo having a slightly clumsy sound. Meanwhile, the vocal is quicker, with their voices seeming to struggle with the increase in tempo. Their vocals are still good, as they soar heavenwards, but they aren’t quite as good as the other tracks. Percussion, strings, rhythm section and guitars do their best to produce a faster dance-floor friendly track, but ultimately, the result is slightly disappointing. So is the production which is neither as slick nor smooth as previous tracks. Sadly, after six really great tracks, this track doesn’t quite work, and is the album’s first disappointing track.
After the disappointing previous track, Over and Over is a much better track. It was the fourth of the singles released from the album, reaching number fifty-eight in the US Billboard 100 and nine in the US R&B Charts. A combination of keyboards, chiming guitars and rhythm section play slowly, and thoughtfully, as the tenderest of vocal enters. It’s laden with emotion and accompanied by tight backing vocals which sympathetically soar with the lead. Horns bray, while keyboards, strings, shimmering, chiming guitars and rhythm section produce waves of slow, dramatic and emotional sounding music, that at times benefits from an understated sound. When combined with the vocals, the result is quite beautiful and stunning. This more than makes up for the disappointing Down Is Up, Up Is Down.
Think About Me is another of the slower tracks on the album, one that benefits from both a lovely, lush arrangement and a beautiful vocal. The track opens with drums, keyboards, piano, guitar before a gentle and tender vocal enters. Gently, rasping horns, a slow moody bass and lush sweeping strings join, adding to an already melodic, emotive and beautiful arrangement that provides the perfect backdrop to the vocal. Like before, the tender lead vocal is accompanied by some hugely effective, beautiful backing vocals. They combine perfectly, and when added to Thom Bell’s lush, emotive arrangement, The Delfonics have produced yet another, sad, yet beautiful song.
The Delfonics closes with I Gave To You, another love song, and a track that, like the previous one is slower, full of emotion, and featuring a heartfelt delivery of the lyrics. Similar to the previous track is slow, spacious arrangement, which suits William Hart’s lyrics. A subtly played guitar chimes, before a near falsetto vocal enters, delivering the lyrics in a thoughtful, heartfelt manner. Together with slow, spacious drums and piano, sweeping strings drenched in emotion, subtle, braying horns and chiming guitars. Another addition are the by now familiar sound of the French horn, which have been used often during the album, sometimes maybe even overused. Here, they work well, combining with the rasping horns, strings and drums to produce an atmospheric, lush and emotive sounding arrangement. Together with some tender, thoughtful vocals, this excellent William Hart penned love song is a lovely way to end the album.
Of the five albums The Delfonics recorded for Philly Groove, The Delfonics is by far, their most complete album. Much of this is down to some great songs, which apart from When You Get Right Down To It, were written by members of the group. On their previous two albums, half of the songs were cover versions, some of which were totally unsuitable for The Delfonics. Tracks like Alfie on La La Means I Love You and Scarborough Fair on Sound of Sexy Soul demonstrate this perfectly. Instead of tracks like those, The Delfonics was full of some brilliant tracks like Didn’t I Blow Your Mind (This Time), When You Get Right Down To It, Baby I Love You and Think About Me. The only poor track was Down Is Up, Up Is Down which I feel has a somewhat clumsy sounding arrangement. Apart from that, this album was the highpoint of The Delfonics career. By 1970, they were experienced both live and in the studio, and with Thom Bell producing an album of smooth, silky and slick soul music, The Delfonics should’ve gone on to much greater things. However, in 1971 Randy Cain left the group, and their two final albums for Philly Groove never quite recaptured the success of 1970s’ album The Delfonics. Eventually, the group split up after the release of their final album Alive and Kicking in 1974. By that time, Thom Bell was producing groups like The Stylistics and Blue Magic, of which Randy Cain was a member. So, when they split-up, they’d only recorded five albums, of which The Delfonics is the best of the lot. It’s available on Kent Records together with Tell Me This Is A Dream. Both albums are available on the one disc, as are The Delfonics first two albums La La Means I Love You and Sound of Sexy Soul. These albums allow you to hear some wonderful soul music from one of Philadelphia’s finest groups. Standout Tracks: Didn’t I Blow Your Mind (This Time), When You Get Right Down To It, Baby I Love You and Think About Me.
THE DELFONICS-THE DELFONICS.
MILLIE JACKSON-CAUGHT UP.
MILLIE JACKSON-CAUGHT UP.
Recently, I’ve been writing a number of articles on soul and funk music, with several of these articles featuring Southern Soul, The Sound of Philadelphia and Memphis soul. These recent articles have featured some of my favorite artists, including The O’Jays, Harold Melvin and The Blue Notes, Terry Callier, Jon Lucien Candi Staton and Bettye Swann. One artist however, that I’ve been meaning to feature for some time now, is Millie Jackson, whose recording career began in 1972, when she released her debut album Millie Jackson, which reached number 166 in the US Billboard 200. Her second album It Hurts So Good, released in 1973, reached number thirteen in the US R&B Charts, and 175 in the US Billboard 200. When she released her third album, I Got To Try It One More Time, in 1974, it failed to chart, and Millie must have wondered if, and when, she would make the breakthrough that her talent deserved. Little did she know that later in 1974, she would release an album that was critically acclaimed, and so commercially successful, that she’d receive a gold disc for it.
That album was Caught Up, released later in 1974. When it was released, it was critically acclaimed, with critics loving what was a mini soap opera, with Millie playing the “other woman” on side one of the album, and the wife whose been cheated upon, on side two. Millie plays both rolls brilliantly, bringing them soulfully, emotionally and passionately to life. It wasn’t just the critics that loved the album, so did the record buying public. They helped the album to reach twenty-one in the US Billboard 200 and number four in the US R&B Charts. This lead to Millie receiving a gold disc for sales of Caught Up. The album spawned three hit singles, If (Loving You Is Wrong) I Don’t Want To Be Right, The Rap and I’m Through Trying To Prove I Love You. Since the release of Caught Up, Millie has released over twenty further studio albums, but none has matched the huge critical and commercial success of Caught Up, which I’ll now tell you about.
Caught Up opens with If (Loving You Is Wrong) I Don’t Want To Be Right. Millie was nominated for two Grammy Awards for her version of a classic song written by Homer Banks, Carl Hampton and Raymond Jackson, one of Stax Records songwriting teams. When the track opens a hugely atmospheric combination of chiming guitars, sweeping strings, gentle horns and rhythm section, before Millie’s vocal enters. After a crescendo of horns, drums and strings, an atmospheric, deeply sad vocal from Millie enters, singing about the adulterous love affair she’s involved in. The sadness of the lyrics is highlighted when the strings drenched in sadness sweep in, combining with blazing horns and a steady rhythm section. Later, in the track, Millie’s voice grows in power and passion, as she roars and screams, really throwing herself into the lyrics, combining a mixture of sadness, anger and frustration brilliantly. Although I’ve heard many versions of this song, this is one of the best versions, made all the better by an equally brilliant, emotional and powerful performance from her band.
The Rap sees Millie rap lyrics about the frustration and problems about having an affair with a married man against a subtle and moody backdrop provided by the band. Mainly, it’s just a combination of moody bass, cymbals and chiming, almost wah-wah guitars. Later, strings and a piano enter, but still, the arrangement meanders along, with horns braying, as Millie vents her frustrations. When her vocal enters, it’s full of frustration and passion, with a full arrangement containing, wailing organ, blazing horns, soaring, screaming guitars and rhythm section. Together, they provide the perfect backdrop for Millie’s vocal, full of energy and drama, which matches her frustration, passion and concerns. Like the opening track, Millie’s vocal is outstanding, bringing to life what it’s like to be the “other woman,” and again, made all the better by the hugely talented rhythm section The Muscle Shoal Swampers.
Another hugely energetic an emotional vocal opens a short reprise of If (Loving You Is Wrong) I Don’t Want To Be Right. An equally energetic and powerful arrangement containing power laden drums, blazing horns, screaming guitars and moody, Hammond organ combine masterfully with grand, sweeping strings, matching Millie’s emotional, energetic delivery of the lyrics.
Quickly, All I Want Is A Fighting Chance features an equally powerful driving arrangement that sees Millie confront her love rival, telling her all she wants is a fighting chance to win and wow him. Behind her, the tempo is fast, the arrangement full of braying, blazing horns, sweeping strings, screaming, screeching guitars and driving rhythm section. They combine elements of soul, funk and even rock, and somehow, manage to match Millie’s anger, frustration and passion quite brilliantly.
I’m Tired of Hiding sees Millie talk to her lover, telling him she’s tired of sneaking around, hiding and longing for him, when he’s not around. Her delivery is still laden with emotion, but this time, she tired, fed up and unsure of their future. Her voice lacks the power and strength, but makes up for it with her heartfelt delivery of the lyrics. Behind her, an arrangement that’s both subtle and at times dramatic unfolds. Strings lushly sweep, matching the sadness of the situation, while horns blaze dramatically, sometimes combining with drums, piano and strings to produce further drama. Meanwhile, Millie seems resigned that the affair might be over, risking everything with the ultimatum, it’s her or me. Like the rest of the track, her vocal is much more subdued, but emotional, with sadness and regret not far away, as side one ends. Although very different in style and sound, Millie’s much gentler vocal is just as effective as her hugely powerful style on other tracks. To me, this demonstrates a very different side of Millie Jackson, and is one of the best tracks on the album.
Side two of the original album sees Millie play the role of the “wronged woman,” whose husband has been cheating on her. Bad news awaits Millie on It’s All Over But the Shouting, with her husband cheating on her, and her marriage all but over. This is played out against a backdrop of rasping horns, driving rhythm section, percussion and chiming guitars. When Millie’s vocal full of anger and frustration enters, she tells him their marriage is over, and she won’t be staying with him for the sake of the kids. Not when as she puts it “he’s been practicing baby-making” with someone else. Her powerful, angry vocal is supplemented by soulful backing vocals and a fast, furious and hugely stirring, hook laden arrangement which is an excellent song to open the second part of this soul soap opera.
So Easy Going, So Hard Coming Back sees dialogue between Millie and her husband, with him trying to win Millie back, but she’s not easily won back, determined to keep her pride. The arrangement is atmospheric, with a floaty sound, a flute soaring high above, the saddest of strings, slow rhythm section, gently braying horns and guitars. This matches, Millie’s vocal which is full of sadness and regret, that she’s deceived herself, having turned a blind eye at his unfaithfulness. Philip Mitchell’s lyrics are some of the best on the album, bringing to life the drama, sadness and mistrust of the situation. Millie delivers them emotionally and passionately, against an arrangement that’s slow, moody and laden in sadness. Together, this is a potent combination, resulting in a hugely moving, emotional, sad song.
Having realized that their marriage is over, I’m Through Trying To Prove My Love To You, written by Bobby Womack. It sees Millie moving on, having met someone else, someone better, more reliable. During the song, she sings about how she has to move on, how she has to end the marriage, because she’s through with his cheating and deceiving, unwilling to keep proving she loves him. Ultimately, she wants them to remember the good times, and move on on life. The arrangement has a lovely understated sound, with strings slowly sweeping, guitars chiming, horns gently rasping and a slow, thoughtful performance from the rhythm section. Throughout the track, this is is the case, with the arrangement gently meandering and its beauty to unfold. This allows Millie’s slow, considered vocal to take pride of place at the front of the arrangement, where such a moving, mature performance deserves to be.
Caught Up closes with Summer The First Time is a song originally written and recorded by Bobby Goldsboro. Here, Millie decides to transform the song, injecting a soulfulness and drama into what was previously a sugary sweet middle of the road track. Against a backdrop of children playing, a spoken word introduction from Millie, an acoustic guitar and dramatic piano open the track. When Millie sings, her voice is strong, full of feeling as lush strings sweep in, while the rhythm section inject power and drama, and guitars play. As the song progresses, Millie injects drama and a soulfulness to the lyrics, as the arrangement sees a buzzing bass and percussion enter. This adds to an already full and drama laden arrangement, which matches Millie’s vocal. She sings the lyrics about a young woman of seventeen being seduced by an older man of thirty-one, and being transformed into a woman. Assisting her, are some subtle, sweet backing vocalists, whose voices are a complete contrast to Millie’s voice. Here, Millie recreates both the drama, passion and emotion of If (Loving You Is Wrong) I Don’t Want To Be Right, transforming Bobby Goldsboro’s song into something very different from the original, something much better, and full of drama, feeing and soul.
Caught Up is a mini soul soap opera that sees Millie transformed from the “other woman” on side one, to wronged woman of side two. The album traces the two relationships and the various stages they go through. From the opening bars of If (Loving You Is Wrong) I Don’t Want To Be Right, to the final notes of Summer The First Time, she recreates a range of emotions, ranging from the defiance, frustration and passion of side one, to the anger, betrayal and forgiveness of side two. Regardless of the emotion, Millie recreates it brilliantly, making each song her own, transforming the lyrics and bringing the song to life. This is like the slickest of soul concept albums, one that segues seamlessly from one track to another, the next drama about to play out in front of you. It’s an album that you feel unable to tear yourself away from, you just can’t bare to drag yourself away from it, so as not to miss the next drama that will unfold. One thing that helped make this such a brilliant album, were the musicians who played on the album. The Muscle Shoal Swampers helped bring each song to life, either playing dramatically or with a subtle, understated style. Recorded at the Muscle Shoals Sound Studio, and produced by Brad Shapiro and Millie Jackson, Caught Up proved to be Millie’s most successful and in my opinion, best album. If you’ve never heard the album, Caught Up and it’s follow-up album Still Caught Up are available on one disc on Hip-O Records. This allows you to hear two great albums from Millie Jackson, including the brilliant Caught Up. Standout Tracks: If (Loving You Is Wrong) I Don’t Want To Be Right, I’m Tired of Hiding, It’s All Over But the Shouting and I’m Through Trying To Prove My Love To You.
MILLIE JACKSON-CAUGHT UP.
SMOKEY ROBINSON-QUIET STORM.
SMOKEY ROBINSON-QUIET STORM.
There can’t have been many recording artists who have left a hugely successful group to concentrate on their position as Vice President of a record company, and in doing so, embark on a somewhat low-key solo career. Well, in July of 1972, that’s exactly what Smokey Robinson did. He’d been planning to do for some time. With the Miracles, Smokey embarked on a six month farewell tour, at the end of which, he introduced his replacement Billy Griffin. For some time, Smokey had planned to combine his role of Vice President of Motown Records with a low key solo career. Having left the Miracles, and settled into his new role, he started working on the first of his solo albums.
His debut solo album was Smokey, released in June 1973. Smokey reached number seventy in the US Billboard 200 and number ten in the US R&B Charts.The album featured Sweet Harmony, which was a tribute to his former group The Miracles. It was released as his debut single, reaching number forty-eight in the US Billboard 100 and thirty-one in the US R&B Charts.
The follow-up to Smokey was entitled Pure Smokey, released in March 1974. Surprisingly, this album failed to build on the success of his debut album, reaching just number ninety-nine in the US Billboard 200 and twelve in US R&B Charts. However, on the album is one of Smokey’s most beautiful tracks, Virgin Mary. On Smokey, Marv Tarplin co-wrote three of the songs with Smokey. He eventually left the The Miracles to work with Smokey on his solo albums.
By his third album A Quiet Storm, which this article is about, Smokey had released a critically acclaimed and landmark album. Smokey had produced an album which was a contrast to funk music which, back then, it seemed, was ruling the musical roost, and quickly becoming, the most popular and important musical genre. Artists like James Brown, Sly and The Family Stone and former Impression Curtis Mayfield, were all practitioners of funk music, having fallen under its spell. As a contrast to this, Smokey released an album which featured some lovely, slow, smooth R&B music. The music seemed to appeal to many people, reaching number thirty-six in the US Billboard 200 and number seven in the US R&B Charts. Not only was it a critically acclaimed, commercially successful album, but it gave its name to a new musical genre Quiet Storm.
This genre of music can be attributed to Melvin Lindsey, then an intern at WHUR-FM, a Washington D.C. radio station. The music was mellow, laid back and subtle, with slow jams, gentle rhythms and a slow tempo, and was usually played late at night. Other artists whose music fitted this genre, included soul legends Marvin Gaye, Barry White and Al Green. Later, artists like Anita Baker, Luther Vandross and Sade would have their music played on Quiet Storm shows, helping launch their careers and introduce their music to America. For this, they’ve Smokey Robinson to thank for this, and his landmark album Quiet Storm, which I’ll now tell you about.
Quiet Storm opens with the title track, Quiet Storm, which like six of the tracks on the album, was written by Smokey. It’s an atmospheric and subtle opening to the track, with gusts of wind blowing before a slow bass enters, giving way to melodic keyboards and Smokey’s gentle, soft vocal. He’s accompanied by subtle backing vocalists, who are the perfect accompaniment for Smokey. Quickly, the tempo quickens, the arrangement fills out, with drums at the heart of the arrangement. They’re assisted by keyboards, bass, guitars, percussion and flute, who with the backing vocalists, provide the perfect backdrop for Smokey’s thoughtful vocal, which soars beautifully, high above the arrangement. Over nearly eight minutes, Smokey delivers a beautiful vocal against the sweetest of arrangements, full of gentle, lingering and atmospheric rhythms and melodies, made all the better by the addition of backing vocalists, who combine beautifully with Smokey.
The Agony and Ecstasy is a much slower, laid back track with the rhythm section, gently chiming guitars and keyboards combining before Smokey’s vocal enters. When he sings, his voice is full of sadness and regret as he sings about having an affair, while still married to someone else and the problems it brings. Behind him, woodwind, strings and backing vocalists join the arrangement, adding to the already understated, yet sometimes dramatic arrangement, which meanders beautifully along. The interplay between Smokey and the backing vocalists, really lifts the track. Their voices sweetly soar in unison, as he deliver this tale of sadness and woe. By the end of the track, it’s a combination of Smokey’s lyrics, vocal and production that make this such a beautiful track. He delivers his own lyrics beautifully, and arranged the song in such a way, that the arrangement is sympathetic to his lyrics and the way he delivers them. Quite simply, this is one of the album’s best tracks.
Although a ballad, Baby That’s Backatcha gave Smokey his first disco hit, reaching number seven on the US Billboard Disco Charts. it also gave him his first number one US R&B number one single, and reached number twenty-six in the US Billboard 100. A flute and bass combine before keyboards enter with Smokey’s vocal. It’s a faster, track, very different from the previous track. A combination of percussion, chiming guitars and rhythm section combine with Smokey’s faster charismatic vocal, which is augmented by female backing vocalists. Their voices are soft, in contrast to Smokey’s stronger, powerful and sometimes, throaty vocal. Atop the arrangement sits a floaty flute, as frantic percussion plays a vital role in the track’s success. Together with the rest of the band, they produce a catchy, quick track, that sweeps along with Smokey’s atmospheric vocal at its heart, full of emotion and feeling.
Wedding Song sees the tempo drop and like other tracks features a “Quiet Storm” blowing, with gentle gusts of wind making their presence felt when the track opens. Woodwind, chiming guitars, percussion and rhythm section combine slowly, playing with a subtlety, before Smokey sings. Immediately, his voice is gentle and thoughtful, as he sings about two becoming one, and starting their married life together. Behind him, drums dramatically and briefly interject, as an organ shimmers, and flute plays, both add a lovely atmospheric sound, helping to make an already quite beautiful arrangement, even better. When the arrangement is added to Smokey’s gentle, considered vocal which delivers some tender lyrics, this is a winning combination. The result is a a gorgeous track, which has always been one of my favorites on Quiet Storm.
When you listen to the start of Happy (Love Theme From “Lady Sings the Blues), you’re lulled into a false sense of security, thinking that what starts as another slow, tender love song will remain like that until the closing bars. However, midway through a track lasting seven minutes, it’s all change. The track gathers legs, and is transformed into a much quicker song, featuring the desperate pleas of Smokey as he begs a woman not to leave him, to stay. Likewise the arrangement is very different, much fuller than the original arrangement that opened the track. It was just a piano that accompanied Smokey and was hugely effective, allowing his hugely, emotional vocal to take centre-stage, as he sings what was meant to be the theme tune to the film about legendary jazz singer Billie Holliday. When the film was released, the song neither featured in the film, nor soundtrack. Later, when the track changes, a horns soars, the piano quickens and the rhythm section, guitars and percussion combine with Smokey’s dramatic vocal. Quickly, the arrangement fills out and it’s like a different track. Then, when you think the track was slowing down, it was merely a dramatic pause, with things returning to what’s gone before. In the end, the two contrasting parts of the track combine brilliantly, creating a song that’s both hugely moving, mainly thanks to Smokey’s vocal, and steeped in musical drama.
Love Letters has a bright, funk laden introduction thanks to a combination of funky, rhythm section, machine gun guitars, keyboards and percussion before a suitably funky vocal from Smokey enters. He’s singing about writing a love letter, but the recipient’s address is unknown. The arrangement chugs along, a melange of powerful, driving, rhythm section, soaring guitars, plentiful percussion and keyboards with a fast, sometimes frantic vocal from Smokey. However, neither the style, nor arrangement works. Here, the tempo is too quick, the arrangement sounds crowded and there’s a lack of space within the arrangement. Even Smokey’s usually excellent vocal seems to struggle to keep up with the arrangement, and the result is the only disappointing track on the album.
Quiet Storm closes with Coincidentally, another of the quicker, funkier sounding tracks on the album. This time, the combination, of horns, buzzing bass, drums, keyboards and guitars that accompany Smokey works much better. His voice seems much more at home with the song, as his voice soars, full of emotion. As usual, he’s accompanied by soulful backing vocalists, whose contribution, like before, helps the track. Later, a saxophone solo bursts into life, blazing high above the rest of the funk drenched track. Unlike the last track, there’s a real catchiness about the track, with the addition of braying horns really improving the arrangement. Meanwhile, Smokey’s vocal is laden with emotion and passion from the opening to closing bars. After a disappointing previous track, both Smokey’s vocal and the arrangement are much better. This fantastic, fast and funky track, is the perfect way to end what’s been a really good album from Smokey Robinson.
After Smokey Robinson left the Miracles and embarked upon his role as Vice President of Motown Records, many people thought that his solo career might play second fiddle to his main job at Motown, and as a result, the success he’d been accustomed to with The Miracles would allude him. This may have seemed the case after his first two solo album, but Quiet Storm proved that he still was capable, of writing, recording and producing music of the highest standard. The music on Quiet Storm featured a combination of some beautiful melodies and music that looked forward. Songs like The Agony and The Ecstasy and The Wedding Song saw Smokey roll back the years, producing some beautiful sounding music. However, other tracks like Baby That’s Backatcha and Love Letters saw him producing music that looked toward the future, with the former’s disco sound, and the latter’s somewhat disappointing funk sound. Apart from Love Letters, every other song on the album was a winner, so much so, that Quiet Storm lent its name to a new genre of music. Quiet Storm was also apparent at the start of each track, with the gentle winds blowing, maybe drawing attention to changes that swept away Smokey’s past as a Miracle and his new found career as music executive and solo artists. If you’ve never heard this album, it’s an excellent, landmark album, one of the most important seventies soul albums. I’d thoroughly recommend it to anyone, and it’s available as part of a series of rereleases of Smokey’s solo albums, entitled Smokey Robinson The Solo Albums: Volume 2. On the album are both Quiet Storm and Smokey’s fourth album Smokey’s Family Robinson. Standout Tracks: Quiet Storm, The Agony and The Ecstasy and The Wedding Song and Happy (Love Theme From “Lady Sings the Blues).
SMOKEY ROBINSON-QUIET STORM.
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THE DRAMATICS-WHATCHA SEE IS WHATCHA GET.
THE DRAMATICS-WHATCHA SEE IS WHATCHA GET.
Earlier in October 2011, six albums which were originally released on Stax, were released having been remastered by Joe Tarantino. Previously, I’ve reviewed Shirley Brown’s Woman To Woman and Johnnie Taylor’s Taylored In Silk, both of which were great albums, and have hugely benefited from being remastered. The remastering brings the music to life, and allows the listener to hear the music much better. Another album that has been remastered is The Dramatics debut album Whatcha See Is Whatcha Get.
Whatcha See Is Whatcha Get was released in January 1972, and was a huge commercial success, reaching number five in the US R&B Charts and reaching the top twenty in the US Billboard 200. The album consisted of three of the groups existing tracks Whatcha See Is Whatcha Get, In the Rain and Get Up and Get Down, with five new tracks. Of the eight tracks, In the Rain was released as a single, and provided the group with a number one R&B hit, while reaching number five in the pop charts. This proved Stax Vice-President Al Bell wrong, as he’d had doubts about whether the track would prove to be a successful single.
Sadly, by the time the group reconvened to record their next single the brilliant Hey You! Get Off My Mountain, songwriter and producer Tony Hester, had acquired a drug problem. This resulted in engineer Don Davis using the nom de plume Arthur Snyder, producing the single. By February of 1973, with Tony Hester back at the helm producing, The Dramatics recorded their second album A Dramatic Experience. When the album was released in 1973, it only reached number eleven in the US R&B Charts and number eighty-six in the US Billboard 200. After that, The Dramatics only released one more album for Stax, 1974s’ And I Panicked. The Dramatics then changed labels, heading first for Checker, part of the Chicago’s Chess Records, then heading to ABC Records. However, many people feel that the albums they recorded for Stax, were their best. This includes their dubut album Whatcha See Is Whatcha Get which I’ll now tell you about.
Whatcha See Is Whatcha Get opens with Get Up and Get Down, one of the songs The Dramatics had previously recorded, before the recording sessions begun for this album. It bursts into life, a combination powerful rolling drums, screams, whoops, driving rhythm section, grand sweeping strings, chiming guitars and blazing horns before the vocals enter. They’re a a contrast between deep and high, and owe much to the vocals on Sly and The Family Stone albums. By now, a meaty slice of funk is unfolding, albeit one that has many elements of the soulful Stax sound. The arrangement is fuller, has a fast tempo and is a constant combination of joyous vocals, grandiose, sweeping string, blazing bursts of horns, and guitars that shimmer and chime brightly. Together with the myriad of contrasting vocals, it’s a track where so much is happening at the one time, and is a powerful, sweeping and quite joyful track to open this debut album. However, there are similarities with the sound of Sly and The Family Stone throughout the track.
There’s a change in sound and style on Thank You For Your Love a beautiful, tender, slow ballad. A combination of chiming, shimmery guitars, subtle rasping horns, lush strings and rhythm section open the track, before a slow, tender vocal sings about being thankful for the love they’ve found. As moving and heartfelt as the vocal is, the arrangement really adds to this. It’s slow, full of atmosphere, designed to tug at your heartstrings, thanks to the combination of strings, guitars and horns. Adding drama are interjections from the drums and horns. Backing vocalists accompany the vocal, their tenderness a contrast the now strong and passionate vocal. Together, they help produce a beautiful, melodic track, one that’s the polar opposite to the funk drenched opening track.
Immediately, similarities between the opening track Get Up and Get Down and Hot Pants In the Summertime. This is because of the way the deep and higher voices contrast and the way the strings, horns and rhythm section combine. If anything, I much prefer this track, as it’s not as frantically funky as the opening track. This is much more soulful, with a slightly “looser” arrangement. When the track opens it’s a mixture of sweeping, stirring strings, piano, gently chiming guitars and rhythm section before those contrasting funk influenced vocals enter. From there, the arrangement moves quickly along, with a floaty flute sitting atop the arrangement, while short, sharp bursts of horns interjects. Their rasping sound is contrasted by sweeping strings. Meanwhile, the vocal is a combination of a soulful sounding lead, with a deeper almost baritone accompanying it, providing another contrast. By the end, this fuller, faster arrangement that combines elements of funk and soul, I’ve come to the conclusion that although there are similarities with the opening track, of the two I much prefer this one. Although there’s a similar joyous sound, there’s slightly more space within the arrangement which is less funky and fulsome, and the vocals are better, much less Sly and The Family Stone influenced. After all, if I wanted to hear their sound, I’d put on one of their albums.
The title track Whatcha See Is Whatcha Get was another of the tracks the group recorded before they secured the contract to record their debut album. Like the other tracks on the album, it was arranged by Johnny Allen and produced by Tony Hester, who both helped make this such a good track. When the track opens, it has a faster tempo, and a lovely bright sound. That’s due to the combination of bright, bursts of horns, percussion, guitars and rhythm section, which open the track. It’s only then that the vocal enters, and it’s one of the best examples of the contrasting vocals being used to their best advantage. This allows different vocals, from almost a baritone to falsetto, to effectively sing different parts of the track. Behind them, the arrangement has a real Latin influence because of the percussion, especially congas and claves, as well as, drums and horns. Augmenting this are some effective strings, which sit at the top of the arrangement, while the Latin influenced arrangement moves quickly, and infectiously, catchy along. Together with some of the best vocals on the album, this is an excellent track, one of the album’s highlight.
Of all the tracks on the album, In the Rain is easily the standout track. It has a hugely atmospheric and effective opening, with rain and gusts of wind combining. if you’re listening to it either on a good quality hi-fi or headphones, it’s a hugely impressive sound. That gives way to chiming guitars which echo, creating an atmospheric, deeply sad sound, perfect for the lyrics. The guitar combines with piano and rhythm section, providing an understated arrangement, that allows a vocal laden in sadness and regret to take centre-stage. Adding to the sad and atmospheric sound are lush strings and subtle backing vocals. On this track, the lyrics are some of the best on the album, getting across the heartache and loss experienced. Later in the track, rasping horns briefly enter, their sound subdued, in keeping with the rest of the arrangement, which to me, is the best on the album. It’s atmospheric, dramatic and full of sadness and regret.
Gimme Some (Good Soul Music) is quite different from the previous track, and features an almost playful sounding Dramatics. Guitars chime, a piano plays, while horns rasp gently and the rhythm section fill out the sound, before the vocal enters. Each of The Dramatics take a turn singing lead, while the arrangement grows. The rhythm section provide a steady heartbeat, while the horns rasp, and combine dramatically with the rhythm section, while guitars, floaty flute and stirring strings play. During the track, The Dramatics plead and instruct Gimme Some (Good Soul Music), which although is an admirable sentiment, is hardly among the best lyrics ever written. Regardless of this, the arrangement mixes elements of soul with a sprinkling of funk, while the interplay between The Dramatics allows them to showcase their considerable vocal talents on a track that although lacking any meaningful lyrics, sounds fantastic.
Demonstrating their versatility as a group is Fall In Love, Lady Love a slow ballad. This shows how the group can seamlessly move between slow and fast songs, and soulful and funky ones with ease. Here, the tempo is slow, when a piano opens the track, combining with the rhythm section and grand, sweeping strings before a tender, heartfelt vocal enters. Horns and drums combine dramatically, as the vocal changes from one Dramatic to the next. They sing some lovely lyrics about love, and trying to woo they lady of their dreams. The track doesn’t suffer for the switching of vocal, quite the opposite, it seems to help and improve the track. Here, the arrangement is lush and quite beautiful, with bursts of brief drama which includes the spoken ending and brief burst of drama courtesy of the strings and drums. It seems The Dramatics excel on the other slower tracks on the album. They carry them of quite wonderfully, singing them with feeling, emotion and passion.
Whatcha See Is Whatcha Get closes with Mary Don’t Cha Wanna, which opens quickly, with a funky bass, horns, piano, dramatic strings and drums combining before the vocal enters. When it does, it’s strong and full of character, accompanied by rasping, braying horns, quick, sweeping horns, a bluesy piano and driving rhythm section. By now, the arrangement has opened out, and has much more in common with Get Up and Get Down and Hot Pants In the Summertime than the previous track. There’s a similar joyous, good-time sound here, with whoops and hollers aplenty, with a melange of bright, joyful horns, sweet strings, and funk influenced rhythm section accompany the similarly joyous, enthusiastic vocals. This seems a fitting end to The Dramatics debut album. They seem determined to close the album on a high, which they certainly do, with a track that certainly isn’t short of hooks or a joyous, good-time sound.
Like the other Stax remasters I’ve reviewed recently, Joe Tarantino’s remastering has hugely improved the sound quality. This brings the music to life, and allows you to hear the music the way you were meant to. For a debut album, Whatcha See Is Whatcha Get is an impressive album. It’s long on quality and short on filler. Of the eight tracks on the album, there isn’t a bad one on it. There’s a combination of faster, sometimes funk influenced tracks and some beautiful, slow, ballads. On each of the tracks, the vocal switches between the five members of The Dramatics, with some tracks featuring each member. The vocal interplay between them works really well, and the contrasting voices can be heard to its best advantage on several of the tracks including Get Up and Get Down where all five Dramatics share vocal duties, and Hot Pants In the Summertime. Using various members of a group to sing different vocal parts, was something favored by Sly and The Family Stone. On Get Up and Get Down and Hot Pants In the Summertime, I could hear a Sly and The Family Stone influence. However, on the other six tracks, The Dramatics sound is unique. Although The Dramatics may not be the best known group on Stax, but Whatcha See Is Whatcha Get is an excellent album, one that I’d recommend to anyone. As if that isn’t enough, also included on the disc is their second album A Dramatic Experience plus two bonus tracks. All of that for a ridiculously cheap price make this a bargain, one I’m glad I didn’t miss. Standout Tracks: Thank You For Your Love, Whatcha See Is Whatcha Get, In the Rain and Fall In Love, Lady Love.
THE DRAMATICS-WHATCHA SEE IS WHATCHA GET.
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![Whatcha See Is Whatcha Get [Stax Remasters]](https://i0.wp.com/ecx.images-amazon.com/images/I/41qZr9q4h9L._SL500_AA300_.jpg)
ANN PEEBLES-IF THIS IS HEAVEN.
ANN PEEBLES-IF THIS IS HEAVEN.
Since I first started buying soul music, there are certain labels which have been great favourites of mine. Among them are the obvious ones Stax, Fame, Philadelphia International, Cadet, Motown and of course Hi Records. Hi had been founded in 1957 by a group of people including Ray Harris, a singer and record shop owner. Together with three former producers for Sun Records Joe Cuoghi, Quinton Claunch and Bill Cantrell, they founded the label with three others who were “silent partners.” For the next twenty years, until the label was sold in 1977 to Al Bennett’s Cream Records, Hi Records was one of the most successful and influential Southern Soul labels. On the labels roster, were Al Green, O.V. Wright, Otis Clay, Syl Johnson and Ann Peebles. The label’s most successful period was during the sixties and seventies, with Hi releasing some hugely successful and innovative albums during the seventies. Al Green was the labels major success story, and like other artists on the label, he was produced by the legendary producer Willie Mitchell.
Like Al Green, Ann Peebles career was guided by Willie Mitchell, who produced the seven albums she released on Hi. By 1977, the Hi sound was being adapted in response to the popularity of disco. There was an obvious disco sound to If This Is Heaven, which this album is about. That wasn’t the only change on this album, with the by now legendary, Memphis Horns being replaced by Ben Cauley’s South Memphis section. Other changes were the use of a vocoder on and a rockier sounding electric guitar on You’re Gonna Make Me Cry, a track made famous by O.V. Wright. These changes were meant to attract a wider audience for Ann’s music, including those who were attracted to, and enjoying the sound of disco. The result was that it alienated some of Ann’s existing fanbase, and failed to attract new listeners to her music. When the album was released in 1977, the album failed to chart and the only single released from the album If This Is Heaven, stalled at number sixty-four in the US R&B Charts when it was released. All in all, the change in Ann’s sound hadn’t been a success, alienated her existing fans, failing to attract new fans and resulting in an album that failed commercially. Now thirty-four years later, I’m going to revisit If This Is Heaven, and ascertain just how who good or otherwise, the album is.
If This Is Heaven opens with the title track, which was written by the Willie Mitchell Earl Randle partnership. It was the only single released from the album, and disappointingly, stalled at number sixty-four in the US R&B Charts. When the track opens the tempo is quick, the sound bright with chiming guitars. rhythm section, an atmospheric Hammond organ and subtle percussion combining before strings sweep in and horns blaze. Swooning backing vocalists sing before Ann’s vocal enters. It’s strong, clear and laden with emotion, as she’s accompanied by a fuller arrangement that has swirling strings at its heart, with horns punctuating the arrangement. Immediately, the difference between the new horn section and the Memphis Horns is apparent. Ben Cauley’s South Memphis have a softer, more subdued sound, which works on this track, but their sound lacks the heart and depth of the Memphis Horns. Regardless of that, Ann delivers the lyrics perfectly, thoughtfully and with feeling. Likewise, the arrangement has an upbeat, joyful sound, which is helped along by the addition of the backing vocalists Rhodes, Chalmers and Rhodes. This is an excellent track to open the album, one with a catchy, “feelgood” sound.
A Good Day For Lovin’ is a very different sounding track, one that demonstrates that times were indeed a changing at Hi. When the track opens, chiming guitars soar, while a punchy bass and fast, swirling strings cut in before horns blazing punctuate the arrangement with quick bursts. Only then does Ann’s vocal enter, and when it does, it’s a very deliberate and considered style she uses, as if trying to add huge amounts of drama. Behind her, the arrangement mixes disco influenced strings, with elements of the traditional Hi sound. Wah-wah guitars, dramatic bursts of braying horns and swirling strings combine with a driving rhythm section to accompany Ann’s vocal. What emerges is a track that’s obviously aimed at two types of people, those who were fans of disco, and Ann’s existing fans. Here, Ann’s vocal isn’t as soulful as on earlier albums, and although the arrangement retains elements of the traditional Hi sound, it has been given a makeover for the disco generation. Although not vintage Ann Peebles, it isn’t the worst track on the album, and has some merit.
After the updated Ann Peebles sound of the previous track, things get back on track with I’m So Thankful. Straight away, when Ann’s slow, heartfelt vocal begins you realize that this track is much better. A slow arrangement drenched is sadness, with a wistful sound works really well. This is down to the guitars, lush strings, gently rasping horns and slow, rhythm section which accompany Ann. Together, they play slowly and subtly, allowing Ann’s vocal to take centre-stage. Later, the arrangement fills out, and although the tempo remains slow, drama is injected, matching Ann’s lyrics about a woman transformed from “a wild young girl” to responsible woman. These are the best lyrics on the album, because they’ve a strong narrative and Ann tells the “story” really well. She’s assisted in this, by an arrangement that’s a slow combination of subtlety and drama. This combination results in one of the best songs on If This Is Heaven.
Being Here With You opens brightly, with a combination of quick, swirling, shimmering strings, while short bursts of braying horns interject, guitars chime and the rhythm section provide the track’s heartbeat. Meanwhile, Ann’s voice is full of emotion, with a sultry, seductive sound as she sings about being in love and being with her lover. The arrangement has a lovely slow tempo, with waves of dramatic music unfolding, thanks to a the horns, strings and rhythm section. While the horns interject, the strings swirl and float high above the rest of the arrangement. A chiming guitar plays a prolonged solo, adding another layer of contrasting sound. When all of these combine with Ann’s sultry vocal, it works really well, resulting in the type of song we’d expect from Ann Peebles.
Things change on Boy I Gotta Have You, a much quicker, dance-floor influenced track. This is one of the songs that was aimed at those who loved the disco sound. It sees stirring, sweeping strings, shimmering guitars, blazing horns and a driving rhythm section accompanying a quick, joyful sounding vocal from Ann. Behind her, equally joyous, backing vocalists accompany her, while the strings are at the heart of the arrangement, with a buzzing bass, piano and braying horns completing the sound. Although this sound wasn’t to everyone’s liking, there’s a lushness to the track, which is catchy and sweeps you along in its midst. Although I much prefer Ann’s more traditional sound, I actually enjoyed this track, and can see what Hi were trying to achieve. However, the problem was that labels like Salsoul were doing this so much better.
When I’m In Your Arms sees a return to the more “traditional” Ann Peebles sound, after her diversion into disco territory. A combination of sweeping strings and bright, blazing horns, and rhythm section open the track before Ann’s power laden voice soars, full of emotion and joy as she sings about anticipating being with her lover. Behind her, the arrangement is a mixture of chiming guitars, lush strings, rhythm section and interjections of blazing horns, which again, aren’t quite up to the standard of the Memphis Horns. Backing vocalists Rhodes, Chalmers and Rhodes provide sweet, tight, backing vocals, and are the perfect foil for Ann’s voice. Together with the band, they combine to produce an arrangement that’s bright, melodic and fulsome, perfect for Ann’s joyous, anticipatory vocal. However, the track could’ve been so much better with the Memphis Horns on it.
Of all the artists on Hi, one of my favorites was O.V. Wright, who recorded a brilliant version of You’re Gonna Make Me Cry. Here, Ann’s version contains an example of when sometimes people do something musically, that’s almost sacrilegious. What I hear you ask is such a musical crime? The addition of a vocoder on the track. To me, this is a bit like drawing a comedy moustache on the Mona Lisa, in the name of alternative comedy. Whoever, decided the vocoder was a good idea, should be made to stand in the naughty corner. After all, I’m still recovering from, and receiving therapy for the overuse of the vocoder on Daft Punk’s One More Time. Here, the track starts slowly and moodily, with guitars reverberating and chiming while the rhythm section play slowly, and dramatically. The guitars sound is too “rocky” and melodramatic, not what I want to hear on an Ann Peebles track. Backing singers soulfully unite, with Ann’s slow, sad vocal and apart from those dreadful guitars, which are totally out of place and hugely distracting everything is fine. Horns blaze in, but those guitars spoil things. Strings lush and beautiful cut in, but then the vocoder enters, and I can hardly listen further. The track is ruined and what could’ve been a good track is despoiled. Quite simply, it’s an aberration of a track, one that’s dreadful and should’ve been left off the album.
After the trauma of the previous track, surely, things can only get better with Games. It’s sweeping, swirling strings, blazing horns and horror, rocky sounding guitars that accompany Ann when her vocal enters. Her voice is powerful and emotive, as she delivers the lyrics dramatically. Behind her, the arrangement is unfolding, a mas of stirring, swirling strings, joyful, blazing horns, the rhythm section and some rock guitars. They sound totally out of place, and don’t belong on this track. Their sound jars, and detracts from what is an otherwise potentially good track. Both Ann’s vocal and the arrangement were shaping up well, until the guitars spoiled things. However, if you can suffer rock guitars on a Southern Soul track, then maybe you’ll like the track. I couldn’t, and if I’d wanted to hear rock guitars, I’d have bought an album by an overblown seventies group singing about something cosmic and way out, man.
Surely, Lovin’ You WIthout Love must make up for the two previous tracks, which to say the least were disappointing. Things start promisingly enough, with a piano playing slowly, before guitar, percussion, rhythm section, wailing, atmospheric Hammond organ and horns combine, before a moving, heartfelt vocal from Ann enters, augmented by some deeply, moving backing vocals. Apart from a trumpet which seems to cut in for no apparent reason, and a constantly recurring, jarring guitar sound, things are much better. Ann’s vocal is full of emotion and feeling, as she sings about a relationship gone wrong, where the love is gone. The additional of the slower tempo, and the use of the atmospheric, Hammond organ, sweeping strings and blazing horns get the arrangement back on track, and by the track’s end, it’s a vast improvement on the previous two tracks, but still isn’t vintage Ann Peebles.
If This Is Heaven closes with another of the faster tracks on the album, It Must Be Love, which was an attempt to relaunch Ann’s career and gain her new fans. There’s a funky sound and feel to the track straight from the opening bars. Sweeping, grand strings, wah-wah guitar, funk laden rhythm section and braying horns combine with Ann’s faster, throaty, funk-influenced vocal. Behind her, an arrangement that wouldn’t sound out of place on a blaxploitation soundtrack unfolds. A myriad of handclaps, buzzing bass, swirling strings, bursts of horns and backing vocalists combine with Ann on this funk influenced track which Ann carries off well. Although not her usual style of music, she handles the song well and it’s a good song to end the album with.
When I first bought this album I remember being both disappointed and saddened. Disappointed that it wasn’t as good as Ann’s earlier albums, and saddened by the way the traditional Hi sound had changed. In an attempt to “modernize” the sound, and win back fans who’d been attracted to disco, they disregarded part of what made the Hi sound so special. Unbelievably, out went the Memphis Horns and much of the Hi Rhythm section, with only bassist Leroy Hodges. In an attempt to modernize, in came vocoders, rock guitars and the flying cymbal sound on tracks like A Good Day For Lovin’. It seemed that in an ever-changing world, even reliable institutions like Hi Records weren’t immune from change. This affected Ann Peebles’ album If This Is Heaven, with vocoders and rock guitars rearing their ugly heads and desecrating tracks that had potential. Of the ten tracks on the album, four are of the standard I’d expect from Ann, four are reasonable and two are quite dreadful. This is a great shame, because Ann was a hugely talented singer who deserved much better. It wasn’t her fault the songs weren’t the right ones for her, or that she was having to try to be a disco diva. Neither was it her fault that someone had the bright idea to introduce a vocoder and rock guitars, which to me, are both unforgivable crimes against soul music. However, having said all that, there are good tracks on If This Is Heaven, which is now available as part of a two-disc set on Demon Records, as part of The Best of Ann Peebles Volume 2 1974-1981, which also features the albums Tellin’ It and The Handwriting is On the Wall. Should you wish to hear Ann’s best music, my advice is to buy The Complete Ann Peebles Volume 1 1969-1973 which features her first four albums on Hi Records. Standout Tracks: If This Is Heaven, I’m So Thankful, Being Here With You and Lovin’ You WIthout Love.
ANN PEEBLES-IF THIS IS HEAVEN.
JON LUCIEN-SONG FOR MY LADY.
JON LUCIEN-SONG FOR MY LADY.
Some time ago, I wrote about two of Jon Lucien’s album that he recorded for RCA in the early seventies Rashida and Mind’s Eye. Both albums were three albums full of some great music, but sadly, they failed commercially. Although the albums weren’t huge commercial successes, Jon’s music was highly regarded, and two of the songs on Rashida, his 1973 album, were nominated for two Grammy Awards. Rashida was the second of the three albums he released on RCA, with I Am Now released in 1970 and Mind’s Eye in 1974, the other two. Having failed to find the success his music deserved, Jon left RCA, signing a contract with CBS.
Two years after releasing Mind’s Eye, Jon released his fourth album Song For My Lady in 1975. Part of the problem with the albums he released on RCA had been the music spanned the musical genres. It was hard to categorise Jon. People found it hard to decide was he a soul or jazz singer, or somewhere in between. However, now that he’d signed for CBS, he settled down to make a more focused album. Helping Jon to create this new much more focused sound was some much better, more advanced, musical equipment and technology in the studio. This would allow Jon to be much more innovative and creative in the studio. Together with producer Dave Gruisin, Jon recorded eight tracks, some of which took Jon’s music in a new direction. One familiar track was Dindi, which was on his earlier album I Am Now. Maiden Voyage was a reworking of the title track to Herbie Hancock’s album, with Herbie’s siter Jean providing the lyrics. When the album was released, it only reached number fifty-one in the US R&B Charts and number 203 in the US Billboard 200. Like the album, Creole Lady the single didn’t fare well commercially, failing to chart. However, even though neither the single nor the album was a huge commercial success, Jon’s music was highly regarded by many people. Since then, interest has grown in Jon Lucien’s music, with a resurgence in interest when the three albums he released on RCA were released. Now, Song For My Lady has been remastered and rereleased, and I’ll now tell you about that album.
Song For My Lady opens with Soul Mate, which sees a combination of organ, percussionists and rhythm section combining, before Jon scats. After that Jon’s vocal is a much more traditional style, his rich voice strong, but controlled. Quickly various percussionists combine, the tempo is quick, the arrangement animated and vibrant, while Jon’s voice is full of energy as he asks “could you be my soul mate?” Although just a the rhythm section, keyboards and percussion feature on this track, they combine to produce an arrangement that’s complex and full of rhythms. Sometimes, a keyboard floats above the arrangement, a contrast to the rest of the arrangement which provides a contrast to Jon’s scatting vocal. By the end of this complex track, which combines jazz and Latin music, and features Jon’s warm, rich vocal set against a melange of exotic rhythms, you’re hooked. It’s an interesting and intriguing track to open the album, and shows a quite different side of Jon’s music.
Dindi was a track that Jon recorded on his debut album I Am Now, in 1970. It’s a beautiful tender love song, originally recorded by Antonio Carlos Jobim. Jon’s version is my favorite version of the track, and this version is quite beautiful. Against a backdrop of gentle slow piano and keyboard, Jon’s soft, whispery vocal slowly and beautifully sings the lyrics. Quickly, subtle strings sweep in, as the arrangement starts to grow, with piano and keyboards being joined by gentle percussion and guitar. Everything is played in a lovely understated way, allowing Jon’s voice and the lyrics to take centre-stage. As the song progresses, his voice retains that gentle, subtle style, perfect for the track. His reinterpretation of the song is even better than the original. He seems to give the most thoughtful and considered rendition of the lyrics, and combined with the subtle arrangement is one of the album’s best tracks.
One of the tracks on the album that demonstrates the change in Jon’s music on this album is Motherland. When the track opens with drums, percussion, bass and keyboards combine before Jon’s vocal enters. Everything is pretty low key, giving no indication of what’s about to unfold. What unfolds is a track that combines R&B and funk, and has a grittier, harder sound, made up of interconnected grooves, with the funkiest of bass, braying, rasping horns, beefy drums, keyboards and chiming guitars combining. As the song progresses, the tempo quickens, with howling, wailing horns and a driving, funk laden rhythm section are at the heart of everything good about the track. Jon’s vocal sits atop the arrangement, a mixture of strength, power and emotion. It’s the perfect accompaniment for this funk laden arrangement, which sees Jon venturing down new musical avenues. This to me, is a huge success, demonstrating Jon’s versatility as a singer and willingness to embrace new styles of music.
You Are My Love was the last track on side one of the original album. Like Dindi, it’s a tender, love song. The sound has a lovely rounded sound when the track opens, with keyboards combining with the rhythm section, keeping the tempo slow before Jon’s slow, warm, deep voice enters, accompanied by a piano and chiming guitar. What helps the song is an almost laid back tempo, the arrangement sounding lush, perfect for Jon to sing about love, but also how his love has changed. The longer the track goes on, the better the arrangement and vocal gets, embracing and enveloping you, the warmth and love permeating out of your speakers. By the end, this beautiful, somewhat wistful track has proved to be the best track on the album so far.
Side two of the original album is a song that is derived from Herbie Hancock’s Maiden Voyage album. That was one of Herbie’s best albums, and if you’re unfamiliar with the album, it’s well worth exploring. Jean Hancock’s lyrics are perfect for the arrangement, which has a slow tempo and is quite atmospheric. Similarly, Jon’s vocal is considered, his voice deep, accentuating the notes, allowing his voice to soar heavenwards. He’s accompanied by a sweeping, slightly space age sounding arrangement, that’s a meandering, combination of percussion, rhythm section, keyboards, guitars and horns, which heads off into laid back funky territory. In the song, Jon leads a lover through their first affair. Perfect for the lyrics is his delivery, which is self-assured, deliberate and considerate. When the song ends, Jon’s vocal, Jean Hancock’s lyrics and Dave Gruisin’s production have produced a fitting, intriguing and melodic homage to Herbie Hancock’s 1965 album.
Creole Lady is a track that features what sounds like a choir chanting during the track. It is, in fact, the musicians who played on the album combining to produce the effect Jon and producer Dave Gruisin wanted. The track opens with keyboards playing, somewhat hesitantly, before a burst of vocal from Jon acts as a stimulus for the rhythm section to combine with the keyboards and guitar. Only then does Jon’s vocal enter. When it does, it’s slow with a lovely laid back sound, accompanied by an arrangement which has an understated sound. It isn’t the fullest arrangement on the album, although the rhythm are at times, intricate and quick. Later Jon’s accompanied by backing vocalists, whose voices have been multi-tracked. The chanting sound cuts in, and fills the arrangement, giving it a quite busy sound, quite a contrast to the rest of the arrangement. This doesn’t last too long, because if it did, it could get tiring. Here, less is more, wisely. However, just as a I typed that the chanting reenters and the sound takes a somewhat frantic sound. Quickly, I become tired of it, as it becomes slightly irritating, and sadly, it takes the edge of an otherwise good track.
Thankfully, the title track Song For My Lady, a beautiful ballad is much better than the previous track. It’s a much more laid back, subtle and spacious track, complete with lush, sweeping strings and guitars and keyboards that chime gently, the perfect accompaniment to Jon’s gentle and seductive vocal. As he sings this song about love and being in love with someone you care for deeply, there’s a slight calypso sound to the arrangement. This could be thanks to a lovely, subtle acoustic guitar which together with percussion, rhythm section, guitars and keyboards accompany Jon. Adding to an already beautiful arrangement are the sweetest and lushest of strings, which provide a perfect backdrop for Jon’s vocal. The combination of Jon’s sultry, seductive vocal and a beautiful, lush arrangement, work brilliantly, resulting in one of the most beautiful songs on the album.
Song For My Lady close with Follow Your Heart, a quite different sounding track from Jon. It opens with Jon counting in the band, before a track that combines elements of jazz, funk and Latin music opens. Horns rasp, a buzzing bass, keyboards, drums and guitars combine to produce a much quicker tempo. Jon’s vocal is stronger and louder, as strings sweep and swirl, before braying horns enter, before a floaty sound emerges briefly, with keyboards partly responsible for this. At the heart of the track is a driving, rhythm section who can play some great funk music, but like the rest of the band, decide to head off in a jazzy direction. Sometimes a Latin sound is apparent when the rhythm section, keyboards, guitars and percussion combine. Then just as quickly, things change, when horns blaze, followed by sweeping, swirling strings, melodic keyboards and chiming guitars combine, and a jazz influence shines through. Over three and a half minutes, Jon and his band take a tour of funk, jazz and Latin music, demonstrating their talents as musicians, with Jon just as comfortable singing against a backdrop of the three styles of music. Although a very different sounding track, faster, with a fuller sounding arrangement spanning three genres, it’s full of some great rhythms that sound great and made all the better by Jon’s louder and stronger vocal.
Some of the music on Song For My Lady is quite different from Jon’s earlier music, with tracks like Soul Mate, Motherland, Maiden Voyage and Follow Your Heart, demonstrating there was another side to his music, one that encompassed R&B, funk, jazz and Latin music. This didn’t mean that Jon neglected people who loved his earlier music, with ballads like Dindi, You Are My Love and Song For My Lady, being beautiful ballads. There was something for everyone on the album, very much something new, something borrowed and something blue. Sadly, this change in direction didn’t equate to commercial success. Jon’s music failed to reach a wider audience, instead remaining known only by a small number of soul and jazz aficionados. That, to me, is a huge shame, as his huge talent and great music deserved a much wider audience. When he released his second album on CBS Premonition in 1976, it too failed commercially. Maybe part of the problem was that people found it hard to describe and categorize his music. Is it jazz or is it soul? That’s what people found it hard to decide. Even today, people disagree about how to define Jon’s music. Regardless of what genre his music falls into, one thing is certain, that Jon Lucien was a hugely talented singer and musician, producing some great albums, including Song For My Lady. Standout Tracks: Dindi, You Are My Love, Maiden Voyage and Follow Your Heart.
JON LUCIEN-SONG FOR MY LADY.
THE THREE DEGREES-INTERNATIONAL.
THE THREE DEGREES-INTERNATIONAL.
Recently, I’ve been looking back at some of the albums released on the Philadelphia International Records label. Now, when many people think of Philadelphia International, they immediately think of artists like The O’Jays, Harold Melvin and The Blue Notes, Billy Paul and Teddy Pendergrass, some of the biggest and most successful artists on that great label. One group everyone forgets, were The Three Degrees, who produced two excellent albums in 1973 and 1975. They were the eponymous The Three Degrees and International, which this article is about. After releasing these two albums, the group signed for Epic, where sadly, they failed to have the same success.
However, the two albums The Three Degrees released on Philadelphia International included some of the best music the group ever recorded, including When Will I See You Again and TSOP. Released in June 1975, International which was produced by Gamble and Huff and Richard Barrett, reached number thirty-one in the US R&B Charts and ninety-nine in the US Billboard 200. In the UK however, the album was a huge hit, reaching number six. Similarly, the first of the three singles released from the album fared better in the UK than in the US. Take Good Care of Yourself which reached number nine in the UK, only reached number twenty-four in the US R&B Charts. Of the two other singles Long Lost Lover only reached number forty in the UK, while Get Your Love Back did slightly better, reaching number thirty-four in the UK. Neither of these singles charted in the US.
Although this was just The Three Degrees second album on Philadelphia International, they were originally formed in 1963. Since then, the line-up had changed several times. By 1973, when The Three Degrees released their first album on Philadelphia International, the line-up was Sheila Ferguson, Valerie Holiday and Fayette Pinkney. This to me, was the ultimate line-up, the one that produced the best sounding music.
Back in 1970, they released their debut album Maybe which reached number sixteen in the US R&B Charts and 139 in the US Billboard 200. This was followed by So Much Love in 1972, which peaked at number fifty-six n the US R&B Charts and 139 in the US Billboard 200. Things changed when they joined Philadelphia International and hooked up with musical visionaries Gamble and Huff.
Their eponymous titled album The Three Degrees was released in 1973, and was produced by Gamble and Huff. It surpassed the success of their two previous albums, reaching number twenty-eight in the US Billboard 200 and thirty-three in the US R&B Charts. Meanwhile, in the UK, the album became a huge hit, reaching number twelve in the album charts. The album included the group’s biggest hit single When Will I See You Again, which reached number two in the US Billboard 100 and number one in the US R&B Charts. In the UK, the single reached number one, and in the process, helping make the group hugely popular in the UK.
After the release and success of International, The Three Degrees signed for Epic, and released their next album A Toast of Love in 1976. This was around the time Helen Scott replaced Fayette Pinkney. Sadly, A Toast of Love, like their 1977 album Standing Up For Love failed to chart in either the UK or the US. After just two albums on Epic, the group changed labels again, this time to Ariola, where their two albums New Dimensions and 3D had limited success in the UK, reaching numbers thirty-four and sixty-one respectively. Only New Dimensions in 1978 entered the US Billboard 200, at 169, while 1979s’ 3D never troubled the charts. The group only released three further albums, Album of Love in 1982, And Holding in 1989 and Out of the Past Into the Future in 1989. Only And Holding charted in either the US or UK, reaching number seventy-six in the US R&B Charts. All of this was a long way from their Philadelphia International days, when their albums The Three Degrees and International made them huge stars in the UK and US. However, just what was so special about these two albums? That’s what I’ll now tell you.
The Three Degrees opens with Another Heartache a Gamble and Huff penned track, which has a dramatic opening. A roll of a piano, gives way to a slowly picked out piano solo, before drums dramatically interject before the vocal enters. When the vocal enters, the group sing a tight, thoughtful vocal, before a hugely, sad lead vocal enters, with the rest of the group singing backing vocals. Meanwhile, lush strings sweep in while drums veer between subtle and dramatic, while a piano, guitars and percussion combine. The arrangement is mostly slow, laden in sadness and regret, matching Gamble and Huff’s lyrics. Throughout the track, drums are used to add drama, while those lovely strings add atmosphere, and provide the perfect backdrop for the passionate, but wistful lead vocal and equally beautiful backing vocals. Another Heartache, produced by Gamble and Huff and arranged by Bobby Martin, is a quite beautiful song and is the perfect track to open the track.
Of all the tracks on the album, Take Good Care of Yourself is, by far, the best known on the album. When it was released as a single in March of 1975, I remember this song well. It never was off the radio, ultimately reaching number nine in the UK. When the song opens, there’s only one city, one label and two men who could’ve produced it. They’re Philadelphia, Philadelphia International and of course, Gamble and Huff. It’s that lovely, lush, sweeping and powerful, combination of rhythm and string sections, chiming guitars, keyboards, percussion and of course, the sweet, united vocal of The Three Degrees who harmonize beautifully, before the vocal emerges. The lyrics have a wistfulness, about how hard it is for lovers to part, and how they long to be reunited. Here, the vocal is strong, emotive and heartfelt, accompanied by sweet and subtle swooning, cooing backing vocals. Meanwhile, waves of the most incredible sounding music unfold. M.F.S.B. play brilliantly, with the rhythm section, guitars, percussion and keyboards, combining and uniting magnificently, while strings sweep, their sound lush, as they rise and fall throughout the track in perfect harmony with the vocals. The longer the track goes on, the better both the vocal and the arrangement gets. Quite simply, it’s by far the best track on the album, a combination of outstanding vocal and arrangement uniting perfectly, to produce a catchy, hooked and ultimately brilliant track.
Get Your Love Back is very different to the previous track, Take Good Care of Yourself, which is a hard act to follow. However, this quicker, slightly rockier sounding, Gamble and Huff penned track takes the group in a quite different direction. The tempo is quick, with a piano, buzzing bass, drums, sweeping strings and brief bursts of horns combining before the vocal enters. When it does, it has a lovely joyous sound, laden in passion and power, accompanied by soaring backing vocals. As the track progresses, the arrangement fills out, becoming a melodic combination of driving rhythm section, braying horns and grand, sweeping string which create a dramatic backdrop for a dynamic and energetic vocal. Although very different from the smoothness of the previous track, this drama drenched track features a hugely dramatic and dynamic arrangement and vocal, which allows us to see a very different side of the group, one that’s laden in energy and emotion.
After the driving, dynamism and energy of the previous track, The Three Degrees turn down the lights on Lonelier Are Fools, a lovely slow ballad. It opens with chiming, shimmery guitars, piano, the lushest of strings and gentle interjections from horns before the vocal enters. When it enters, it’s gentle, tender and heartfelt, accompanied by equally tender and sweet backing vocalists, and a slow atmospheric bass. From there, the track meanders beautifully, an exercise in just how to deliver, arrange and produce the most beautiful, tenderest of ballads. Horns subtly rasp, as the piano and swirling strings combine to produce the perfect backdrop for the vocal. Like Another Heartache, drums punctuate the sound, injecting drama, a contrast the gentleness of the rest of the arrangement. By the end of the track, you can’t help but be smitten by this gorgeous track, thanks to the tenderest of vocals and a deeply moving arrangement.
Distant Lover sees The Three Degrees move seamlessly from one slow and quite beautiful track to the next. Like the previous track, helping to make this such a great track is a slow, melodic arrangement, one designed to tug at your heartstrings. A combination of drums, chiming guitars, sweeping and swirling strings, and gentle rasps of horn open the track, before the gentlest and subtlest of vocal enters. Here, the group demonstrate perfectly, how a delicate rendition of some lovely lyrics, works just as well, if not better, than a more forceful, vociferous delivery. The group’s rendition of Marvin Gaye, Gwen Gordy-Fuqua and Sandra Greene’s lyrics works beautifully, as the arrangement meanders magically behind their vocal. Still, the strings sweep and swirl, while guitars chime, horns rasp and drums add just a little drama. Later in the track, the vocal grows in strength, getting louder, stronger with the emotion and passion shining through. As the track ends, it seems that The Three Degrees with the help of Gamble and Huff, were able to deliver one beautiful ballad after another. If anything, Distant Lover is the equal of the gorgeous Lonelier Are Fools, which preceded it.
Seemingly on a roll, The Three Degrees decide to keep the tempo slow, with their third lovely ballad in a row Together. If it’s anywhere like its predecessors, that will be quite a feat. Percussion, drama laden drums, sweet strings and brief, braying horns open the track, veering between bursts of drama to dramatic pauses effectively. When the vocal enters, the interplay between the lead vocal and backing vocalists works perfectly, their sweet voices soaring, feeding off each other, encouraging the other to greater heights. Behind them, the arrangement is unfolding slowly, waves of music rising and falling subtly, like a boat on a calm sea. A mixture of sweeping strings, rasping horns and stirring, bursts of dramatic horns are accompanied by a bass, piano and percussion. Together, they produce an arrangement that’s beautiful, lush yet not without tinges of drama. This is perfect for The Three Degrees’ vocal, and they deliver this Gamble and Huff song about love and being in love, thoughtfully, yet with passion and emotion. By the end of the track, The Three Degrees have delivered their third quite bewitching and captivating track in a row, one that’s a worthy successor to its two predecessors.
Long Lost Lover is a track that has more in common with Take Good Care of Yourself than any of the other tracks on the album so far. It’s a more upbeat and uptempo track, with a faster arrangement and joyous arrangement, very much typical of Gamble and Huff and The Sound of Philadelphia. Chiming, shimmery guitars and sweeping, swirling strings combine beautifully, while the rhythm section provide the track’s heartbeat, before the vocal enters. It soars high and joyously, while subtle, understated backing vocals compliment it. Meanwhile, the tempo is quick, the arrangement sweeping melodically along, with hooks are plentiful, as the strings sweep gloriously, while guitars chime and the rhythm section plays an important roll in the track’s success. However, regardless of how good the arrangement is, it would be nothing without The Three Degrees. They demonstrate their versatility, proving that whether it’s slow, moving ballads or faster, more up beat tracks, they’re equally comfortable. One thing that puzzles me though, is just why the track wasn’t more successful as a single, reaching only number forty in the UK. Such a great sounding track deserved to do much better.
Straight away, when I hear the opening bars of Here I Am, I realize that this is a track steeped in drama. From the stirring, drama laden opening where drums, piano, short bursts of horns, until the equally dramatic vocal, a powerful, soulful track looks likely to unfold. The lead vocal, is accompanied by the rest of the group, uniting soulfully, their voices emotive, against a slow, moody backdrop of grand strings, hugely stirring, theatrical drums, rasping horns and an equally moody sounding bass. Together, they’re the equal of the dramatic, considered vocal, and this combination has a dynamic effect, keeping the listener awestruck, wondering just what will happen next. By the end of the track, the early promise of drama and soulfulness has been delivered. Although very different to the rest of the album, this dramatic diversion is welcome, again demonstrating the group’s talent and versatility.
In 1973, The Three Degrees with M.F.S.B., Philadelphia International’s house band, who played on all the label’s singles and albums, released a single T.S.O.P. (The Sound of Philadelphia. It reached number one in the US R&B and Billboard 100, and number twenty-two in the UK. The song was also used as the theme song for the US music show Soul Train. Here, The Three Degrees revisit one of their best known songs. It opens quickly, a hugely melodic, soulful vocal accompanied by swirling strings, rhythm sections and percussion before it’s punctuated by bursts of horns. Very quickly, this soulful sounding track is transformed into a beefy slice of funk, thanks to M.F.S.B., when a braying horn signals all change. This doesn’t worry The Three Degrees, they rise to this challenge, with their voices uniting sweetly and soulfully, while M.F.S.B. give a funk laden masterclass. It’s a combination of driving rhythm section, blazing horns, percussion and not forgetting some grand, yet lush strings. Here, the vocal plays second fiddle to the arrangement, with the vocal drifting in, and out of, the arrangement. Still they give everything they have, as M.F.S.B. seemingly having brought their A-game produce a brilliant arrangement, funky yet soulful, made all the better with the help of The Three Degrees’ soulful interjections.
International closes with Loving Cup, another upbeat track, that has a funk drenched introduction where sweeping, swirling strings, braying, blazing horns and a fast, driving rhythm section combine with the vocal. It’s loud and strong, accompanied by tight, swooning backing vocals, which then unite with the lead vocal. Meanwhile, the arrangement is fast, a combination of soul and funk, with a fast, funky bass at the heart of the arrangement while stirring, strings sweep, horns rasp and drums continue to be responsible for injecting drama to the arrangement. Together, they combine to create an arrangement that’s a dramatic combination of two things that Philadelphia International did so well, funk and soul. When combined with a vocal that’s quick, sweet and joyful, this seems the perfect way to end the album. After all, what’s better than a joyous, catchy and hook laden track to close any album, never mind one from The Three Degrees, one of Philadelphia International’s many success stories.
Although The Three Degrees only released two albums on Philadelphia International, this was the most successful period of the group’s career. It brought them to the attention of people not only in the US and UK, but worldwide, where they found chart success. This includes a number one single Dirty Ol’ Man in Holland. SInce then, The Three Degrees continue to tour and are a hugely popular attraction. Over the years, there have been many changes in the group’s line-up, but regardless of this, people worldwide still want to hear some of the best soul music that emerged from Philadelphia during the seventies. International and their previous album Three Degrees include some of the best music the group ever recorded. On International, there was neither any filler, nor any poor tracks, just a mixture of some beautiful slow ballads, and quicker joyful tracks. After being formed in 1963, and changes in their line-up, moving to Philadelphia International Records and hooking up with Gamble and Huff, launched the long successful career of one of the best loved and best sounding female groups of the seventies. Standout Tracks: Another Heartache, ake Good Care of Yourself, Lonelier Are Fools and Together.
THE THREE DEGREES-INTERNATIONAL.
JOHNNIE TAYLOR-TAYLORED IN SILK.
JOHNNIE TAYLOR-TAYLORED IN SILK.
In a previous article, I reviewed Shirley Brown’s album Woman To Woman, which was one of the last albums released on the legendary Stax label. It’s one of a series of albums that have recently, been remastered by Joe Tarantino. His remastering totally transformed the sound of Shirley’s 1974 album, bringing the music brilliantly to life. Another of the albums that have been remastered, is one that’s long been a favorite of mine, Johnnie Taylor’s 1973 album Taylored In Silk. This is an album from what I’d call the Stax third period, between 1972 and 1975. I’ve owned this album for many years, but when I heard the difference that the remastering made to Woman To Woman, I decided to buy the remastered version. Having bought the album, I hoped that Joe Tarantino’s remastering will have made the same difference to Taylored In Silk, an album that was responsible for changing, redefining and honing the sound of Memphis Soul.
By the time Johnnie Taylor arrived at Stax in 1966, he was a hugely experienced singer. Like many successful singers, his first experience of music, was singing in the church. After that, he’d sung in gospel groups and then, aged twenty-three, was hired to replace Sam Cooke in The Soul Stirrers in 1957. Five years later, Johnnie was one of the first artists to sign to Cooke’s newly established label SAR Records. Sadly, after Cooke’s death in 1964, the label folded. In 1966, Johnnie joined Stax, where he quickly gained the nickname “The Philosopher of Soul.”
During his first few years at Stax, Johnnie recorded a number of songs written by Isaac Hayes and David Porter, one of the most prolific and successful songwriting partnerships on Stax. His most successful hit came in 1968, Who’s Making Love, which reached number five in the US Billboard 100 and number one in the US R&B Charts. The single sold over a million copies, and saw Johnnie receive a gold disc. This wasn’t his only million selling single, with I Believe In You (You Believe In Me), released in 1973, which reached number eleven in the US Hot 100, selling over a million copies and being certified gold. Between 1966 and the label closing in 1975, Johnnie was one of Stax’s most successful, and most popular artists. So when he recorded Taylored In Silk, everything seemed set for a successful album. However was that the case?
Unlike earlier albums released on Stax, which were recorded in the Stax Studios on McLemore Avenue, Taylored In Silk was recorded in Muscle Shoals. Unfortunately, the personnel for the album is unknown, so we’ve no way of knowing which musicians played on the album. Once the tracks were recorded, there was much overdubbing required. All the effort was worth it, with three R&B hits singles being released from the album. Believe In Me (You Believe In Me), Cheaper To Keep Her and We’re Getting Careless With Our Love all provided Johnnie with chart hits. So, things looked good for the release of Taylored In Silk was released, with Johnnie hoping the album would match the success of the singles. When it was released in 1973, it reached number three in the US R&B Charts and number fifty-four in the US Billboard 200 Chart. Since then, Taylored In Silk is perceived as one of the finest soul albums released in the early seventies, which I’ll now tell you about.
Taylored In Silk opens with We’re Getting Careless With Our Love, a song that finds the characters in the song nearly being caught cheating. Both of them are intoxicated on the excitement of leading a double life, sneaking around, behind their partner’s back, stealing moments of forbidden passion. This track gave Johnnie his third consecutive US R&B number one and reached number eleven in the US Billboard 100 during the summer of 1973. The track opens with a guitar quickly soaring, sounding like a riff from a Chuck Berry track, before a slow, moody sounding organ, rhythm section and guitar are accompanied by a variety of oohs, representing the cheating duo. When Johnnie sings, his soulful, seductive voice is accompanied by subtle, rasping horns, backing vocalists and floating strings which sweep in. With the addition of the soaring, joyous backing vocalists, gently rasping horns and lush strings, the track is transformed to sensual, smooth slice of seductive soul, thanks to Johnnie’s vocal and Don Davis brilliant production.
Mel and Tim had a number four US R&B hit with Starting All Over Again, which Johnnie covers on Taylored In Soul. Before I listened to Johnnie’s version, I listened to Mel and Tim’s version again, a track I’ve always loved. Personally, Mel and Tim’s track, which opens with dialogue between the duo, before a hugely sad, slow and quite beautiful track unfolds. They sing the track with boundless emotion and feeling, their voices soaring slowly and soulfully, sometimes accompanied by backing vocalists and braying horns. For me, that version will never be bettered, but who knows, maybe Johnnie’s version will run it close? When Johnnie’s version opens, cymbals are subtly played, before horns and strings interject and Johnnie, accompanied by female backing vocalists enters. His voice has a gritty, yet thoughtful, considered sound, as guitars, rhythm section and swooning, backing vocalist soar heavenwards. Quickly, the arrangement unfolds, grand, strings sweeping, combining with guitars and drums in unison, to keep the tempo slow and the beat regular. Here, the arrangement is rich and fulsome, enveloping Johnnie’s vocal with its beauty. As the song ends, Johnnie’s version has run Mel and Tim’s vocal close. However, as beautiful and sumptuous the arrangement and vocal are, I still prefer Mel and Tim’s version, albeit it’s a close run thing.
Like many of the tracks on the album, Cheaper To Keep Her is a song about love and relationships gone wrong, with Johnnie coming to the conclusion that it’s cheaper to keep his wife than divorce her. This track was released as a single, reaching number two in the US R&B Charts and number eleven in the US Billboard 100. It’s a track that swings when it opens, with shades of a big band sound when the blazing horns briefly interject, accompanied by a piano and bass. When Johnnie sings, his vocal is quite different, half-sung, half spoken. While horns rasp, ironically, female vocalists sweetly, swoon, soulfully in unison “it’s cheaper to keep. her.” Still, the piano and bass, continue to provide a sound that has a quaint, old-fashioned sound and feel, that’s highlighted by the horns, backing vocalists and slower, yet swinging tempo. Atop this arrangement sits Johnnie’s vocal, which has returned to a much more traditional style, one full of confusion and bemusement. Although quite different from the previous tracks in sound and style, this track really works. Much of this is down to the somewhat retro sounding, big band influenced arrangement, and Johnnie’s ability to breath life and energy into the lyrics.
Talk To Me has a lovely slow, lush yet dramatic sweeping sound, featuring one of the best and smoothest arrangements on the album. As if that’s not enough, Johnnie’s vocal is emotive, laden in drama and passion, as he pleadingly sings the lyrics. Drums, swirling, grand strings, chiming guitars and bass open the track, before Johnnie sings, a flute twinkling above him. His voice is warm, full of emotion and passion, as a piano plays, while strings sweep, horns subtly rasp and backing vocalists harmonize. By now the arrangement is slow, dramatic and beautifully lush. As the song progresses, both the arrangement and vocal just gets better. The drama increases, with Johnnie pleading, willing his girlfriend to talk to him. Behind him, the arrangement although slow, is lavish, as it meanders along beautifully, a quite irresistible and stunning arrangement the perfect backdrop for Johnnie’s desperate pleas.
When I Believe In You (You Believe In Me) was released as a single, it provided Johnnie with a number one US R&B single and number eleven single in the US Billboard 100. Here, it’s another song about love and relationships, with Johnnie promising to believe in his lady forevermore, the same way she believes in him. Like the previous track, it benefits from another great arrangement, that’s a fitting accompaniment to Johnnie’s vocal, which is full of sincerity and emotion. The tempo is slow when an organ, rhythm section, guitar and flute combine to accompany Johnnie. Meanwhile, a sweet sounding bass dances around, seemingly partnering the flute and then latterly the strings. Straight away, the arrangement unfolds revealing a combination of pounding drums, sweeping strings, shimmery, chiming guitars, floaty flute and of course that dancing bass. They provide a fuller arrangement for Johnnie’s vocal which is laden with power and passion. His voice soars, accompanied by female backing vocalists, whose voices unite soulfully. Both the driving, swirling and rich arrangement and Johnnie’s emotive, sincere vocal combine perfectly, resulting in a track that sounds quite beautiful and brilliant.
As One Thing Wrong With My Woman opens, you’re immediately struck by the beautiful, slow and lush arrangement that opens the track. It’s a combination of female backing vocalists, subtly harmonizing, while lush strings, rhythm section, gently chiming guitars, brief burst of horns and a flute, floating high above the rest of the arrangement. When Johnnie sings, his voice is strong, full of sadness and regret, as he sings how his girlfriend no longer loves him. Matching this tale of woe, is an arrangement that matches his sadness. This is thanks to grand sweeping strings, a slow rhythm section and the flute which combines perfectly with the strings. Together, they produce a sound drenched in sadness and despair, matching the heartache in Johnnie’s voice. A combination of the saddest sounding of arrangements and a desperate, heartbroken vocal from Johnnie combine masterfully, making a hugely moving and emotionally charged track.
I Can Read Between the Lines has a slight Caribbean influence on the track, due to the use of percussion. Here, Johnnie knows his relationship is over without any words being exchanged. He realizes the time has come for them to go their separate ways. Percussion, rhythm section, guitars and horns combine for Johnnie’s vocal enters. Straight away, his sadness and regret is palpable, as he sings the lyrics, while braying horns interject dramatically. Adding to the atmosphere, is a subtle Hammond organ that cuts in briefly. Swooning, soulful backing vocalists accompany Johnnie, as one of the best arrangements on the album develops. Here, the sound is smoother, rounded, lacking the grittiness of earlier Memphis soul cuts. This is part of the track’s attraction, and ultimately success, because this to me, is one of the highlights of Taylored In Silk.
Taylored In Silk closes with This Bitter Earth track that combines percussion, lush strings, rasping horns, piano and flute as the track opens. The rhythm section enter along with Johnnie’s strong, thoughtful and questioning vocal, as he ponders his future. Quickly, the arrangement becomes dramatic, grand strings swirl high, while horns rasp and bray, and Johnnie pours his heart out, a mixture of raw emotion, vulnerability and despondency. Meanwhile, slow chiming, shimmering guitars, a moody bass and occasional floaty flute manage to improve a hugely moving and emotional arrangement. By the end of the track, a despairing Johhnie has delivered one of the most moving vocals on the album, against a backdrop of emotion and drama, which is the perfect way to close the album.
Johnnie Taylor’s album Taylored In Silk may just contain eight songs, but they’re eight beautiful and quite brilliant songs. On each song, he delivered them with emotion and passion, transforming sometimes familiar lyrics and making them his own. This album had quite an important influence on Memphis soul, helping to redefine and change the Memphis Sound. It was known as being much smoother, polished and produced than the grittier, harder edged Southern Soul. On this album, Johhnie Taylor and producer Don Davis either deliberately, or by chance, added elements of Southern Soul to the smooth, polished Memphis Sound. What they ended up with, was an album that although still smooth and polished, sometimes had a grittier, harder edge to it. To me, this combination of styles is part of what makes this such an excellent album, that, and that every song has a story to tell. Whether it’s love gone wrong, love lost or the unfaithfulness of the opening track We’re Getting Careless With Our Love, Johnnie brings the songs to live. He sings each song like he’s lived each one several times over. That’s something not many singers can do, but Johnnie could.
At the start of the article I mentioned that I’d bought the new remastered version of Taylored In Slik after hearing and reviewing a remastered version of Shirley Brown’s Woman To Woman. With that album I was blown away by the quality of the sound thanks to Joe Tarantino’s remastering. The same can be said of this album. Listening to the album, it sounds much better, far clearer with the music coming to life, and the album’s subtleties and nuances revealing themselves. What’s more it’s all the better to hear Johnnie’s combination of heartbreakers, tear-jerkers and smoochy slices of sumptuous seventies soul. Standout Tracks: We’re Getting Careless With Our Love, Starting All Over Again, Talk To Me and One Thing Wrong With My Woman.
JOHNNIE TAYLOR-TAYLORED IN SILK.
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![Taylored in Silk [Stax Remasters]](https://i0.wp.com/ecx.images-amazon.com/images/I/51l7BWQcKvL._SL500_AA300_.jpg)
TERRY CALLIER-FIRE ON ICE.
TERRY CALLIER-FIRE ON ICE.
One of my favorite artists of all time is Terry Callier, who I’ve previously written about before. In these articles, I’ve featured What Color Is Love, the second of the three albums he recorded on Cadet, a subsidiary of the famous Chicago label Chess. This is one of my favorite of Terry’s albums, featuring songs like Dancing Girl and What Color is Love. My other articles concentrated on two of the albums he recorded when he made his “comeback,” after a sabbatical from the music industry. These were Timepeace, released in 1998, and Lifetime, released in 1999. Both were excellent albums, and demonstrated that after a prolonged absence from music, Terry was still a hugely talented singer, songwriter and musician.
However, one period of Terry’s career that I’ve not looked at, is the two albums he recorded for Elektra, Fire and Ice, released in 1977, and Turn You To Love, released in 1978. Terry had joined Elektra after being dropped by Cadet. It was a track from Turn You To Love that gave Terry his only chart success in the US. Sign of the Times was used by disc jockey Frankie Crocker as the theme tune on his radio program. Such was the popularity of the track, that Elektra released it as a single. The single reached number seventy-eight in the US R&B Charts, and saw Terry invited to perform at the prestigious Montreux Jazz Festival. Sadly, that was Terry’s only chart success in his home country. Of the two albums that Terry released on Elektra, both are good albums, but if I was forced to choose between the two, my favorite would be Fire and Ice, which I’ll now tell you about.
Fire and Ice opens with Be A Believer, a song written by Terry and one with lovely, positive lyrics. The track opens gently, with acoustic guitar and subtle strings sweeping, before Terry’s vocal enters. It’s strong and confident, as he sings about how belief can help you achieve what we want from life and overcome the obstacles that we face each day. Believe, and “most things in your life (will work out”). Meanwhile, the arrangement is unfolding and growing. The rhythm section and guitars combine to up the tempo, producing a much fuller sounding arrangement. Backing vocalists accompany Terry, their voices uniting joyously, matching the positivity and joy of Terry’s vocal, before horns interject beautifully, adding to the joyful, uptempo sound. A saxophone solo drifts over the top of the arrangement adding the finishing touches to a quite brilliant track, one that’s a paean to belief and faith, that’s catchy, hook laden and utterly joyous.
Holding On (To Your Love) is a track that also featured on Terry’s 1999 album Lifetime. It’s a track that I heard Terry play live many years ago, and when played the song, he did so beautifully and brilliantly. When the track opens, a guitar plays the introduction, with a buzzing bass, slow drums and keyboards quickly joining in. This version, the original, sees the song slowed down, space being left within the arrangement allowing the music to breathe. On Lifetime, the song is much quicker, with a saxophone playing the introduction. There’s quite a difference between the two versions, but the song suits both a slow or fast arrangement. Then when Terry sings the lyrics about love, his voice is gentle and thoughtful, lush strings sweeping behind him, while guitars, rhythm section, keyboards and horns combine. Again, swooning and joyous backing vocalists unite, the perfect accompaniment to Terry’s vocal which is now louder and full of passion. As the song progresses, both Terry’s vocal and the arrangement just gets so much better. The arrangement features some great interplay between the rhythm section, guitars and horns, when Terry’s vocal drops out. However, one thing that really makes this such a great song are the lyrics, written by Terry and Larry Wade. They’re some of the best on the album, and Terry delivers them beautifully, with a combination of tenderness, passion and power. Together with a rich, joyful sounding arrangement, it’s the best track on the album, and my favorite version of the track.
When Street Fever opens, the track has a very different sound to the two preceding tracks. The track is fusion of styles and influences, with soul, funk and rock all influencing the sound. When the track opens, guitars chime and soar, repetitively, before heading off in the direction of funk with a sprinkling of rock, with Terry’s voice louder, nearly roaring, against a backdrop of dramatic, slightly dark and angry guitars and rhythm section. However, quickly, the track changes turning into a much more soulful, sweeping sound, only to return to whence it came. This veering between two styles works, and is an interesting and intriguing contrast. Terry’s almost snarling vocal is a departure from what we’ve come to expect. Here his frustration and maybe even anger, suits the lyrics. They’re about a woman whose addicted to drugs, and whose life is quickly is unravelling. Although very different from other tracks on the album, this rockier delivery of the lyrics, and faster, dramatic arrangement, works really well and suits the story behind the lyrics.
After the departure into a very different musical territory for Terry, things return to a sound that’s much more like the Terry Callier most people will know. Butterfly is a lovely, slow and tender song, with a much more understated and lush arrangement. The track opens with a floaty sound, thanks to a synth, acoustic guitar and piano combining before Terry’s tender and considered vocal enters. He sings the song thoughtfully, as the arrangement meanders slowly along, with splashes of piano, lush, subtle strings, a gentle bass and chiming guitars. Subtle, brief bursts of rasping horns, interject while gently, reverberating strings slowly unwind, accompanying Terry as the song ends. This is quite simply a beautiful song, full of symbolism, about someone who like a butterfly, needs to spread their wings and fly away from the city. It’s a sentiment many people will be able to relate to, and this quite gorgeous and tender and thoughtful song is one of the album’s highlights.
Like other tracks on this album, I’ve Been Doin’ Alright (Part II) (Everything’s Gonna Be Alright) opens with the familiar sound of Terry gently strumming his trusty acoustic guitar. After that, the rhythm section, distant strings, brief bursts of horns, guitars and piano all join in, accompanying Terry. His voice soars high, soulfully, as a deeply melodic arrangement unfolds. Backing vocalists sweetly sing, while a piano, bursts of horns, driving rhythm section and chiming guitars combine masterfully, creating an arrangement that swings along, with a fuller, hugely melodic and catchy sound. This is the perfect backdrop for Terry’s vocal, which is emotive, full of passion, yet considered, as he confidently predicts things will turn out fine. Both this swinging, uplifting arrangement and Terry’s quite beautiful vocal combine to make this a joyous sounding, catchy track.
When I see the word disco in a track by an artist like Terry, I always fear the worst. Thankfully, this time, I needn’t have worried, but back in 1977, many artists like Terry were suffering because of the popularity of disco. Bobby Womack and Jerry Butler were two artists whose popularity was badly affected. Some artists went disco, but thankfully, Terry resisted the temptation. Instead, he purloined the word disco for the track’s title. A combination of gently plucked acoustic guitar, rasping, soaring horn open the track before Terry sings, his vocal starting off quietly, before quickly growing stronger and louder. Meanwhile, a fast, funk laden bass, grand, Philadelphia influenced strings, beefy drums and chiming guitars combine, as the tempo quickens. Backing vocalist interject, their voices soaring high, in contrast to Terry’s louder, fuller vocal, while the arrangement veers between a quicker and almost pedestrian tempo, providing another musical contrast. As the song ends, I realize how different in sound and style it is to the rest of the album. Unlike other artists who used the word disco to gain the attraction of record buyers, Terry has pulled it off. Although it isn’t vintage Terry Callier, it’s far from being a poor track. The vocal and arrangement work well, with the quicker tempo suiting the lyrics, and demonstrating Terry’s versatility as a vocalist.
African Violet is the polar opposite of Disco In the Sky, and is a much more thoughtful track, with a quite spiritual sound. Acoustic guitar, woodwind, and percussion combine subtly before Terry’s equally subtle and gentle vocal enters. The tempo is slow, the arrangement meandering along, when Terry’s voice drops deeper, only to quickly grows in strength, as does the arrangement. It grows to a dramatic sound, with grand, sweeping strings, percussion, rhythm section and chiming, shimmering guitars combining. A horn sweetly and melodically, sweeps over the arrangement, while a dark, moody bass and keyboards accompany Terry’s voice which is drenched in power, passion as he sings some hugely powerful and moving lyrics, about the hardships and injustices suffered by both the African and Afro-American people throughout history. Like Holding On (To Your Love), African Violet features some of the best lyrics on the album. Together with an arrangement that’s a combination of subtly and drama, and a moving and powerful vocal from Terry, this is an excellent track.
A lovely lush sound opens Love Two Love, which features Minnie Riperton on backing vocals, singing quite beautifully. The track opens with the lushest of strings, and Minnie’s voice soaring sweetly, before a tender and thoughtful vocal from Terry enters. He’s accompanied by the rhythm section, chiming guitars and keyboards, which together with the strings, combine beautifully, producing a faster arrangement. It’s one of the best sounding arrangements on the album, made all the better by Terry’s considered and emotive delivery of the lyrics about love and being in love. Here, the addition of Minnie on backing vocals is a masterstroke, her unmistakable voice gracing the track wonderfully, helping make this such a beautiful sounding track.
Fire On Ice closes with Martin St Martin, a tribute to the great Dr. Martin Luther King. Here, Terry provides a fitting tribute to one of the most important figures in the American civil rights movement. Fittingly, the track has a dramatic, sometimes almost grandiose sound, thanks to the addition of a choir. This seems a fitting sound for a giant of a man, who did so much, for so many. Bells chime as the track opens, before the young choir enter, singing angelically. It’s only when guitars combine with the bells and choir, that Terry’s vocal enters. His vocal is slow at first, full of passion and emotion, but quickly, accompanied by the rhythm section, grand sweeping strings and guitars Terry’s voice quickens. Throughout the track, the tempo, like the drama, rises and falls. Peaks and troughs of powerful music unfold, as Terry sings some beautiful, thoughtful and powerful lyrics he cowrote with Larry Wade. They’re a fitting, quite beautiful tribute to a great man, sung with power and passion by Terry. This seems like a fitting and perfect way to end the album, with powerful, waves of sweeping, joyful music unfolding, giving thanks to the late, great Dr. King.
For many years I’ve loved the music on Fire and Ice. The music Terry recorded on Elektra was quite different from the music he recorded on Cadet. Many people believe his Cadet years produced some of his best work, but the two albums he produced for Elektra are very different in sound and style, and have much to commend them. On Fire and Ice, Terry delivers nine songs with his usual combination of thoughtfulness, emotion and passion. He brings the lyrics to life, through the emotion he expounds, choosing the perfect delivery for each song. Some songs see him sing gently and thoughtfully, others powerfully with passion. Regardless of the style he uses, you can always be assured he gives everything he has on each song. Fire and Ice features some great songs written by Terry or with Larry Wade, with whom he cowrote some of his best songs. Here, they include the Holding On (To Your Love), Street Fever and the hugely powerful Martin St. Martin. Of the songs Terry wrote himself, Be A Believer, Butterfly and African Violet demonstrate Terry’s huge talents as a songwriter. These three songs feature some beautiful, thoughtful and intelligent lyrics. Terry was joined on the album by a number of well known artists, including Minnie Riperton, whose backing vocals on Love Two Love play a huge part in the track’s success. Apart from Minnie, Cynthia Wright, Philip Upchurch, Eddie Harris and Larry Wade are just a few of the guest artists. All of them play their part in helping Terry make this such a great album. If you’ve never heard Fire and Ice, I can thoroughly recommend the album. If you’d like to just hear an introduction to Terry’s music, About Time: The Terry Callier Story 1965-1982 on BGP gives an overview of his career on both Cadet and Elektra, while Essential, The Very Best of, features all the music he recorded on Cadet. Regardless of which you choose, and there’s plenty of albums to choose from, I’m sure you’ll quickly become a huge fan of Terry Callier, a brilliant singer, songwriter and musician. Standout Tracks: Be A Believer, Holding On (To Your Love), African Violet and Love To Love.
TERRY CALLIER-FIRE ON ICE.
ROSIE GAINES-WELCOME TO MY WORLD.
ROSIE GAINES-WELCOME TO MY WORLD.
Many people reading this article may be thinking that they recognize the name Rosie Gaines, but can’t quite place her. They’ll have heard of her, but can’t quite remember where. To save you wracking your brains any more, I’ll tell you where you might have heard of her. Rosie used to be part of Prince’s backing band The New Power Generation, joining the group in 1990. Her meeting with Prince was purely coincidental. She was in a recording studio in Minneapolis, Minnesota where she was singing a demo of a song for The Pointer Sisters. Who should walk into the studio but Prince. Immediately he was struck by her talents as a vocalist, and asked her to join his band. In 1990, she joined the band as vocalist and keyboard player for Prince’s Nude Tour. The first Prince album she appeared on was Graffiti Bridge, and she appeared on the Graffiti Bridge film as a member of The New Power Generation. After that, Rosie featured on Prince’s Diamonds and Pearls album, but left his band after the Diamonds and Pearls’ tour in 1992, to continue her solo career. That wasn’t the end of her working relationship with Prince, she continued to work with him occasionally.
By the time Rosie left The New Power Generation, she’d previously released two solo albums. They were Caring, released in 1985, and No Sweeter Love, released in 1987. Her third album Concrete Jungle, was released in 1992, the year she left The New Power Generation. Her next album Closer Than Close, was released in 1995. Two years later, in 1997, the title track was remixed and reached number four in the UK singles charts, and in the process, became a favorite in clubs across the UK.
Sensing the future potential of the internet as a means of releasing music, Rosie founded her own record label Dredlix Records, releasing her 1997 album Arrival on the internet, via her own website. Although the album was limited to just two-thousand copies, the way it was released proved just how important the internet could be as a medium for releasing music.
In 2003, Rosie signed with Dome Records in the UK, and released her next album You Gave Me the Freedom in February 2004. Like previous albums, Rosie wrote every song on the album, and produced the album herself. Two years later, in October 2006, Rosie released Welcome To My World, which this article is about. It was her seventh studio album, and was released on SuSu Records. Of all the albums Rosie has released, Welcome To My World is my favorite, featuring some great music which I’ll now tell you about.
Welcome To My World opens with the title track, Welcome To My World, which opens with spacey keyboards, gentle guitar and electric piano before Rosie half-spoken vocal enters. Once she starts to sing, the sound has a real Nu Soul sound and feel. The arrangement has a lush, rounded sound, with sweet backing vocalists. a crisp drum beat accompanied by stabs of keyboards, handclaps and bass. Atop this melodic and catchy arrangement sits Rosie’s vocal, which has a loose, yet confident and rich sound. When you listen to the melody it has a lovely lush sound, which meanders beautifully along, with a myriad of backing vocalists accompanying Rosie’s now powerful and charismatic vocal, which soars heavenwards. Later in the track, Rosie scats, ad-libbing her way to the end of the tracks. As she does this, you realize just how talented and versatile a vocalist she really is. When her vocal is combined with the arrangement that’s melodic and lush, it’s a winning combination. and the perfect track to open the album.
Just A Moment Away is a slower, looser sounding track, that opens with keyboards, slow spacey drums, braying horns and handclaps, accompanying Rosie’s vocal. It’s slower, breathy vocal, accompanied by a dark bass line, flute and regular , brief interjections from horns. As the song progresses, the tempo quickens, with Rosie’s vocal strengthening, becoming powerful and laden with passion. Meanwhile, the arrangement unfolds, with chiming guitars, reverberating keyboards and crisp, crunchy beats combining. Backing vocalists help Rosie steer the song towards a combination of Nu Soul and hip hop. However, quickly, the track changes directio again, heads towards a soulful conclusion, after a diversion down a route marked hip hop. Although quite different from the opening track, Just A Moment Away is blessed with a hugely powerful, soaring vocal from Rosie, and an arrangement that fuses together elements of soul and a sprinkle of hip hop really well.
Straight away. when Mamma Soul opens, Rosie’s vocal is quite simply a combination of controlled power, passion and energy. It’s almost a cross between a roar and snarl, that leaves you both speechless and full of admiration for her and whoever Mamma Soul is based upon. The arrangement sees the rhythm section, keyboards and guitars. Drumbeats are at the heart of the arrangement, while keyboards and backing vocalists play important roles. However, everything else plays second best to Rosie’s dynamic and energetic vocal, which is hugely powerful and impressive.
What’s noticeable even after three tracks is the similarity between the arrangements on this album and those on albums by other Nu Soul artists. Listen to Erykah Badu, Angie Stone and Jill Scott and you’ll hear similar sounding arrangements. Much of that is down to the way the drumbeats and keyboards are used. Although not a criticism, the crispness of the beats and similar floaty, stabs of keyboards seem to be present on albums by each of these artists. Sometimes, I think that this doesn’t do the artist any favors, as their voices deserve a more traditional sounding arrangement.
On Shafeek (I Love You), my observations are proved correct straight away. Here, the arrangement brings to mind several similar sounding tracks by other Nu Soul singers. This doesn’t mean it’s a bad track. Quite the opposite. Another excellent vocal from Rosie, ably assisted by some clever interplay between Rosie and some similarly joyful sounding backing vocalists helps make this one of the tracks highlights. Even the arrangement works. Those crisp, drumbeats crunch, while synths squelch and backing vocalists joyously and soulfully unite sweetly. They provide a contrast to Rosie’s louder, brisker sound vocal, as she sings about love and relationships. When the arrangement moves on from the sharper sounding parts to the lush sounding parts, the introduction of the backing vocalists is a masterstroke. Between them and Rosie’s forceful, passion drenched voice, and an arrangement that veers between sharp and lush, this track really works, thanks to Rosie’s passion and the backing vocalists’ joyful contributions.
Some of the best lyrics on the album are to be found on Sun Moon. There thoughtful wistful and somewhat mysterious, as they ponder the bigger questions about life, how we got here and what we are. The song has a spiritual sound and feel, that’s full of energy and is just one of those tracks that’s hard to get out of your head. It’s so catchy, almost infectious, and this is the case from the opening bars of the song. A slow, lush sound meanders beautifully out of your speakers, thanks to a combination of keyboards, piano, tight, joyous sounding backing vocals and handclaps. Rosie’s voice soars, improvising, before her vocal enters, accompanied by just a melodic keyboards and handclaps. Quickly, the backing vocalists reenter, their voices complimenting Rosie’s voice perfectly. Like the previous track, their contribution is huge, really playing their part in the track’s success. Their interaction with Rosie, is a contrast of styles. Rosie’s voice soars, powerfully, full of passion, while the backing vocalists sweet harmonies are much more subtle. Together, this meeting of styles makes this easily, the best track on the album.
A dramatic, almost grandiose sound opens Number 1. It sounds like something from the crucial part in a blockbuster movie, all stirring drums, strings and subtle interjections from a horn. Quickly however, that gives way to a very different and much more palatable sound and style. Previously, I’ve mentioned how there’s both a lushness and catchy sound to some of the arrangements. Here is returns, with a combination of keyboards, piano, bass, handclaps and horn accompanying Rosie’s passionate, power laden vocal. As usual, the backing vocalists are present, and as if on cue, their practiced, tight, harmonies sweep in, soulfully. Meanwhile, Rosie takes a detour towards a jazz style and sound, scatting and ad-libbing her way through the song. This is a change from her usual style, which is full of power, passion and charisma. The change in style demonstrates her versatility as a vocalist, and is a welcome change in style. Apart from the dramatic, grandiose, introduction which I didn’t think worked, this was a good track, with Rosie, her backing vocalists and band combining well to combine Nu Soul, R&B and a hint of jazz.
I Do is another love song, one about being in love and meeting the right person. Again, the tempo is slower, a combination of rhythm section and keyboards, accompanying Rosie, whose voice is much more gentle and soft. In contrast, the bass nearly shakes your speakers, reverberating, while the drumbeats are familiarly crisp and the keyboards producing a melodic sound. Here, Rosie demonstrates just how good a voice she has, singing the song much more thoughtfully, not resorting to forcing her vocal or roaring. It works and is highly effective, perfect for the lyrics. Occasionally, her voice soars, but she’s always in control. Backing vocalists subtly accompany her, their contribution much less on this track. When the track ends, I just wish that Rosie had included a couple of tracks like this on the album, as it really suits her voice and allows us to see another side of her, one that’s highly effective and quite beautiful.
After a very different sounding track, Take A Chance sees Rosie return to familiar territory with a track that combines R&B and Nu Soul. That lovely warm, familiar sound of crackling vinyl opens the track, before piano, synths and bass enter accompanying Rosie’s deep and soulful voice. Immediately, the sweet, tight harmonies of the backing vocalists enter. Here, Rosie’s voice is deeper, full of charisma and quite a contrast to the backing vocalists. Behind her, one of the best arrangement on the album unfolds, thanks to the combination of piano, bass and crisp beats. During the track, Rosie offers words of advice to the listener, the gist of which is that we all need to take a chance in life. One thing I don’t like about the track is when delay is used on her vocal. It would be okay if it lasted briefly, but lasts to long and becomes tiresome. As the track progresses, her voice is dynamic and full of energy as it soars powerfully. All things taken into consideration, this is another good track, thanks to one of the best arrangements on the album, and a dynamic, passion and powerful vocal from Rosie. One word of advice though, in the future, use effects sparingly, sometimes, less is more.
Welcome To My World closes with Sudden Moves another slower track, one that sees Rosie give a much more gentle and thoughtful vocal. This track has much in common with I Do, and allows us to see a bit more of the “other side” of Rosie Gaines. The track opens with the beefiest of bass lines, before spacey keyboards enters accompanying a much more gentle vocal from Rosie. Straight away, the track has a much looser sound, perfect for Rosie to sing the song emotively. Behind her, the arrangement reverberates, almost shimmering. It’s the perfect backdrop for her vocal, slow, moody and quite thoughtful. Later in the track her voice soars, but she always remains in control, never overdoing things. Instead, there’s a jazz influence in her vocal, which again, demonstrates both her versatility and talent as a vocalists. Although quite different from the majority of tracks on the album, this quite beautiful and tender song is the perfect way to end the album. Quite simply, it’s an outstanding track, one of the album’s highlights.
Having spent some time listening again to this album, I’ve not really changed my opinion of it. The album features the nine songs I’ve reviewed plus a remix of Sun Moon, her chart and club hit Closer Than Close and a cover of The Beatles’ Yesterday. Of the nine songs, there are seven that I’d best describe as a combination of Nu Soul and R&B plus two quite beautiful slow songs. One thing I will say, is that sometimes, the arrangements are quite similar, almost formulaic. This isn’t just on this album, but albums by similar artists. It’s alway a combination of crisp, crunchy drumbeats, keyboards, synths and bass. I like this combination, but many people find it too repetitive. On this album it works well, and the addition of the backing vocalists really helps. Their voices are both sweet and soulful, and sometimes, provide the perfect contrast to Rosie’s much stronger voice. Together, they work well, and the interplay between them is quite masterful. Like I said earlier in this article, I’d like to see Rosie Gaines singing in front of a much more traditional band, instead of the what features on this album. She’s blessed with an incredible voice, one that’s laden with emotion and passion. During each song she gives everything, delivering the lyrics perfectly, bringing them to life with her energy and passion. This is what I like about this album. It features some great music, from a singer who deserves much more success than she has had as a solo artist. So, of you’ve never heard of Rosie Gaines, why not look out for a copy of Welcome To My World, and you’ll hear a voice that once duetted with Prince. Standout Tracks: Welcome To My World, Sun Moon, I Do and Sudden Moves.
ROSIE GAINES-WELCOME TO MY WORLD.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I LOVE YOU.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I LOVE YOU.
Unlike many people, I disregard who successful an album was when I buy it. Experience has taught me that a successful album is no guarantee of a good album. Conversely, an album that wan’t a success, doesn’t mean that it’s a bad album. Sometimes, it’s quite the opposite. Many a time I’ve bought an album that was a commercial failure, but the music on it, is absolutely outstanding. This was the case when I bought an album Jerry Butler released on Philadelphia International Records, Nothing Says I Love You Like I Love You. When it was released, the album failed commercially. However, when you listen to the album, you wonder why. The music on the album is of the highest quality, and Jerry’s voice is just brilliant.
By the time he rejoined Philadelphia International in 1978, he was almost a veteran of the music industry, making his name in the early sixties with The Impressions, the legendary soul group that also featured Curtis Mayfield. After that, he released a number of successful singles as a solo artist for various labels. During his career, he’d recorded for Veejay, Motown and Mercury. However, the place he felt most at home was Philadelphia International, founded by Kenny Gamble and Leon Huff in 1971. He’d previously been on the label, but had left suddenly in 1971. Now that he’d returned “home,” his focus was on making some great music. His first album for Philadelphia International was Nothing Says I Love You Like I Love You, which was released in November 1978 and featured seven songs from the Gamble, Huff and Butler songwriting partnership. Although full of some great music, the album wasn’t a huge commercial success. It only reached number forty-two in the US Billboard 200.
When Jerry’s second album on Philadelphia International, Best Love, was released, it too failed commercially. Like its predecessor, this wasn’t a fate the album deserved, being full of some great material. This album only featured two tracks written by the Gamble, Huff and Butler partnership, but this didn’t affect the quality of material, with some experienced and successful songwriters contributing to the album. When it was released, it only reached number forty-nine in the US R&B Charts and number seventy-one in the US Billboard 200 during a three week period.
Sadly, Best Love was the last album Jerry released on Philadelphia. It seemed like other soul singers of his generation, their music was no longer what the record buying public wanted. Jerry wasn’t the only soul singer to suffer the same. Bobby Womack had been dropped by his label, another victim of the popularity of disco. Instead, a new breed of soul stars like Teddy Pendergrass, formerly of Harold Melvin and The Blue Notes, and Luther Vandross, previously a backing vocalist in Chic, were now flavor of the month. However, since then, both of the albums Jerry recorded for Philadelphia International have been reassessed, with many people now realising just how good these two albums were. Of the two albums, my favourite has always been Nothing Says I Love You Like I Love You, which I’ll now tell you about.
Nothing Says I Love You Like I Love You, opens with (I’m Thinking About) Cooling Out, which was released as a single, giving Jerry a top fifteen hit single. This was one of just two songs on the album that payed lip service to the ongoing love affair with disco. Most of the songs on the album had nothing in common with disco, which back then, was at the height of its popularity. Instead, they’re just out and out, soul music of the highest standard. The track has a fast tempo, chiming guitars, a rhythm section with just a hint of funk and swirling strings, with subtle backing vocalists harmonising before Jerry’s vocal enters. His voice is loud and powerful, but hugely soulful. During the track, sweet sounding backing vocalists accompany Jerry, while the arrangement is fast, catchy and melodic, with a sprinkling of funk. Braying horns interject, as Jerry stressed and strained considers cooling out, taking a break from the world around him. When he sings, his voice has both a richness and joyful sound, reflected by the backing vocalists, whose voices have similar qualities. As the track ends, you realise just why this track was a successful single. A combination of Jerry’s joyful and soulful vocal, the faster tempo, and a fulsome, catchy and hook laden arrangement make this a perfect track for the dance-floor and to open the album.
Let’s Make Love sees Jerry return to what he does best, singing some great smooth soul. This is one of the seven tracks written by the Gamble, Huff and Butler partnership. From the dance-floor friendly opening track, Jerry is transformed to soul man number one, as he sensuously sings the lyrics. When the track opens, the sound is somewhat dramatic, with the rhythm section and guitars combining, before Jerry’s vocal enters. It’s only then that things calm down, allowing Jerry’s pleading, seductive vocal to take centre-stage. Behind him, the arrangement grows again, with a melange of string sections, chiming, shimmery guitars, piano and rhythm section. Later, dramatic interjections from horns and rhythm section and horns combine well, punctuating the track with dramatic bursts. Lush sweeping strings, and a piano help provide the perfect backdrop for Jerry’s sensuous, seductive vocal. Regardless of how dramatic or atmospheric the arrangement is, Jerry’s vocal steals the show. Here, he demonstrates just how a love song should be sung. His vocal is laden with emotion and passion, delivering some beautiful lyrics brilliantly.
After the drama of the previous track, Jerry slows things down about on Sad Eyes. On this track the arrangement is much more subtle, and features an excellent saxophone solo. The track opens with drums gently playing, before a sultry saxophone solo plays, before some lush, sweeping strings enter. Jerry’s vocal is wistful, full of sadness, as a piano, guitar and the rhythm section enter. Here, his vocal is thoughtful and considered, as he sings about love, and trying to win a woman over who has obviously been hurt before. As he sings, the arrangement sweeps beautifully along, the sound lush, punctuated by gentle horns, before that beautiful saxophone solo. By now, you feel the arrangement can’t get better, but it does. Swirling strings combine with the saxophone, creating the perfect combination. Later, this combination is used again, and it works perfectly. This plays a big part in the success of this track, together with Jerry’s beautiful, thoughtful rendition of the lyrics he co-wrote with Gamble and Huff. Since I first heard the album, this has always been my favorite track, one that’s truly irresistible.
The tempo and style changes again on Mighty Good People, a track that bursts quickly into life, with braying horns, sweeping strings and a funk influenced rhythm section. This was the other song that was dance-floor friendly on the album, and both the faster tempo and sweeping, fuller arrangement, and Jerry’s quicker vocal, a combination of soul and funk. Again, he’s accompanied throughout the track by backing vocalists, who sing sweet and tight vocal harmonies. Throughout this faster track, strings swirl, horns blaze and a combination of funky laden rhythm section and guitars combine, producing a track that has the trademark Philly sound but the perfect tempo and sound for any dance-floor. Although it isn’t quite the sound you’d expect from Jerry Butler, he pulls it off, delivering the song with flair, as well as his usual power and passion.
Normal service resumes on I’m Glad To Be Back which is the polar opposite to the previous track. This is a slow, romantic song, with a lovely, understated arrangement. Braying horns opens the track, before a guitar chimes, and Jerry’s vocal enters accompanied by the rhythm section. Jerry’s voice is strong, emotive and has a sultry sound. This is accentuated by the arrangement, which is subtle, a mixture of gentle sweeping strings, brief bursts from rasping horns, and an understated combination of rhythm section and guitars. The arrangement seems to meander, with sudden bursts of drama making their presence felt, and matching Jerry’s emotional deliver of some quite beautiful lyrics. Meanwhile, Jerry’s voice has strengthened, and is loud and powerful, but still full of emotion and passion. By the end of the track, it’s good to have the soulful Jerry back, doing what he does best, singing soul music and songs about love and loving brilliantly.
The title track, Nothing Says I Love You Like I Love You demonstrates that even after over twenty years as a singer, Jerry could still deliver a song like the best of singers. It seems that Jerry had reserved a standout vocal for this particular track. On this track, he pushes his vocal range to the limit, never once holding back, as he gives everything he has. Many a young singer could learn a lot just be listening to this one track. It starts with a keyboard and guitar combining to produce a hugely sad backdrop for a hugely emotive vocal from Jerry laden with sadness and regret. Against an arrangement of swirling strings, swooning backing vocalists, and drama courtesy of the rhythm section, the scene is set for Jerry to take centre-stage. This he does, giving one of his best vocals on the album. Here, he gives everything he has, his delivery is heartfelt, as he sings how much he loves is girlfriend. Over six and a half minutes, Jerry sings his heart out, his performance made all the better by the sweet contributions of cooing backing vocalists, dramatic bursts of blazing horns and swirling, dramatic strings. Quite simply, this is easily one of the album’s highlights, a mixture of passion and drama.
Dream World opens with a similar sound to the previous track, with a meandering keyboard opening the track, before strings sweep and swirl, horns interject and the rhythm section provide the track’s heartbeat. Jerry’s vocal is his usual combination power, passion and soulfulness. As the song progresses, dramatic bursts of braying horns and rhythm section seem to escape from the main arrangement. They provide a rich and bold sound, a contrast to the melodic sound of the keyboards, strings and guitar. During the track, Jerry never misses a beat, keeping up the high and consistent standard he’s set during this album. He sings the lyrics about finding love beautifully. They’ve a lovely sentiment, and again, were written by the Gamble, Huff and Butler partnership. These are some of their best lyrics on this album, and demonstrate just how productive and potent a combination they were. When Jerry’s beautiful vocal is combined with an excellent arrangement by John L Usry Jr. and equally good production by Gamble and Huff, you’ve got a winning formula, resulting in a catchy, melodic and hook laden track.
Nothing Says I Love You Like I Love You closes with Are You Lonely Tonight, another song written by the Gamble, Huff and Butler partnership. The track opens, with sweeping strings, swooning backing vocalists, chiming guitars and rhythm section, you immediately realize something special is about to unfold. As if announcing that this is indeed the case, horns interject before Jerry sings. When he sings, his voice is much more gentle, is delivery of the lyrics thoughtful. However, like the arrangement, Jerry’s vocal grows. It becomes stronger and drenched in passion and emotion, a mixture of pleas and regret at his loneliness. Meanwhile, the arrangement has a winning combination of lushness and drama. Lush, sweeping and swirling strings, chiming, shimmering guitars and soulful backing vocalists produce the lushness, while the rhythm section and horns dramatically punctuate the track. Again, regardless of how good the arrangement is, and here it’s excellent, Jerry’s vocal steals the show. His sadness, heartfelt pleas and unfamiliar loneliness are deeply moving. Add to this a lush and dramatic arrangement, and it’s the perfect track to close the album with, one that demonstrates just how great a soul singer Jerry Butler really is.
At the start of this article I mentioned how there’s no correlation between a successful album and quality. If however, quality alone ensured success, this album would’ve been a huge hit, selling hundreds of thousands of copies. Sadly, this isn’t the case, and an excellent album like Nothing Says I Love You Like I Love You was destined to only sell in much smaller quantities. This is a huge shame, as the album is full of some wonderful music. From the soul and disco combination of (I’m Thinking About) Cooling Out and Mighty Good People, to some of the smoothest soul like Let’s Make Love and Sad Eyes, there’s something for everything. Regardless of the style of music, Jerry delivered each song with emotion, passion and power. He gave everything he had during each song, demonstrating just why he’d had such a long and successful career in the music industry. Another thing that made this such a good album, was the standard of songwriting. Seven songs from the Gamble, Huff and Butler partnership saw to this. Add in some great arrangements by John L Usry Jr and production by the men responsible for the Philly Sound Gamble and Huff, and you’ve a potent and winning combination. Unfortunately, this great album released at the wrong time. In 1978, disco was king, and albums like this weren’t selling in the huge quantities that they previously did. However, back in 2005 both albums Jerry released on Philadelphia International were rereleased. Nothing Says I Love You Like I Love You and Best Love were released by Demon, giving people who missed the album when it was originally released the opportunity to see what they missed. This has given both them, and a new generation of music fans the chance to reacquaint themselves with two great albums from a veteran and legend of soul music Jerry Butler. Standout Tracks: Let’s Make Love, Sad Eyes Nothing Says I Love You Like I Love You and Are You Lonely Tonight.
JERRY BUTLER-NOTHING SAYS I LOVE YOU LIKE I LOVE YOU.
SHIRLEY BROWN-WOMAN TO WOMAN.
SHIRLEY BROWN-WOMAN TO WOMAN.
For many years, I’ve been a huge fan of the music on Stax. Since I bought my first album bearing Stax’s clinging fingers logo, I’ve literally bought hundreds of the albums, compilations and box sets that have been released. Over the years, I’ve explored the albums released during the various stages of the label’s history. Today, I’m going to revisit an album that was released towards the end of Stax’s lifetime in 1974. Previously, Shirley had released a hugely successful single, Woman To Woman in 1974, which reached number one in the US R&B Charts, number twenty-two in the US Billboard 100 and was nominated for a Grammy Award in 1975. Sadly, this million selling single, for which Shirley received a gold disc, was Stax’s final hit single. Following on from the success of the single, Stax released an album also entitled Woman To Woman, but by this time, financial problems and litigation had embroiled the label. Unlike the single, the album wasn’t a huge commercial success, reaching number eleven in the US R&B Charts and number ninety-eight in the US Billboard 200. Part of the problem was problems facing Stax, with a lack of promotion and marketing of the album. When It Ain’t No Fun was released as a follow-up single, it too, failed commercially. Shortly afterwards, one of soul music’s greatest and most innovative and influential labels closed its doors. Stax was no more, after twenty-eight years releasing some brilliant soul and funk music. It was a hugely sad end to a once great label, and fans worldwide mourned the passing of this legendary label. However, Woman To Woman was a hidden gem that sadly, didn’t receive the attention it deserved. I’ve been a fan of this album for many years, and recently, the album has been remastered, presenting me with the perfect opportunity to write about this gem of an album.
Woman To Woman opens with the follow-up to the million selling Woman To Woman, It Ain’t No Fun, a track written by Fredrick Knight. It’s a track with a mid-tempo, with the rhythm section driving the track along. A combination of chiming guitars, atmospheric piano, beefy sounding drums and loping bass accompany Shirley as the track opens. Her voice is absolutely laden with emotion and feeling as she sings the lyrics about a love affair gone wrong, with the love they had now lost. Meanwhile, the arrangement grows, to include brief bursts of horns which interject. Their brevity is subtle a and just perfect, thanks to James Mitchell, Hi Records’ Willie Mitchell’s younger brother. Later, the Stax string section sweeps in, a perfect addition to Shirley’s near spiritual vocal. Throughout the track, her slow yet powerful vocal, is drenched in sadness and regret, made all the better by swooning, soulful backing vocalists, whose voices are the perfect accompaniment for Shirley’s vocal. By the end of a hugely moving, sad song, you can’t quite comprehend how the single wasn’t a much bigger success. With such a heartfelt vocal and an arrangement that’s full of emotion and sadness, it’s a brilliant combination and the perfect way to open the album.
Long As You Love Me has quite a different sound to the opening track. It’s a bright sound the listener hears with the rhythm section, an atmospheric Hammond organ, guitars and a burst of horns combining before Shirley’s vocal enters. Here her vocal is slightly quicker, but neither as loud nor strong. Instead, her voice has a joyous sound, as she sings some good lyrics. Granted, they’re not as good as Fredrick Knight’s lyrics to It Ain’t No Fun, but they’ve got a nice sentiment, about love and being in love. As the track progresses, her voice starts to get louder and stronger, and the arrangement gets even better. Bursts of braying horns cut in, while the Hammond organ provides a lovely atmospheric sound and some subtle and gentle backing vocalists accompany Shirley. This is a good song, well sung and arranged. However, the lyrics slightly let it down. Coming straight after It Ain’t No Fun was a tall order, and it was going to be difficult to follow such a good track.
Thankfully, after a slightly poor previous track, Shirley easily makes amends on Stay With Me Baby, a track that’s been covered by many people over the years. There have been good, bad and indifferent versions, but Shirley’s version is among the best. Her gospel influenced voice is just perfect for this song, giving a dynamic and energetic passion laden rendition of the lyrics, her voice soaring powerfully, but always in control. Matching her stunning performance is the Stax house band. They play brilliantly, starting slowly and subtly, a mixture of piano, rhythm section, gentle chiming guitars and sweeping, lush strings. Quickly, an excellent arrangement unfolds, a demonstration in how to play with a combination of subtly and drama. Not once does their playing overpower Shirley’s energetic, passionate and soaring vocal. Instead, they’re content to play second fiddle to Shirley, providing the perfect backdrop for her vocal. Together, they produce a stunning track, one full of passion and drama, that’s one of the album’s highlights.
It seems that Shirley is on a roll now, with I’ve Got To Go On Without You being another great track featuring a hugely soulful vocal and catchy, dramatic arrangement. Straight from the opening bars of the song, it’s apparent something special is about to unfold. A combination Hammond organ, rhythm section and blazing horns dramatically open the track before a powerful and deeply soulful vocal from Shirley enters. Here, she’s putting a brave face on, having been left alone when her man has left her. Her voice is a mixture of stoicism, bravery and hurt, as she gets across the story behind the song. Behind her, the band inject feeling and drama into the situation. Interjections from braying, joyful horns, swaying Hammond organ and a driving rhythm section that injects drama into the track. When combined with Shirley’s vocal, it’s a potent and compelling combination, that’s the recipe for another excellent track.
Woman To Woman, Shirley’s million selling, number one R&B single is best described as a mini-drama, with the track opening with Shirley phoning a woman called Barbara, who apparently has been having an affair with Shirley’s husband. Shirley warns her love rival, that the man she’s in love with, is her’s, every bit of him. Against a slow, lush and atmospheric arrangement that’s mainly the rhythm section, chiming, shimmery guitars, and subtle horns, Shirley warns Barbara. After a minute and a half, Shirley’s vocal begins. Like the earlier part of the track, Shirley’s voice is full of passion, but here it soars powerfully, as she warns Barbara and explains the situation. Behind her, the arrangement is still subtle, melodic, with just the rhythm section, horns and guitars combining. Together, they provide the perfect backdrop for Shirley’s gutsy vocal, which is part warning, part promise. Quite simply, Woman To Woman is a ballsy track, one part bravado, to one part passion, and one that’s quite brilliant.
After the warning shot that was Woman To Woman, So Glad To Have You is a track that’s a mixture of soulful vocal and funk laden arrangement. The rhythm section open the track, before horns serenade and the arrangement picks up a funky groove. As if on cue, Shirley’s vocal enters, strong and soulful, it soars as she gives thanks for her love. Meanwhile, an arrangement drenched in funk unfolds. Donald “Duck” Dunn’s bass accompanies Al Jackson Jr.’s equally funky drums, while horns, organ and subtle wah-wah guitar combine with a piano and backing vocals. Together with an outstanding vocal from Shirley, it’s an irresistible combination, sultry, soulful, with a plentiful sprinkling of funky music.
Chiming, shimmering guitars, a slow dark bass, percussion and drums accompany a beautiful, slow and heartfelt vocal from Shirley. As if that isn’t enough, an atmospheric Hammond organ cuts in, as do swooning, sweet backing vocalists. They all accompany Shirley who sings some gorgeous vocals about love and being in love with someone. Here, Shirley gives a vocal that’s both joyful and beautiful, made all the better by a slow, meandering and understated arrangement, which brings out the best in the lyrics and heartfelt vocal.
I Can’t Give You Up might be a different style of song, but like the preceding tracks, is still of the highest quality. The tempo is quicker, the sound louder and brighter, as guitars, rhythm section and then horns open the track, before Shirley sings. Her voice is loud, clear and full of emotion and passion, as she sings some great lyrics by Fredrick Knight, who incidentally, wrote the opening track It Ain’t No Fun. Behind her, the arrangement is catchy, lush and sweeps along, combining drama and emotion. Brief interjections from braying horns, keyboards, chiming guitars and dramatic bursts from drums and piano, all play their part in an arrangement that combines elements of soul and jazz. When taken with Shirley’s emotive and joyful vocal, again, producers Jim Stewart and Al Jackson Jr have yet again, found the winning formula, producing a catchy and hook laden track.
By now eight songs into the album, I’ve come to the conclusion that had Stax not been in financial and legal trouble, Woman To Woman would’ve been a hugely successful album, given the high standard of vocals and arrangements. With just two songs left on the album, I hope I’ve not spoken to soon. Thankfully, when I hear the introduction to I Need You Tonight I realize that it isn’t the case. It’s another track featuring an outstanding vocal from Shirley. Her voice is laden with emotion, passion and drama, while the arrangement is perfect for her sad, heartfelt vocal. It sweeps lushly along, tugging at your heartstrings all the way. Strings combine with rasping horns, dramatic drums, and occasional chiming guitars. Swooning, soulful backing vocalists gently accompany Shirley, her voice rising, sadness and regret never far away. By the end of the track, this sadness and regret is so real it’s almost tangible, you feel you can almost touch it, feel it. Not many singers can bring a song to life, but Shirley Brown can, and does it brilliantly.
Woman To Woman closes with Between You and Me. Sadly, this was the last track on one of the final albums Stax ever released. Not long after this, the label folded, bringing to end a constant stream of sumptuous soul music since 1957. Fittingly, Shirley has reserved one last passion laden performance for this track. Donald “Duck” Dunn’s bass, Al Jackson Jr.s’ drums, an organ and chiming guitars combine before Shirley’s voice soars, a mixture of power and passion. Behind her, an arrangement that combines funk and soul unfolds. Joining an already fulsome arrangement are lush, sweeping strings, that combine with a funky rhythm section, shimmery guitars and atmospheric organ. Here, Shirley’s vocal style is looser, with her almost ad-libbing and scatting. However, she does this really well, with her trademark power and passion omnipresent. As if sensing this could be the label’s final throws, Shirley and the band raise their game, determined to go out in a blaze of glory. This they succeed in doing magnificently, closing the album with a track that combines what made Stax famous, soul and funk music.
It seems a tragedy that Shirley’s album Woman To Woman was released at a time when Stax was just about to go out of business. Had it been released at an other time, and marketed properly, it may have given Shirley a hit album to match her earlier hit singe Woman To Woman. Because of the predicament Stax was in, Woman To Woman wasn’t promoted or distributed the way it should’ve been. Since then, many people, myself included, have realized how different Shirley’s career may have been, had the album been the huge commercial success it deserved to be. Instead, it’s had a cult following, loved by a small group of soul fans, instead of a wider audience. On Woman To Woman, Shirley demonstrates that she was far from a one-hit wonder, delivering one great song after another. Her follow-up single to Woman To Woman, It Ain’t No Fun also deserved to do much better. Sadly, it met the same fate as the album, lacking proper promotion and distribution. This meant Shirley couldn’t build on her earlier success, and instead, joined the ranks of many other artists who had one hugely successful single on Stax. However, unlike many of them, Shirley released an excellent album, Woman To Woman, which has just been rereleased and remastered. The remastering has really lifted the sound quality, bringing the music to life in such a way that you hear the subtleties and nuances of the album even better. So if you’ve never heard Woman To Woman I can thoroughly recommend it. It’s one of soul music’s hidden gems, crammed full of some hugely soulful music, sung by one of the best soul singers of the seventies Shirley Brown. Standout Tracks: It Ain’t No Fun, Stay With Me Baby, Woman To Woman and I Can’t Give You Up.
SHIRLEY BROWN-WOMAN TO WOMAN.
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![Woman to Woman [Stax Remasters]](https://i0.wp.com/ecx.images-amazon.com/images/I/41ZkLvalJgL._SL500_AA300_.jpg)
DEE DEE SHARP-WHAT COLOR IS LOVE.
DEE DEE SHARP-WHAT COLOR IS LOVE.
There are two reasons that I’ve chosen to write about Dee Dee Sharp’s 1977 album What Color Is Love. The first is quite straightforward, and is because during the time Dee Dee spent on her then husband Kenny Gamble’s label Philadelphia International Records, she recorded three really good albums. Sadly, these albums never found the commercial success they deserved. Instead, neither the album nor the three singles released from it, Trying To Get the Feeling Again, What Color Is Love and Just As Long As I Know You’re Mine, made any impact on the charts. Since then, the album has remained a hidden gem among soul fans, known to the cognoscenti only.
My other reason for writing about What Color of Love is that the title track is a Terry Callier track, which Dee Dee interprets beautifully. Regular readers to this blog will know that I’m a huge fan of Terry’s music, and previously, have written three articles on his albums. This isn’t the only cover version on the album, with Tryin’ To Get the Feeling Again, written by David Pomeranz, having previously been covered by Barry Manilow. On What Color Is Love, Dee Dee’s interpretation of the song is much better than Manilow’s version, full of power, emotion and feeling. Unfortunately, like her version of What Color Is Love, it failed to garner either the radio play or sales it deserved. This seemed to the story of her time on Philadelphia International Records, which saw here release just three albums over a ten year period.
What Color Is Love was the second album Dee Dee’s had released on Philadelphia International. Her first album was Happy ‘Bout the Whole Thing, released in 1975. This album featured a new version of the label house band M.F.S.B., assembled when the original band quit to become the Salsoul Orchestra. Happy ‘Bout the Whole Thing was Dee Dee’s first album in twelve years, since 1963s’ Down Memory Lane. The album featured three songs co-written by Dee Dee and featured a cover of 10CC’s hit I’m Not In Love, which was released as a single. It reached number sixty-two i the US R&B Charts in late May of 1976, giving Dee Dee her first chart hit in over a decade. Sadly, this success didn’t help the album, which failed to replicate the success of her earlier music, when she received gold discs for million selling singles.
Two years later, in 1977, What Color Is Love was released, and it too failed commercially. Maybe her third album on Philadelphia International, Dee Dee, released in 1980 would be more successful. Unfortunately, the album that was released the year Dee Dee and Kenneth Gamble divorced, failed commercially. However, one of the tracks on the album Easy Money, reached number one in 1981, on the Hot Dance Club Play chart, where it spent four weeks. By then, Dee Dee had decided to take another break from music, enrolling in a course in psychology at Columbia University where she gained an MSc in psychology. After that, she took a PhD in psychology at the University of Pennsylvania, eventually becoming a clinical psychologist. Since the 1990s’, she’s made a part time return to music, allowing those who loved her music, including albums like What Color Is Love, to roll back the years.
What Color Is Love opens with I Believe In Love a song the Dexter Wansell cowrote with Cynthia Biggs, his writing partner. At the time, many people thought the track was good enough to be a single, but eventually, was only released as a b-side. Like many people, I wonder whether this was a missed opportunity. The track opens slowly, with a lush sound, thanks to a combination of keyboards, rhythm section, guitars and strings, before Dee Dee sings. Her voice is gentle and considered, accompanied by some hugely soulful backing vocalists. Horns interject briefly and occasionally as the arrangement unfolds, getting even better as the track progresses. Strings sweep, accompanied by short burst of horns, while a piano plays and the rhythm section and chiming guitars combine. Meanwhile, Dee Dee’s voice has grown in strength, getting louder, laden in passion and emotion, as she delivers some great lyrics about love and how it feels to be in love. A combination of a lovely vocal, full of power, passion and energy, and a lush, atmospheric and fulsome arrangement from M.F.S.B. Mk. 2, make this an excellent track to open the album.
Just As Long As I Know You’re Mine was co-written by Mary Wells and Cecil Womack, Bobby’s brother in conjunction with Gamble and Huff. This was the third single released from the album. Sadly, like its predecessors, it failed to be a commercial success. Considering it was such a good track, this seems strange. The track has an upbeat, uptempo style, with keyboards, rhythm section, percussion and guitars combining before a louder, but slightly husky sounding vocal from Dee Dee begins. Quickly, a really catchy, arrangement that combines elements of soul and funk unfolds. A myriad of keyboards, quick funky bass line, shimmery guitars combine, while braying horns and bouncy drums inject drama. Like the arrangement, Dee Dee’s vocal gets stronger and funkier. It’s a mixture of power and raw emotion, she delivers the lyrics with. Dramatic waves of driving, powerful music, accompany Dee Dee’s vocal, matching her passion and energy every step of the way. By the end, it’s a very different sound and style from the opening track, but demonstrates Dee Dee’s versatility as a vocalist, and her ability to deliver a variety of styles of music just as well. Why this dynamic, driving combination of soul and funk didn’t fare better as a single seems a pity, instead remaining a well kept secret to all but soul connoisseurs and the music cognoscenti.
On this album, Dee Dee covers two well know songs, the first being Tryin’ To Get the Feeling Again, written by David Pomeranz, and having been covered by Barry Manilow. This version is much better, thanks to Jack Faith’s arrangement, which transforms the track into a lush, and deeply emotional, string led song bathed in pathos and drama. Immediately, when the song begins, you’re aware of a foreboding, dramatic sound, which quickly, gives way to a much gentler, melodic sound. Lush strings, dark, slow pass, gentle piano, subtle drums and horns accompany a deeply moving vocal from Dee Dee, whose voice is strong, full of emotion, sadness and regret. By now, the arrangement slow, full of pathos, is meandering along, with dramatic peaks and flourishes, thanks to a combination of drums, strings and proud horns that are almost grandstanding. The longer the track goes on, the stronger Dee Dee’s voice gets, ending up a hugely dramatic, nearly angry and frustrated roar. This is so powerful that you can almost sense emotion and sadness. When combined with Jack Faith’s potent and equally dramatic arrangement, it’s a winning combination, resulting in one of the album’s highlights.
I Wanna Be Your Woman is a very different track to the previous one. It has a lovely bright, melodic sound, and features a very different style of vocal from Dee Dee. The rhythm and string sections, percussion, chiming guitars and keyboards combine to produce a slow, lush and melodic arrangement. Meanwhile, Dee Dee’s vocal combines understated sensuousness with emotion and power. Together with the arrangement, Dee Dee brings the lyrics co-written by Don Convay, Dexter Wamsell and Carl Gamble to life. During the track, the tempo is slow, with strings, rising and falling in waves, at the heart of everything that’s good about the arrangement. So too is the bass, which along with the drums, gives cues to the strings when to inject another sweeping wave of their lush lovely-ness. Another important factor during the track are the swooning, backing vocals which unite soulfully to accompany Dee Dee. When all this is combined by arranger Roland Chambers and producers Don Convay and Dexter Wamsell, the result is a fantastic track that’s lush, melodic and hook laden, and laden with passion, promise and power.
Anyone familiar with Destiny’s Child 2004 album Survivor, will have heard a sample of Dee Dee’s song Flashback during one of the bonus tracks on Survivor, Game Over. This was just one of several samples used on this album. However, anyone wanting to hear the full song, needs to buy this album. Should they do so, they won’t be disappointed. Chiming guitars, followed by keyboards and drums, playing slowly and thoughtfully, open the track, before Dee Dee’s vocal enters. It’s gentle and considered, as she sings about love and how good it’s to be in love, and the familiarity of the relationship. As the song progresses, sweeping, grand strings enter, and when combined with the rhythm section, keyboards and guitar, provides an arrangement that’s slow, and full of emotion and beauty. This is the perfect backdrop for an equally beautiful vocal from Dee Dee, which is quite joyous and drenched in emotion. When the track ends, Dee Dee has delivered a vocal masterclass. One can only hope was studied by the next generation of singers and music fans when released as part of Destiny’s Child track Game Over.
Nobody Should Take Your Place is the only track on What Color of Love written by Gamble and Huff, the two musical masterminds responsible for The Sound of Philadelphia. Straight away, when the bass plays the introduction, I’m reminded of the introduction to My Girl by The Temptations, a Motown classic. That however, is where the similarities end. Thereafter, strings sweep in, drums and horns combine with piano and percussion, while Dee Dee’s vocal enters. It’s quick, loud and joyful, accompanied by equally joyful backing vocalists. Suddenly, the song is transformed into a fast paced, fuller arrangement, a combination of strings, rhythm section, guitars and keyboards. However, Dee Dee’s powerful, joyous vocal, along with the strings, are at the heart of everything good about the track. When the backing vocalists enter, their contributions have its roots in gospel. During the track, there are several breakdowns, where the arrangement slows down, and the arrangement is pared down. Afterwards, it builds back up, reaching a breakneck tempo, perfect for any dance-floor. When Dee Dee’s joyous vocal is combined Gamble and Huff’s lyrics, arranged by Jack Faith and featuring the new lineup of M.F.S.B., you’ve the recipe for a tremendous track, fit to grace any dance-floor.
Terry Callier wrote What Color Is Love, the title track to his 1973 album on Cadet. That to me is the definitive version of the track, but Dee Dee interprets the track beautifully, doing so with feeling and emotion, her vocal considered and thoughtful. Strings, piano and drums dramatically accompany Dee Dee, who sings the song faster than Terry’s original, but does so with feeling, her vocal considered. Behind her, backing vocalists unite, their vocals rising almost spiritually, while the string and rhythm sections combine with piano and guitars. Like the vocal, the arrangement is quicker, and is also fuller. Strings sweep and shimmer, while the piano and rhythm section up the tempo, as horns interject. Dee Dee’s vocal is a mixture of soul and jazz, the arrangement much more dramatic and has elements of soul and jazz throughout. The addition of the backing vocalists really suits the song, as does the quicker tempo and fuller arrangement. It’s a really good cover version of Terry’s song. Good as it is, Terry’s version is still the definitive version.
The third cover version on the album is I’d Really Love To See You Tonight, which was originally sung Dan Seals and John Ford Coley. As good as that version is, i much prefer Dee Dee’s version arranged by Jack Faith, and produced by Jack Faith and Phil Terry. When the track opens with chiming guitars, dark, slow bass, female subtle, gentle female backing vocalists and drums combining before a restrained and sweet vocal from Dee Dee. At this time, there’s no hint of what’s to come. Quickly though, her voice starts to grow in power, as does the arrangement which, later, sees horns interjecting. By then, the arrangement is lush, melodic and full of hooks. Likewise, Dee Dee seems to transform the lyrics, singing them with a heartfelt passion. Backing vocalists sweep in, as do strings, lush and grand. Later, male backing vocalists sing subtly, as a saxophone solo plays, while string and the rhythm section combine with Dee Dee to add drama. This they do brilliantly, with Dee Dee really giving a powerful, passionate deliver of lyrics, her voice roaring, really letting herself go. When the track ends, it’s immediately apparent that this brilliant track is easily one of the best songs on the album.
What Color Is Love closes with Hang Your Portrait, a track that opens with a combination of driving rhythm section, sweeping strings and braying horns, before Dee Dee sings some old fashioned lyrics, which bring to mind the roaring twenties, thanks to references to The Great Gatsby and Al Capin. Her voice is powerful, full of emotion and passion, as rasping horns, lush strings and the rhythm section and guitars combine. Although the lyrics are descriptive and paint a picture, they’re not the strongest on the album. They’re slightly weak, maybe even a bit contrived. However, Dee Dee does her best, throwing herself into the song, singing the lyrics passionately. Meanwhile, the arrangement is fast paced, fulsome and catchy, with a slightly old fashioned sound, that suits the lyrics. Sadly, when the track ends, I feel somewhat disappointed, with this being the song that closes the album. It was a song that promised much, but ultimately, because of weak lyrics, failed to deliver.
Looking back on What Color Is Love it seems strange that an album full of so many great songs, failed to make an impact on the charts in either the US or UK. The album features three great cover versions in Tryin’ To Get the Feeling Again, What Color Is Love and the outstanding I’d Really Love To See You Tonight. Apart from that, tracks like I Believe In Love, I Wanna Be Your Woman and the Gamble and Huff penned Nobody Should Take Your Place are all great tracks. The only disappointment is the closing track Hang Your Portrait, which I feel has slightly weak lyrics. So, of the album’s nine tracks, eight are of the highest standard, and feature some fantastic vocals from Dee Dee. She’s a hugely talented vocalists, who delivers songs with passion, emotion and power, and is hugely versatile as a vocalist, able to deliver a variety of styles of song. As usual on any Philadelphia International album, the arrangements and production are of the highest standard. On this album, various arrangers and producers were used. All of them played their part in making this such a great album, as did the second incarnation of M.F.S.B. who played brilliantly on each track. Together with Dee Dee, they produced a fantastic album that has much to commend it. If after reading this article, you decide to buy this album, it’s now available as part of a two disc set that includes the three albums Dee Dee recorded for Philadelphia International. So why not introduce yourself to Dee Dee Sharp, and her music, after all, why should her music remain a well kept secret to all but soul connoisseurs and the music cognoscenti? Standout Tracks: Tryin’ To Get the Feeling Again, What Color Is Love, I’d Really Love To See You Tonight and Nobody Should Take Your Place.
DEE DEE SHARP-WHAT COLOR IS LOVE.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
Sometimes, I feel the word legend is used too often nowadays. Two successful albums seem to be about all it takes for an artist to attain legendary status. That always makes me smile, when there are artists like Bobby “Blue” Bland whose recording career has spanned six decades. His debut album Blues Consolidated was released on Duke Records in 1958, and six decades and twenty-six studio albums later, Bobby released Blues At Midnight in 2003. However, Bobby’s recording career started in 1951, aged twenty-one, when he released Booted on Chess Records. After that, he released three further singles for Chess, before switching to Duke Records where he released numerous successful singles. Since then, he has worked with some of the biggest names in music including BB King and Van Morrison. Like Sam Cooke, Ray Charles and Junior Parker, Bobby’s music is a fusion of gospel, blues and R&B.
During his career he has made some critically acclaimed albums, one of his best being His California Album, released in 1973, which was released on ABC-Dunhill Records. Dunhill Records had been taken over by ABC Records. By this time, Bobby had turned his life around, having stopped drinking two years previously. So, when he entered the studio with ABC’s producer Steve Barri, arranger Michael Omartian and some of Los Angeles’ best session musicians, everything was set for Bobby to produce a classic blues and soul album. When the album was released, it became Bobby’s first album to enter the US Billboard 200 in nearly a decade. Two successful singles were released from the album, This Time I’m Gone For Good, which reached number five in the US R&B Charts and Goin’ Down Slow, which reached number seventeen in the US R&B Charts. Since then, His California Album has been hailed as one of Bobby’s finest albums. Four years later, in 1977, he released the long awaited follow up to His California Album, Reflections In Blue. However, like many people, I much prefer His California Album, which I’ll now tell you about.
His California Album opens with This Time I’m Gone For Good, a bluesy sounding track, which was released as a single. The track was co-written by Duke Records’ President Don Robey, using the pseudonym Deadric Malone. When the track opens, the sound is slow, dark and moody. A combination of slow, spacey drums, chiming guitars, pedestrian bass and piano accompany a raspy, vocal laden in sadness and regret from Bobby. Adding to the already hugely sad sound, are strings which gently and slowly sweep in. During the track, Bobby warns that this time, there’s no going back, he’s gone for good, his is mind made up. It’s a hugely dramatic and sad sounding track, one that’s designed to tug at your heartstrings. A combination of Bobby’s powerful, raspy and sorrowful vocal and a slow, moody arrangement that’s absolutely laden in drama, sadness and atmosphere, make this a fantastic track to open the album.
Van Morrison cowrote Up and Down World with Deadric Malone, a much faster track than the opening track, with a country soul sound and just a hint of the blues. When the track opens, with guitars and rhythm section, there’s no hint of what’s to come. The tempo is slow, slightly sparse and dark, before Bobby’s vocal enters. Here it’s a brighter sounding vocal, accompanied by a much more upbeat and melodic sounding arrangement. This is thanks to an arrangement that swings along, with bright, shimmering chiming guitars, blazing horns, an atmospheric organ and a faster rhythm section who get a groove going that drives the track along. Add to that a throaty, happier sounding vocal from Bobby and some good lyrics. By the track’s end, it’s a very different sounding track from the opening track, but one with an equally good vocal and arrangement.
It’s Not the Spotlight is a track that’s been covered by many people, and over the years, I’ve heard many of these versions. However, this is my favorite versions of the song, and may even be the definitive version. He seems to bring the lyrics to life, and together with Michael Omartian’s arrangement, makes the track his own. Bright chiming guitars open the track, before the rhythm section and piano combine. They’ve created the perfect backdrop for Bobby’s raspy, passionate vocal which is accompanied by some subtle, hugely soulful backing vocalists. A Hammond organ and brass section enter, a combination that seems to add further atmosphere and drama to the track. Horns bray and blaze, while the rhythm section keep the tempo slow, while Bobby’s heartfelt, drama laden vocal takes centre-stage. Over four minutes, Bobby injects passion, drama and soul into Gerry Goffin and Barry Goldberg’s lyrics, and in the process claims the song as his own. Forget about the rest, Bobby’s version is the best. Four minutes of the most passionate and soulful music you could hope to hear.
Many of the tracks on the album will be familiar to many people, as quite a few of them have been covered by other people. This is certainly true of (If Loving You Is Wrong) I Don’t Want To Be Right, another track where Bobby delivers a version that’s almost peerless. The lyrics are heartbreakingly sad, delivered with a mixture of despair, sadness and regret. There’s a melancholy sound and feel to the arrangement from the opening bars, when spacey guitars soar slowly, while the rhythm and string sections combine with a piano that emanates sadness and despair. When Bobby sings, his vocal is slow, full of desperation, sadness and regret at the situation he’s found himself in. The lyrics are about a married man having an affair with a young, single woman and all the problems and emotions this scenario creates. As if the arrangement isn’t already drenched in sadness, a Hammond organ enters, somehow managing to increase the level of desperation and despondency even more. Together with slow, metronomic drums, piano and the lushest of sweeping strings, the arrangement is one of the best on the albums. So is Bobby’s heartfelt, gut wrenchingly sad vocal. Taken together, it’s a potent combination, resulting in my favorite track on the album. Again, forget the rest, Bobby’s version is the best.
Goin’ Down Slow has a slow, bluesy feel, with the introduction having a lovely repetitive feel. A piano plays, finds a great atmospheric and dramatic groove, and decides to exploit it fully. It provides a building block for both the band and Bobby. The rhythm section, play slowly and thoughtfully, the bass dark, deep and moody the drums crisp and metronomic, before a funky guitar enters. Together with a restrained, equally thoughtful vocal from Bobby, that like the arrangement, opens up and grows in power. By now the arrangement has been given an injection in funk, with soaring screaming guitars and braying horns combining with an atmospheric, funk laden Hammond organ and rhythm section. Backing vocalists joyfully, rejoice, accompanying Bobby’s vocal. All the time, that lovely repetitive groove is present, providing the basis for a brilliantly, funky arrangement, made all the better by Bobby’s powerful and passionate vocal.
By now, it’s as if someone has flipped a switch and the album has been transformed into a combination of R&B and funk, which continues on the joyously sounding The Right Place At the Right Time, which is just three minutes of feel-good music. Chiming, melodic guitars, rhythm section and grand, soaring horns unite before Bobby’s raspy, good time vocal enters. Horns rasp, as his voice soars joyfully, accompanied by equally joyful and soulful backing vocalists. As Bobby sings, he offers some good advice, telling you no-one will give you anything, you’ve to “plan, plot and scheme”, and most of all, “be in the right place at the right time.” Meanwhile, the track goes from strength to strength, a catchy, joyous and upbeat sounding track, thanks to Bobby and some of LA’s finest session musicians. Quite simply, an outstanding track.
Help Me Through the Day has a bright, spacey opening, that sees guitars slow and thoughtful sounding, shimmer and soar. Meanwhile piano and rhythm section combine to slow things down, and in the process, transform the arrangement to a much more thoughtful, slight darker sound, tinged in sadness and regret. When Bobby’s vocal enters, his melancholy, rueful, sometimes pleading vocal, is a perfect match for the arrangement. He quickly, becomes almost desperate, struggling to make it through the day, pleading for help and maybe, salvation. This he does against a backdrop that’s slow, laden in atmosphere and sadness. Chiming guitars, sweeping lush strings, piano and slowed down rhythm section provide inspiration for Bobby, whose throaty, raspy vocal soars, heartbroken. Here, he really pulls out an excellent performance, so much so, you feel he’s been here, lived the song. However, without such a great arrangement, this song wouldn’t be half as good. Such an outstanding arrangement really lifts the track, making it one of the album’s highlights.
Duke Records’ President, Don Robey, using the pseudonym Deadric Malone, wrote Where My Went, one of four songs he either wrote or cowrote. The other song he wrote, The Right Place At the Right Time, was an outstanding track, so hopefully, this track will be just as good. Straight away, horns bray, while the rhythm section, organ and guitar combine, to produce an arrangement that’s bright, upbeat and fast moving. When Bobby sings, his voice isn’t as loud or powerful, and seems slightly restrained. There are similarities with Malone’s other track. In both cases, the lyrics seem a paean to the work ethic, which he’s obviously a big believer in, and admirer of. However, they’re neither as catchy, nor flow as naturally. Instead, they’re slightly contrived and labored. Bobby however, does his best, delivering them with enthusiasm and fervor. Meanwhile, the fuller arrangement is joyful, with blazing, joyous horns, driving rhythm section, piano and chiming guitars, combining masterfully. Sadly, such a brilliant arrangement is let down by a song that’s slightly weak. Although it’s not a bad song, it’s neither up to the standard of other tracks on the album, nor one of Malone’s best songs.
Friday the 13th Child, has a slow, atmospheric and thoughtful opening. The rhythm section, swooning guitars, piano and strings combine to accompany Bobby’s vocal which is laden with drama, as he gives a heartfelt delivery of the lyrics. His voice rises and falls, that by now familiar throaty, rasp ever present. However, again the lyrics which are full of sadness and emotion, have a somewhat contrived sound, as if the writer has tried too hard to make this a hugely moving track. Again, Bobby throws himself into the lyrics, sparing nothing. Meanwhile, the slow dramatic arrangement is full of swooning guitars, slow, sweeping strings, gentle piano and pedestrian rhythm section. This is a quite beautiful and emotional sound, and when combined with Bobby’s hugely heartfelt and passionate vocal works well. It’s just a pity that the lyrics have a slightly contrived sound. Having said that, like the previous song, it isn’t a bad song, it’s just not up to the standard of other track on the album.
Bobby closes His California Album with I’ve Got To Use My imagination, another of Gerry Goffin and Barry Goldberg’s songs. This is very much a return to form for Bobby and a much better song, from two great songwriters. Straight away, the sound is dark and dramatic, thanks to guitars and rhythm section combining, before Bobby’s powerful voice enters. Quickly, the arrangement grows, becoming hugely dramatic, including a wailing, atmospheric Hammond organ, chiming guitars and a throaty vocal, laden with emotion from Bobby. This is a song that suits his voice, good strong lyrics, well written and featuring an excellent arrangement from arranger Michael Omartian and producer Steve Barri. Horns cut in, blazing, upping the drama and atmosphere, while Bobby howls, really forcing his vocal, not holding back, as he sings about his woman leaving him, and the bad place he’s in. Later in the track there’s an excellent shimmering and chiming guitar solo. When it’s rejoins the rest of the arrangement, it’s like the missing part in a jigsaw, suddenly whole. By the end of the song, this great track seems like a fitting way to end the album, thanks to an outstanding heartfelt and passionate vocal from Bobby, and a brilliant blues laden, arrangement.
His California Album was a return to form for Bobby “Blue” Bland. Having turned his personal life round in 1971, he turned his career round in 1973. For the first time in nearly ten years, his album charted, spending nineteen weeks in the US Billboard 200. Suddenly, he had a critically acclaimed and commercially successful album on his hands. Thirty-eight years later, the album has a timeless quality, like all good music has. On the album are some fantastic songs, brilliantly played by the cream of Las Angeles’ musicians and sung with a combination of passion, sadness and joy by Bobby. Both arranger Michael Omartian and producer Steve Barri played a huge part in the album’s success, with the arrangements and production perfect for the songs. It allowed people to hear the best of Bobby, who after too long in the doldrums was back. It’s just a shame the “follow up” album took four years to be recorded and released. If it had been out sooner, it would’ve allowed Bobby to build on the momentum of His California Album, and maybe, helped him to revisit the heights of his earlier career on the Chess and Duke labels. However, His California Album is a great reminder of a return to form from one of the real legends of music, Bobby “Blue” Bland. Standout Tracks: This Time I’m Gone For Good, It’s Not the Spotlight, (If Loving You Is Wrong) I Don’t Want To Be Right and I’ve Got To Use My imagination.
BOBBY “BLUE” BLAND-HIS CALIFORNIA ALBUM.
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CHIC-CHIC.
CHIC-CHIC.
Back in 1977, when I was growing up, one of the many sounds that immediately, grabbed my attention, was Chic. Not for me the angry, desolate sound of punk, that to me was a depressing, ugly sound, the anathema of what music should sound like. Instead, I’d become accustomed to The Sound of Philadelphia, soul music, disco music and now, Chic. I first became aware of their music when they released their eponymous album, Chic on Atlantic Records. This to me, was what music should sound like, a fusion of the best of R&B and the nascent disco sound that suddenly, was sweeping the US and UK.
Their debut album Chic was released in December 1977, and like myself, it was a sound that many people fell in love with. On the album’s release, it reached number twenty-seven in the US Billboard 200 and number twelve in the US R&B Charts, selling over half a million copies, and being certified gold. The singles released from the album fared just as well. Dance, Dance Dance (Yowsah, Yowsah, Yowsah) which was originally released on Buddha Records, reached number six in the US Hot 100, US R&B Charts and here in the UK Singles charts. Everybody Dance the other single released from the album, reached number thirty-eight in the US Hot 100, twelve in the US R&B Charts and number nine in the UK singles charts. Quickly, the phenomenon that was Chic became one of the most popular groups of the late seventies and beyond. Now nearly thirty-four years after guitarist Niles Rodgers and bassist Bernard Edwards produced Chic’s debut album, their music is held in the highest esteem, proving hugely influential to later generations of musicians. Although there are just seven songs on Chic, they’re seven great songs, which I’ll now tell you about.
Chic opens with their debut single Dance, Dance Dance (Yowsah, Yowsah, Yowsah), which reached number one in the US dance play charts and features a young Luther Vandross singing backing vocalists. Many people have puzzled over the meaning of the phrase Yowsah, Yowsah, Yowsah, which was a phrase popularized by Beb Bernie, an American jazz violinist and radio star of the twenties. It was later used in They Shoot Horses, Don’t They? a 1969 film about a dance marathon during the depression. Niles opens the track with a furiously, fast and funky bass, with Bernard’s chiming, shimmering guitar accompanying drums and percussion before a male vocal enters. When it does, things move up a gear, before Alfa and Norma Jean help increase the joyful sound that’s already unfolding, with their sweet, melodic voices. It’s a combination of funk laden rhythm section, lush, sweeping strings and some fast, accurate chiming guitar playing from Bernard. Braying horns, keyboards, percussion and handclaps punctuate the track, the horns a contrast to lushness of the strings. As the track progresses, it just seems to get better and better, the sound a mixture of funk, soul and disco. One thing that’s noticeable is just how tight and talented a band Chic are. Their hook laden, joyous, feel-good sound that’s unfolding, is just irresistible, and it’s hard to believe that this is a debut album I’m listening to. It has such a polished sound, no rough edges, just the smoothest production, with the sweetest sound you could wish to hear, lasting eight and a half magnificent minutes. An absolutely brilliant way to start any album, never mind a debut album.
Sao Paulo has a very different sound to the opening track, with Chic seemingly trying to recreate the laid back sound and atmosphere of an exotic, warm and beautiful faraway place of Brazil. The sound of crashing waves, acoustic guitar, percussion and piano open this instrumental track, before the rhythm section enter. After that, a subtle flute plays, against the mid-tempo arrangement of strings, piano and rhythm section, with occasional, brief bursts of percussion. There’s a real jazz funk and Latin influence to the track, that features sudden short dramatic peaks, before normality is resumed, the arrangement returning to a quite beautiful, gentle sound. Although, It’s a very different sound, far removed from the joyful disco sound of the opening track, but again, it allows Chic to showcase their considerable talents, majestically.
After a change of direction on the previous instrumental track Sao Paulo, You Can Get By sees Chic return to the feel-good sound of the opening track. Here, both the arrangement and vocal are just so catchy, they’re almost infectious. It’s a combination of loud, rounded drums, another funk masterclass on bass from Bernard before blazing, joyful horns and a some fast paced, chiming, shimmery guitar playing from Niles before the vocal enters. The vocal is a deep, sultry, male lead, with Alfa and Norma Jean supplementing the lead vocal, their voices high and joyous, a perfect contrast. Here, there’s some great interplay between the fast, melodic and chiming guitar and the strings, which sweep grandly and lushly. The way they’re arranged, they just feed off each other, encouraging the other to greater things. Add in some hugely funky bass playing to the mix, and you’ve the recipe for the sweetest, smoothest track, one that would grace any dancefloor, from Sao Paulo to San Francisco.
On the original album, Everybody Dance was the opening track of the second side, and was the second single released from the album. Looking back at the chart positions of the single, it seemed to be a much more popular track in the UK, reaching number nine in the singles charts, while it only reached number thirty-eight in the IS Billboard Hot 100 and twelve in the US R&B Charts. That seems strange, given how highly regarded the track is now. In 2010 the Manic Street Preachers (yawn) sampled the track on their sing (It’s Not War) Just the End of Love. Like Dance, Dance, Dance, (Yowsah, Yowsah, Yowsah), it epitomizes everything that’s good about Chic’s music. Tony Thompson’s drumming and Bernard’s bass playing is at the heart of the irresistible sound of the introduction, which defies you to keep still. Some simple, but hugely effective chord changes on piano, give way to the vocal, which to say is musical joyfulness, is an underestimation. Alfa and Norma Jean produce some of their best vocals on the album, while the strings sweep lushly, as the group encourage you to dance and clap your hands. It really is almost impossible not to get swept away by the music. Midway through the track, Bernard decides to give yet another bass masterclass. His playing is furiously, fast and frantically funky. From there until the end, a musical masterpiece unfolds, thanks to a combination of one of the best rhythm sections of the past forty years, some of the lushest, sweeping, strings, subtle percussion, chimimg guitars and joyful vocals. Together, they make this easily, not just one of the album’s highlights, but one of the highlights of Chic’s illustrious career.
Est-Ce Que C’est Chic is a song that tests my long forgotten French to its limits, almost. Now I wish I’d payed closer attention, instead of staring out the window disinterestedly. However, one thing I do recognize is good music, which this is. The tempo is quick, with the rhythm section, percussion, chiming guitars and subtle strings combining to produce a fast paced track, funk drenched track. When the vocal enters, there’s an effective contrast between softly spoken, thoughtful lead vocal and an almost cold, fatter of fact backing vocal, which seems almost a dismissiveness, and air of tension. Meanwhile, this enchanting scenario is played out against an arrangement that’s melodic, full of the trademark Chic sounds. A combination of unusually, understated, chiming guitars, grand, sweeping strings and Tony Thompson and Bernard Rodgers, funk laden rhythm section. This combination leads to a quite different sounding track, but one that’s quite enchanting given the tension between lead and backing vocalists.
When Falling In Love With You opens the sound is one that immediately, you recognize to be full of emotion and passion. The tempo is slower, the sound tender and gentle, thanks to the combination of keyboards, subtle rhythm section and slow, expansive strings, with a piano accompanying Alfa and Norma Jean’s vocal. Their voices are sweet, gentle and full of emotion, as an utterly beautiful, slow arrangement unfolds gradually, all the while getting so much better. What makes this such is a great track is the way the arrangement has a much more subtle sound, with the rhythm section and guitars taking a back seat, and the strings and piano combining to produce a sound that’s melodic, full of emotion and has the ability to tug on your heartstrings. When you add in the sweet and tender vocal, that’s just the finishing touch to what is a very beautiful, gentle love song.
Chic closes with Strike Up the Band, a track that features some great interplay between Niles on guitar and Bernard on bass. Here, they feed off each other, almost daring the other to take things further. The track opens with blazing horns, announcing the arrival of the rhythm section and guitar, which are accompanied by a flute. It’s here that Bernard and Niles combine magnificently, with almost daring do, both egging the other on. Bernard and Niles demonstrate their wide array of talents on bass and guitar brilliantly, their playing fast, accurately and full of funk. Percussion fills out the sound, while strings sweep in, horns bray and blaze, as a flute provides another contrasting sound. Rounding off this track are vocals that are fast and joyous, as they soar in unison. When all this is combined, you’ve a fast paced, track that has a joyous sound, thanks to a majestic musical duel featuring Niles and Bernard, ably assisted by the rest of the band and some equally joyful vocals.
Every time I listen to Chic, I find it hard to believe that this was their debut album. The music is of the highest standard, both the songwriting, playing and production on each track. Bernard Edwards and Niles Rodgers were almost musical geniuses, both hugely talented musicians, songwriters, arrangers and producers. Together, they recorded, wrote and produced one of the strongest debut albums of the seventies. On that album were two disco classics, Dance, Dance Dance (Yowsah, Yowsah, Yowsah) and Everybody Dance. These are two of the greatest disco tracks ever, and are both tracks that sound just as good today, as they sounded in 1977. This was just the first of a series of hugely successful albums with C’est Chic in 1978 and Risque in 1979 building on the success of their debut album. Both of these albums are excellent, featuring some brilliant music, and are albums I’ve written about before. However, little did Chic know when they released their debut album, how popular and influential a group they would become. Since the release of Chic in November 1977, their music is just as popular and still inspires new generations of musicians. If you’ve never heard this album, it’s now available as part of a five disc box set entitled Chic Original Album Series, and features their first five albums. So why not treat yourself, and Dance, Dance, Dance. Standout Tracks: Dance, Dance Dance (Yowsah, Yowsah, Yowsah), You Can Get By, Everybody Dance and Strike Up the Band.
CHIC-CHIC.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
One of my favorite labels of all time is the Philadelphia International label, founded by Gamble and Huff in 1971. For many years, Gamble and Huff sprinkled their magic on many artists that went on to become soul legends. These included Billy Paul, The O’Jays, Lou Rawls, Teddy Pendergrass, The Three Degrees, Archie Bell and The Drells and of course, Harold Melvin and The Bluenotes. Of all the artists on Philadelphia International, one of my favorites has always been Harold Melvin and The Bluenotes. Between 1972 and 1975 they recorded four albums for Philadelphia International. The music they released during that period was among the best they ever recorded, and among some of the best music released on the label.
Their debut album was originally titled I Miss You, but was changed to Harold Melvin and The Bluenotes. It was released in August 1972 reaching number four in the US R&B Charts and number fifty-three in the US Billboard 200. This album featured one of their biggest hit singles If You Don’t Know Me By Now, which reached number three in the US Billboard Hot 100 singles’ charts and gave them their first number one US US R&B single.
Their follow up album, Black and Blue, which this article is about, was released in September 1973, reaching number five in the US R&B Charts and fifty-seven in the US Billboard 200. Again, the album provided the group with a top ten hit, with The Love I Lost (Part 1) reaching number seven in the US Billboard Hot 100 singles’ charts and reached number one in the R&B Charts. Since its release, Black and Blue is recognized as one of the group’s finest albums, although it wasn’t one of their most successful albums.
The group’s third album To Be True, released in February 1975, reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. Hope That We Can Be Together Soon, which featured Sharon Paige, and was the third single released from the album, reached number one in the US R&B Charts. So commercially successful was the album, that it was certified gold. After three albums, the group had become one of Philadelphia International’s most successful albums, giving the group the success their music deserved.
Wake Up Everybody, which I’ve written about before, was released in November 1975. This was both the final album the group released on Philadelphia International and the last album to feature Teddy Pendergrass as lead singer. After this album, the group signed a contract with ABC Records, but never achieved the same success. Teddy Pendergrass however, went from strength to strength, becoming a hugely successful solo artist on Philadelphia International. When Wake Up Everybody was released, it was a huge commercial success, providing the group with their most successful album. It reached number nine n the US Billboard 200 and number one in the US R&B Charts, being certified platinum, selling over one million copies. Once the group left Philadelphia International, there were various changes in personnel, but the five albums they subsequently released failed to achieve the success that their four albums on Philadelphia International did. All of this was still to come, when the group released their second album Black and Blue, which I’ll now tell you about.
Black and Blue opens with Harold Melvin and The Bluenotes singing a short cover version of Cabaret lasting just under two minutes. It’s a strange way to open the album, the group resorting to an almost vaudevillian opening to the album, with the group covering Kender and Ebb’s famous song. The vaudevillian influence extends to an introduction that features the rhythm and brass section combining energetically before the group sing tight vocal harmonies. Although quite different to what you’d expect on an album by Harold Melvin and The Bluenotes, they really make the song swing, injecting energy and happiness into the song. Mind you, when I first heard the album years ago, I couldn’t quite believe what I was hearing. Since then, I’ve wondered about why this track was chosen to open the album. You could say it certainly grabs your attention, making you listen intently, wondering what will happen next. Conversely, you could argue that it spoils the flow of the rest of the album. Personally, every time I hear the track it makes me smile, and is a perfect appetizer for the rest of the album.
After the amuse-bouche of Cabaret, Harold Melvin and The Bluenotes return to what they do best, singing some of the sweetest soul music. Black and Blue moves up a gear with The Love I Lost, a song that was originally meant to be recorded as a ballad. Instead Leon Gamble the cowriter and producer asked the group to speed the song up, sing it with a swagger. This transformed the track into a track full of sadness, sung with a swagger at a quicker tempo, and in the process reached number seven in the US Billboard Hot 100 singles’ charts and number one in the R&B Charts when it was released as a single. Leon Gamble’s decision to transform the track from a ballad was a masterstroke. So was his decision to open the track with keyboards and chiming guitars combining as the track opens, before the drums and luscious strings sweep in. This provides the perfect backdrop for Teddy, as he delivers some hugely sad lyrics about a relationship gone wrong. Meanwhile, the rest of the group compliment his lead vocal with their sweet, tight vocal harmonies. While all of this is taking place, the arrangement is dramatic, strings sweeping, while drums and blazing horns punctuate the sound. MFSB, Philadelphia International’s house band surpass themselves, producing one of the most memorable arrangements ever heard on an album by Harold Melvin and The Bluenotes. Quite simply, this is an absolutely fantastic track, one of the best ever singles released on Philadelphia International.
It All Depends On You has what can only be decided as a hugely dramatic, almost grandiose introduction, with stirring, rumbling drums, a grand, drama laden piano and horns that gradually sweep in. Their sound promises, then delivers drama. It’s as if MFSB were preparing for the imminent arrival of Teddy Pendergrass and his lead vocal. When it arrives, you wonder whether it’ll live up to the expectation. Thankfully, it does, with Teddy delivering the lyrics with a mixture of passion and pleas, as he testifies, telling his partner that their future depends on her. Like the previous track, the rest of the band produce some beautiful tight vocal harmonies, that are a perfect accompaniment to Teddy’s vocal. Such an emotional and passionate arrangement deserves an equally outstanding arrangement. Again, this is the case, with an arrangement that’s emotionally charged and drenched in drama. Much of this is because of the way Gamble and Huff arranged the drums, piano, horns and strings to maximise both the atmosphere and drama, in such a way that brings out the best in both the lyrics and Teddy’s vocal. As the track ends, you can’t help but be moved by both Teddy’s vocal and the lyrics, made all the better by such an outstanding arrangement.
Gamble and Huff cowrote five of the tracks on Black and Blue, including Concentrate On You a much slower track, which has brief, bursts of drama that punctuate the track, highlighting both the lyrics and a hugely emotional vocal, laden in sadness and regret. When the track opens, a deep, moody bass is accompanied by slow sweeping strings and dramatic bursts of horns and drums before the group sing some sad, vocal harmonies. It’s only then that Teddy’s vocal enters, and straight away, his voice is full of sadness and regret, ruing the bad times, as he hopes his relationship will survive. Throughout the track, the interplay between Teddy and the rest of the band works really well, with the Blue Notes lovely subtle harmonies, the perfect foil for Teddy powerful, passionate, pleas. They’re interrupted by dramatic bursts of drums and horns, which each time, you believe will transform into a brighter, happier sound. This never happens, but the mixture of the sadness and drama of the arrangement and the passionate, pleas of Teddy make this a compelling, dramatic and ultimately beautiful track, one that’s quite moving and absolutely excellent.
Harold Melvin and The Bluenotes inject some bravado and humour into the proceedings on Satisfaction Guaranteed (Or Take Your Love Back). Here, Teddy transformed into lover man number one, gives a swaggering, boastful vocal full of bravado. Strangely, when the track was released as a single, it only reached number fifty-eight in the US Billboard Hot 100 and number six in the US R&B Charts. Reflecting Teddy’s bravado and swagger is the stirring, drama laden fast paced introduction, a melange of strings, blazing horns, piano and driving horns. Teddy grunts, before the Blue Notes softly sing, before making way for Teddy. He gives of an aura of confidence, self assuredness, as he delivers the lyrics with a confident swagger. Meanwhile, the arrangement is melodic, catchy, with a booming, fast and accurate bass accompanied by grand, sweeping lush horns while piano, horns and drums are responsible for punctuating the track with drama. Quite simply, it’s an irresistible sound, with the quicker tempo, fuller arrangement and of course, Teddy’s vocal, one part bravado, one part levity. This track like The Love I Lost, is easily one of the album’s best tracks.
A funk laden bass, metronomic drums and sweeping, stirring strings combine before chiming, shimmering guitars accompany braying horns as Is There A Place For Me begins. It’s only then that a pessimistic Teddy, reflects on how he got himself into the mess he’s in. The answer is in the lyrics, four time married, imagine the alimony! His voice is still powerful, but full of regret and sadness, while the rest of the group sing loud, repetitive backing vocals which almost plead. This works well, as does the fulsome arrangement. By now, it’s settled down somewhat, sweeping along, with the rhythm section and those chiming guitars, accompanied by dramatic strings, an atmospheric Hammond organ and interjections from the horn sections. As if this isn’t enough, a pleading, sorrowful Teddy, is accompanied by keyboards, a soaring, screaming, muted guitar, which all adds even more atmosphere and drama. Between the rueful, down at heart Teddy, and a rich, complex and sweeping arrangement, courtesy Gamble and Huff, this is a melodramatic and magnificent track, truly unmistakably Harold Melvin and The Blue Notes.
There’s a change in style and tempo on I’m Weak For You, which was the third single released from the album. Again, mysteriously, the single wasn’t successful, failing to chart in the US Billboard Hot 100 and only reaching number eighty-seven in the US R&B Charts. This puzzles me, because although it’s quite different from other tracks on the album, both the vocal and arrangement are excellent. The track has an old fashioned jazz influenced sound, with keyboards, rhythm section, guitars and horns gently playing, as the track opens. As if signaling that something special is about to unfold, the horns interject, before the group sing some melodic, sweet vocals, before giving way to Teddy’s lead vocal. His vocal veers from a softer, considered and thoughtful to a louder, passionate and pleading style. Together, he and the Blue Notes combine brilliantly, singing the track in a style that brings to mind smoke filled jazz clubs, late at night, where mixture of excitement and danger mingles in the air. When combined with the horn drenched arrangement, that’s punctuated by drama courtesy of horns and drums, you’ve the recipe for a great track, one that’s laden in atmosphere, emotion and drama.
Black and Blue closes with I’m Coming Home Tomorrow, a track which had a poignancy for the soldiers who were returning from Vietnam. There they’d fought in yet another pointless war, where lives were lost needlessly on both sides. This track spoke to them, and the slow, moody and sad introduction seems even more poignant. It’s a combination of slow, dark bass, keyboards, strings bathed in sadness and slow, thoughtful drums that open the track. After that the group sing tight, thoughtful vocal harmonies, before the track unfolds to present a much more joyful sound, with both Teddy and the Blue Notes, singing about the happiness of returning home, never to leave again. Similarly, the arrangement combines joy and drama, strings sweeping lushly, the rhythm and horns combining perfectly to produce a sound that’s dramatic, giving way to a joyfulness. Later, Teddy slows things way down, half-speaking, half-singing the vocal, injecting a mixture or relief, joy and passion into the lyrics, increasing the sense of drama and atmosphere. By the end of this really moving and beautiful song, that’s a mixture of sadness and joy, I’ve always felt that this was quite a poignant way to end the album, given what was happening in the US then.
Black and Blue is one of my favorite albums by Harold Melvin and The Blue Notes. It features some wonderful music, with the group at their very best. From the opening bars of Cabaret, to the last not of I’m Coming Home Tomorrow, it’s constant quality. There’s no let up, just one great song after another. From the vaudevillian, amuse-bouche of Cabaret, to the sadness and swagger of The Love I Lost, to the bravado and humor of Satisfaction Guaranteed (Or Take Your Love Back), it’s just one great song after the other. That’s neither forgetting the pessimism and ruefulness of Is There A Place For Me nor the poignancy of I’m Coming Home Tomorrow. In the space of just eight tracks, Harold Melvin and The Blue Notes will have you laughing, singing and crying with some hugely emotional and joyful music. Strangely, this album didn’t do as well as the next two albums Harold Melvin and The Blue Notes released. To Be True reached twenty-six in the US Billboard 200, while Wake Up Everybody reached number nine in the US Billboard 200. These albums were certified gold and platinum respectively. Regardless of that, Black and Blue is as good as these two albums, and is an album that anyone who loves soul music will enjoy. The best description of the music on Philadelphia International Records came from Fred Wesley, the trombone played in James Brown’s band. He called the music “funk with a bow-tie,” a fitting description of Black and Blue, a brilliant album from Harold Melvin and The Blue Notes. Standout Tracks: The Love I Lost, It All Depends On You, Satisfaction Guaranteed (Or Take Your Love Back) and Is There A Place For Me.
HAROLD MELVIN AND THE BLUENOTES-BLACK AND BLUE.
JAMES BROWN-THE PAYBACK.
JAMES BROWN-THE PAYBACK.
During his career, The Godfather of Funk, James Brown produced many albums, hence the nickname “the hardest working man in show business,” but The Payback his 1973 album is one of the high points in his long and illustrious career. It’s no exaggeration to say, that nowadays, The Payback is perceived by critics as one of the seminal funk albums. This is a hugely important funk album, one that came at an important point in James Brown’s career. The Payback was released in December 1973, at a time when James Brown’s career was going through something of a lull commercially. His music wasn’t selling in the vast quantities that it previously had. That however, doesn’t mean that the music he was making wasn’t of the highest quality, it was. Between 1965 and 1980, James Brown released numerous great albums. For example, the year before, 1972, he’d released the soundtrack to the blaxploitation film Black Caesar, which even today, is recognized as one of the best blaxploitation soundtracks, up there with Shaft and Superfly. The Payback was originally meant to be a blaxploitation soundtrack but was rejected as not being funky enough!
In 1973, James Brown had been commissioned to provide the soundtrack to the blaxploitation film Hell Up In Harlem. Between February and October 1973, James spent time in the recording studio recording eight tracks for the film. This wasn’t the first blaxploitation film he’d been ask to record the soundtrack for. The previous year, he’d recorded the soundtrack to Black Caesar, so knew what was required for this type of film. However, when the film’s director Larry Cohen heard the music, he rejected it for not being funky enough. After Cohen’s rejection, James decided to release the album himself, giving it the title The Payback. On it’s release, fans would be the gauge of the album’s funkiness. Would they side with Cohen or the man known as the Godfather of Funk?
When the album was released, it reached number one in the US Soul album charts and entered the top forty, reaching number thirty-four in the US Billboard 100. The revenge themed title track The Payback gave James a number one hit in the US R&B Charts. Why did the album do so well though? Well, if you listen carefully to the lyrics, this album isn’t just funk for funks sake, it’s James Brown at his most political. Here the lyrics are full of social awareness, with James sticking it to the man good and proper. Combine that with some of his trademark funky grooves and some softer soul tracks, and you’ve an irresistible combination, eight tracks of vintage James Brown which I’ll now tell you about.
The Payback opens with the revenge themed title track, which has long been a favorite source of samples for hip hop artists. When the track literally bursts brightly into life. It’s tight, booming drums, the funkiest of bass lines courtesy of Fred Thomas and braying horns that accompany James. He sings about taking revenge against a man who betrayed him, ripped him off, stealing his money and more importantly, his woman. James swears revenge, while a melange of funk laden chiming, shimmering guitars combine with the funkiest rhythm section in music. Horns blaze in anger, as James angrily yelps, screams and hollers against a backdrop of the some hugely memorable funky music and shrieking, sometimes joyous sounding female backing vocalists. Later, wah wah guitars are unleashed, but back in1973, this was unusual in James’ music. During the track, a pared down, open instrumental arrangement is the backdrop for James, and it works brilliantly. A combination of an angry sounding James Brown and his brilliantly funky band, produce a track that’s funk personified, but somehow wasn’t funky enough for Larry Cohen.
After the epic opening track The Payback, Doing the Best I Can is a much more mellow affair altogether, giving the listener the opportunity to draw breath. Here, it’s a soul influenced track, featuring a thoughtful, reflective vocal from James Brown, as his character ponders where he is in his life. Gone are the thoughts of revenge, now he’s just having to get by, the best he can. The arrangement has a similarly thoughtful, much more subtle sound. A combination of slow chiming guitars, shimmer, before subtle wah wah guitars enter, before James thoughtful, introspective vocal enters. He’s broken hearted, down on his luck, as lush strings sweep behind him, horns gently interject while guitars and rhythm section play with a subtlety. Female backing vocalists soulfully accompany James’ hugely sad, thoughtful vocal. The arrangement has a lovely repetitive sound, as his voice soars, a mixture power, passion and regret. Towards the end of track Fred Wesley plays an outstanding solo on trombone, which seems a fitting end to this masterpiece. For seven and a half minutes, James, his band and the backing vocals produce a fantastic track laden in drama, atmosphere and most importantly, soul.
Take Some…Leave Some sees James return to the funk of the opening track, with wah wah guitars playing slowly, before horns blaze brightly announcing the arrival of the Godfather of Funk. When James sings, his voice is louder, than the previous track, with some of the anger and frustration of the previous tracks apparent. Meanwhile, the arrangement is growing with both the rhythm and brass sections producing a funk masterclass. Fred Wesley and the rest of the rhythm section produce bright, dramatic bursts of funk music, helped by the rhythm section who seem to be naturally funky. James by now is sticking it to the man, the hustlers, schemers and dreamers who according to James, are either on the make, or on the take. As if agreeing with James’ sentiments, the band somehow, up their game, the horns a mixture of energy, passion and anger, while the drums crash and boom, and the bass hits funk overload. A mixture of trademark yelps, screams, shrieks and screams from James, seems just the icing on the cake, as the track ends. By then, you can’t help being impressed by the energy and passion James Brown put into his music. He almost seemed to live the music, and with one of the tightest and funkiest bands ever, he produces an excellent track laden in anger, frustration and passion.
When Shoot Your Shot opens, it’s a frantic tempo with guitars chiming, shimmering and wah wah-ing, accompanied by an equally fast paced, hugely funky rhythm section and short, repetitive bursts from the brass section. Meanwhile, James vocal is just as angry and full of frustration as he sings about the disasters that have befallen him, the loss of his stash of cash and woman, being the source of his angst. As usual, he dispenses his trademark, screams yelps and grunts while his band come into their own. Their performance features a Hammond organ, which adds to the blaxploitation sound and feel. The horns surpass themselves, producing a sound that mixes funk and jazz peerlessly, while the rhythm section seem to recreate what sounds like funky race. By the finishing tape, Fred Thomas frantically, fast bass seems to out-funk John “Jabo” Starks on drums, but only by a nose. It’s a close run thing, but the horns seems to have headed off at a similar breakneck pace, blazing furiously, their sound matching James’ angst and anger. When the track ends, you feel exhausted having tried to keep up with this furiously, frantically fast funk music that’s absolutely brilliant.
Forever Suffering has much in common with Doing the Best I Can, in that it’s a much slower, subtle sounding track, with a pared back arrangement. When the track opens, it’s just gently chiming guitars, slow spacious drums and a meandering bass that accompanies James. His vocal is much more gentle and thoughtful, full of regret and sadness. Gone is the anger and frustration, replaced by a much more reflective James. Horns subtly interject, while hugely sweet and soulful backing vocalists sweep in, accompanying James. Occasionally, he allows himself one of his trademark yelps and screams as his voice grows in strength, as he rues the one mistake he’s made. By now, he’s almost pleading for a second chance, for forgiveness. The contrast between his passionate pleas and the soulful backing vocalists really helps the track, acting as a perfect foil for a now desperate James. When the track ends, you just can’t help but fail to be moved by the passionate pleas of James. Taken with this understated, pared back arrangement, it’s a compelling and unmissable track, one of the album’s highlights.
After the subtlety and passion of Forever Suffering, Time Is Running Out Fast see things change quite drastically. Straight away, the track grabs your attention, when you hear fast paced, crisp drums accompanied by percussion and bursts of dialogue. After that, a funk drenched bass and baying, blazing horns enter, quickly turning funkometer to eleven. Percussion jangles, burst of dialogue break out of the arrangement, that’s driven along by horns and the rhythm section. Later in the track, some funky wahwah guitars combine with the horns and rhythm section, helping take the track on the longest funk journey on the album, nearly thirteen glorious minutes. During the track James Brown takes a break from vocal duties, content to let his band take care of business. This they do brilliantly, with the track improving the longer it goes on. Shrieking, desperate horns, a funk ridden bass and quick, metronomic drums demonstrate that all isn’t lost without the Godfather of Funk. A combination of horns, rhythm section and guitars settle into a groove, seemingly feeding off each other, willing each other to take things further, improve an already excellent track. Somehow, they manage to achieve this, and after nearly thirteen masterful minutes, you almost expect the band to be given a well deserved round of applause as the track ends. If you either like or love funk music, this track is unmissable, a must have for you.
One of the best known tracks on the album is Stone To the Bone. A few years ago, I heard an album by some wannabe funkateers and they covered this tracks. Their version was turgid at best, and thankfully, they sunk without trace. There is only one version of this track worth hearing, James Brown’s. James give a few of his trademark shouts and shrieks against a backdrop of short burst of dramatic drums and horns, before the drums combine with the bass for another fantastic funk workout. Similarly funky guitars chime, shimmer and reverberate while Fred Wesley and rest of the brass section drench the arrangement with their sumptuously subtle funky sound. Meanwhile, James hollers, shouts and grunts his way magnificently through one of his best know tracks. Later, the addition of a Hammond organ is a masterstroke, bringing an atmospheric sound to the track, one that works brilliantly in any blaxploitation soundtrack. Suddenly, its addition seems to transform the track, lifting it from good to great. However, it isn’t just one instrument that makes this such a great track, quite the opposite. It’s a hollering, howling James Brown and his brilliant band, who inject passion and energy into the track, making it such a funk masterpiece.
The Payback closes with Mind Power another track that has a fast and furious opening, a combination of fast paced, funk laden guitar, atmospheric rhythm section and subtle percussion, before James almost raps the lyrics. When he does, he’s venting his fury at scheming politicians and the other people that were letting the people down. They were he says, starving, jobless and homeless, and James isn’t a happy man, letting them know this. He lines them up in his sights, blasting them with both barrels. By now the arrangement is growing, with the brass section interjecting, their sound matching James’ anger and fury. A flute plays, as the rhythm section ensure they’re not left on the sidelines, upping the ante, with a fast, furiously funky bass accompanied by quick, sharp drums. Throughout the track, James anger and resentment is palpable, he almost sneers in disgust as he spits out the lyrics. His vocal is a prototype rap, providing a template for hip hop legends Public Enemy who were huge fans of James and his music. As the track draws to its funk laden conclusion, this epic closing track seems to a fitting end to the album, as during the track, both James and his band provide a funk masterclass for wannabes and pretenders alike. However, neither will ever record twelve minutes of such memorable and magical music. Only one man can do that, James Brown, The Godfather of Funk.
Having reveled in nearly seventy-three glorious minutes of majestically, funk music, I still can’t comprehend Larry Cohen’s rejection of the music as not funky enough for his film Hell Up In Harlem. If James Brown wasn’t funky enough, then the music used during the film must be something else. Personally, of all the albums James Brown recorded through his long and illustrious career, The Payback is not just one my favorites, but one of the best. Throughout this album, James Brown and his band are at their leanest, meanest and funkiest. This is a funk masterpiece, with James and his band showing the funk wannabes and pretenders just what funk music should sound like. Here, they play with an unrivaled passion, precision and pace. Sometimes the arrangements are pared back and spartan, other times they’re fuller and funkier. All the time, James Brown is a showman and bandleader supreme. Whether snarling, growling and yelping his way through the heaviest funk tracks, tenderly singing or passionately pleading for redemption and forgiveness, he’s at his very best. That’s what makes this such an irresistible and unmissable album, one that deserves its place any self-respecting funk lover’s record collection. Standout Tracks: Doing the Best I Can, Take Some…Leave Some, Forever Suffering and Stone To the Bone.
JAMES BROWN-THE PAYBACK.
BETTYE SWANN-THE SOUL VIEW NOW.
BETTYE SWANN-THE SOUL VIEW NOW.
It never ceases to amaze me how hugely talented singers never achieve the success their talent deserves, whilst people with only a modicum of talent have long and successful careers. Like life, the music industry isn’t fair, and can be totally unforgiving. Many times, I’ve come across albums from artists from the sixties and seventies, and having listened to them, and then researched the artists history, discovered that for whatever reason, success eluded them. One such artist was Bettye Swann, a sixties soul singer blessed with an incredible voice, who recorded three great albums between 1967 and 1969.
Her debut album was Make Me Yours, released in 1967, was the title of her breakthrough single, which reached number one in the US R&B Charts and number twenty-one in the US Billboard 100. After splitting with her then manager a Louisiana’ DJ Al Scott in 1968, Bettye moved to Georgia, where she secured a contract with Capitol Records. It was on Capitol that she recorded two great albums, The Soul View Now in 1968 which reached number forty-eight in the US R&B Charts, and 1969s’ Don’t You Ever Get Tired of Hurting Me.
After leaving Capitol in 1970, Bettye signed for Atlantic Records. This wasn’t quite the dream move for Bettye with her only only having a couple of minor hits. These were Victim of A Foolish Heart in 1972, which reached number sixteen in the US R&B Charts and sixty-one in the US Billboard 100 and Today I Started Loving You Again in 1973 which reached number forty-six in the US Billboard 100. Bettye continued to record until the mid-seventies, and gave her final concert in 1980, the year her husband and manager George Barton died.
After the death of her husband and manager, she retired from the music industry aged thirty-six. It was then that Bettye decided upon a change of name and career. In a sense Bettye Swann died and Bettye Barton was born. The “newly born” Bettye Swan embarked on a career in education in Las Vegas and became a Jehovah’s Witness. Now aged sixty-seven, Bettye Swan is in poor health, suffering from a degenerative condition of the spine. Having never received royalty cheques for the recordings she made for Money Records, just a $7,000 advance, Bettye is reliant upon disability payments. This sadly is a familiar story, with many people like Bettye, being mistreated by the music industry financially. However, now that i’ve told you a little about Bettye Swann and her career, I’ll now tell you about her 1968 album The Soul View Now.
The Soul View Now opens with Don’t Touch Me which opens dramatically with drums and a blaze of horns before Bettye accompanied by a piano enters. Her voice is considered and hugely emotive as she sings the lyrics about love, accompanied by subtle backing vocalists. Meanwhile horns drench her vocal while the rhythm section and guitars help drive the song along. Regardless of the dramatic soulful arrangement, what makes the track is Bettye’s vocal. It’s considered and thoughtful, laden with emotion as she delivers the lyrics. Straight away, I’m left wondering just why, wasn’t Bettye Swann a much bigger star with a voice like this?
Like the previous track, Cover Me opens with horns bright and proud, combining with the rhythm section to announce the arrival of Bettye’s vocal. Here, her vocal starts of restrained, but full of feeling, accompanied by soulful sounding backing vocalists. They indulge in call and response with Bettye, whose voice rises and falls, full of feeling, as she brings the lyrics to life. They’re a plea for love and protection. All the while Bettye is accompanied by baying, grand horns. The arrangement is fulsome, a combination of horns, rhythm section and gentle, chiming guitars, that never once overpower Bettye’s beautiful, soulful voice. If anything, this song is even better than the previous one, thanks to the fuller, melodic arrangement, soulful backing vocalists and of course, Bettye’s emotive, pleading vocal.
Then You Can Tell Me Goodbye has a very different, much more gentle and subtle sound when the track opens. It’s just a gentle acoustic guitar solo that plays before an understated bass accompanies Bettye’s much quieter, gentle vocal. She’s accompanied by backing vocalists, whose contribution is equally gentle, even thoughtful. Rasping horns, piano and drums enter, with the horns becoming the most prominent instrument in the arrangement. Still, Bettye’s vocal is gentle, verging on serene, which makes you focus even more on it. Thankfully, the baying horns are kept on the leash, and never allowed to overpower either the rest of the arrangement or Bettye’s vocal. Although quite different in style from the two preceding tracks, Bettye’s gentle vocal and the equally subtle arrangement is both hugely powerful and really effective, making this an irresistible slice of soul.
Again the style changes on Words a track that’s been covered by a multitude of artists over the years. Here, Bettye gives the track a new twist when horns interject, guitar chime and shimmer and rhythm section and combine with Bettye. Straight away, two things are noticeable. Firstly, her voice is louder and stronger, and secondly, the song doesn’t suit either her voice or the arrangement. Bettye is a soul singer supreme, Words is a middle of the road track. However, against the odds, Bettye delivers the lyrics really well. The problem with the arrangement is that neither does song doesn’t work as a soul song nor do the rasping horns suit the arrangement. They’re too brief and rounded. By the end of the track, Bettye has done here best, and although not a bad track, it’s one that just doesn’t suit her voice or sung in a soul style.
What was the closing track on the first side of the album, I’m Lonely For You, is a much better track than the previous one. The tempo is quicker, and is best described as a track that wouldn’t be out of place on a Northern Soul compilation. When the track opens it’s drums, horns and percussion that combine with Bettye’s vocal. Her voice is louder, faster and joyous, which perfectly suits the track. She’s accompanied by sweeping, soulful backing vocalists, while a piano reverberates and guitars and the rhythm section complete the driving arrangement. Together they produce an upbeat, uptempo track with feel-good sound. This is a far better song, the perfect one to end side one.
The second side of the album open with Tell It Like It Is another track many people will be familiar with, with many artists covering the song previously. It has an atmospheric, somewhat dramatic opening with a piano playing slowly, before the rhythm section enter accompanying Bettye’s vocal. Straight away, it’s apparent this is one of the best vocals and arrangements on the album. Bettye’s voice is laden with emotion and feeling, as she warns her man not to mess her around. Meanwhile, the arrangement is lush and melodic, horns blazing, while the piano adds atmosphere and the backing singers melodically sweep in and out the track. Overall, Bettye delivers George Davis and Lee Diamond’s song brilliantly, rivaling Aaron Neville’s version. This version is soulful with a capital S and easily, one of the album’s highlights.
Sweet Dreams is another track that’s laden in soul thanks to another stunning vocal from Bettye. The track opens slowly with a combination of chiming guitars, piano and rhythm section accompanying a slow gut-wrenchingly sad vocal from Bettye. She’s accompanied by joyful backing vocalists who’ve taken gospel music as their reference point. Horns joyously drench the arrangement in their glorious sound, with an excellent saxophone solo lifting the track further. Together, a slow fulsome horn laden arrangement, spiritual sounding backing vocalists and a heart achingly beautiful vocal make this a stunning track.
New York songwriter Chip Taylor wrote Angel of the Morning, a track that has been covered by many artists including Dusty Springfield and Nina Simone. Bettye released the track as a single in 1969 and her version is easily one of the best versions ever recorded. Drums slowly play before a piano played quickly and brightly accompanies Bettye who seems to give everything she has during this track, bringing the song to life. Her vocal veers from gentle and restrained to a loud and passionate delivery. During the track, blazing horns punctuate the arrangement, and together with Bettye’s vocal, make this a hugely dramatic song. This is easily my favorite version of the track, thanks to a hugely soulful and dramatic vocal from Bettye.
These Arms of Mine is a track that Otis Redding made famous by Otis Redding in 1962. Many people believe that version to be the definitive version of the song, but Bettye’s version must run Otis’ version a close second, at least. Here, she really demonstrates her huge talent as a vocalists, delivering the song emotionally and with boundless passion. The arrangement opens with chiming, shimmery guitars and rhythm section before Bettye accompanied by backing vocalists throws herself headlong into an emotive and passionate delivery of Steve Cropper’s lyrics. Both the cooing, soulful backing vocalists and bright, blazing horns transform the track, injecting life and feeling into the lyrics. Quite simply, it’s an outstanding version of a track made famous by Otis.
The Soul View Now closes with No Faith No Love which fittingly, bursts brightly into life, with horns, guitars and rhythm section combining to accompany a loud and passion laden vocal from Bettye. As her voice soars beautifully, her trusty backing vocalists accompany her. Horns and drums punctuate the track with drama, filling in when Bettye’s vocal drops out. Matching the bright, upbeat sound, is a quicker tempo. Here, it’s as if the band realized that this was the final track on the album and decide to really lift their game even higher. This they do brilliantly, as does Bettye who delivers the lyrics with enthusiastically and passionately, using her vocal range to its full. Together with her band, they’ve produced the perfect track to close the album. After all, if you’ve as good a vocal and arrangement as is on this track, what more do you want?
I’ve wanted to write about Bettye Swann for some time now, as I’ve always believed that she’s one of the most underrated soul singers ever. Her career was quite short, lasting just fifteen years. She released her debut single Don’t Wait Too Long in 1965, and retired in1980, aged just thirty-six. It seems that apart from some enthusiastic and passionate soul fans, most people have forgotten about Bettye. To me, that’s a huge shame, because during that fifteen year period, the music she recorded is outstanding. The two albums she recorded for Capitol are great albums, and if you ever get the chance to buy them, my advice is do so. They feature Bettye Swann at her very best. Nowadays it’s almost impossible to find the original albums, but there are two really good compilations of Bettye’s work available. These are a compilation released by Kent Records in 2001 which features the music she recorded for Money Records, and a 2004 compilation by Honest Jons entitled Bettye Swann which features the music she recorded for Capitol. Both are excellent compilations, which I can thoroughly recommend. Maybe if everyone who loves either Bettye’s music or soul music was to buy a copy, Bettye Swann could live a more comfortable life in Las Vegas. Standout Tracks: Don’t Touch Me, Then You Can Tell Me Goodbye, Tell It Like It Is and These Arms of Mine.
BETTYE SWANN-THE SOUL VIEW NOW.
ROBERTA FLACK-KILLING ME SOFTLY.
ROBERTA FLACK-KILLING ME SOFTLY.
In a previous article about Donny Hathaway, I mentioned how closely he had worked with Roberta Flack during his tragically, short career. I also mentioned how the pair were recording an album of duets just before his death. Ironically, the album that preceded Killing Me Softly, was an album of duets with Donny Hathaway. This was the first album of duets the pair had recorded entitled Roberta Flack and Donny Hathaway. At the time of Donny’s death in 1979, they were recording a second album of duets, but had only recorded two songs before Donny tragically died. The two songs were released on Roberta Flack Featuring Donny Hathaway, which was released in March 1980. Like the first album of duets, it was certified gold, reaching number twenty-five in the Billboard 200 and number four in the US R&B Charts. However, it’s the album that followed 1972s’ Roberta Flack and Donny Hathaway the first album of duets, that this article is about. That album is Roberta Flack’s 1973 album Killing Me Softly, which would become her biggest selling album.
By the time Killing Me Softly was released in 1973, Roberta Flack was a hugely successful artist. Three of her four previous albums had been certified gold, and the other platinum. Her debut album First Take, released in 1969, reached number one in both the US Billboard 200 and US R&B Charts, and was certified platinum. This was quite remarkable for a debut album, but when she released Chapter Two in 1970, it only reached number thirty-three in the Billboard 200. It however, was certified gold, as was her next two albums. They were 1971s’ Quiet Fire which reached number eighteen in the Billboard 200 and Roberta Flack and Donny Hathaway, released in 1972, which reached number three in the Billboard 200. So, when Killing Me Softly was released in August 1973, on Atlantic Records, she was hoping to replicate the success of previous albums. Little did she know, that Killing Me Softly would prove to be the biggest selling album of her career. On the album’s release, it reached number three in the Billboard 200 and number two in the US R&B Charts, and was certified double platinum, selling over two million copies. In 1974, the album was nominated for a Grammy Award, but lost out to Stevie Wonder’s album Innervisions. This was just one of four Grammy Awards that Roberta had been nominated for. The other three were for a song that she would become synonymous with.
One thing that must have helped sales of the album, was the success of the title track, Killing Me Softly WIth His Song, when it was released as a single. It reached number one in the Billboard Hot 100, spending four weeks there. Roberta won three Grammy Awards in 1974 for her version of the song, winning Song of the Year, Record of the Year and Best Pop Vocal By A Female Performer. Since then, a multitude of artists have recorded Killing Me Softly WIth His Song, but it’s widely recognized that Roberta’s version is the definitive version. One of the most recent versions was by hip hop group The Fugees in 1996. In 1999, Roberta’s version of the song was inducted into the Grammy Hall of Fame, and both Rolling Stone magazine and Billboard include the Killing Me Softly in their lists of the greatest songs of all time. Killing Me Softly is also the track that opens the album, which I’ll now tell you about.
Killing Me Softly opens with the title track, and a song that regardless of what she did before or after, Roberta Flack will always be synonymous with. Written by Charles Fox and Norman Gimbel and originally recorded by Lori Lieberman in 1971, it was two years later in January 1973, that Roberta made the song a huge hit. When the track opens, straight away, you’re enveloped in the song’s beauty, both the lyrics, Roberta’s voice and of course a subtle, sympathetic arrangement. Roberta sings gently and tenderly, as multi-tracking backing vocals accompany her. Keyboards melodically play, a gentle acoustic guitar is strummed while a slow, thoughtful bass, subtle percussion and metronomic, atmospheric, drums accompany Roberta’s vocal. It’s a combination of tenderness and thoughtfulness, she delivers the lyrics with, bringing the beautiful lyrics to life. Meanwhile, guitars chime, while the bass sits at the bottom of the mix, and drums and percussion are used sparingly. The keyboards are at the heart of the arrangement, their soft melodic sound key to the success of the track. However, what made this track such a huge hit and a timeless classic is Roberta Flack’s delivery of some beautiful lyrics. Her voice and the key she sings the song in, is just perfect. Combine that with an arrangement that’s subtle and sympathetic, and you’ve the recipe for a timeless classic. It’s a brilliant way to open the album, and if the other songs are even half as good, then this will be a great album.
The song that has to follow Killing Me Softly has a lot to live up to. After all, how do you follow one of the best songs ever recorded? Here, the track chosen is Jesse, written by Janis Ian, another slow and gentle track. It opens with piano and strings drenching the arrangement in pathos and sadness. When Roberta sings the lyrics she gets across the sadness of the lyrics about someone who is missing, and how they still await their safe return years later. Her delivery is perfect, bringing the lyrics to life, so much so, that you can almost picture the scenes unfolding before your eyes. Like Killing Me Softly, the arrangement is subtle, but here, it’s stripped down to piano, strings and bass. This is effective, suiting the song and Roberta’s delivery. Overall, it’s a lovely song, beautifully sung and arranged, even though lyrics have a slight saccharine quality.
No Tears (In the End) opens with a piano grandly playing before percussion enters. Things move up a gear when funk laden, chiming guitars reverberate, and the rhythm section enter. Roberta’s voice is louder and stronger, her delivery considered and confident. Horns blazing, inject their rasping sound, while the funky guitars and rhythm section help drive the song along. Later, what sounds like a gospel influenced choir of backing vocalists unite soulfully and brilliantly. They really help lift this song, and their voices combine really well with Roberta’s. A combination of great vocal and a much fuller, joyous sounding arrangement, make this an irresistible and excellent track. By the end of this bright, uptempo sounding track, a very different side of Roberta has become apparent. Hopefully, it’s one we’ll see more of on this album. One thing that puzzles me though, is why this track was only released as a b-side of the second single Jesse, when this was a much better track?
After a much more uptempo track, Roberta drops the tempo on I’m the Girl, a song about love lost, and an old love affair, where she knew her partner loved someone else. The song is written by James Allan Shelton and features another understated arrangement from producer Joel Dorn. Again, a piano and strings combine to accompany Roberta’s strong vocal, which again is thoughtful, but tinged with sadness. Apart from Roberta singing and playing piano, the arrangement features just strings and a really subtle contribution from an upright bass. This really suits the song, allowing Roberta’s vocal and delivery of the lyrics to take centre-stage. Her delivery of the track is hugely powerful, bathed in sadness, tinged with regret at what might have been. Like other tracks, she brings the song to life, allowing the listener to imagine the scenario unfolding scene by scene. It was the perfect way to close what was the first side of the original album.
What was the first song of the second side of the original album, River, has a different sound and feel, opening with chiming guitars and rhythm section. Drums pound repetitively, their sound metronomic, controlled, before Roberta’s vocal enters. When it does, her voice is high, but always in control. Then, backing vocalists unite, accompanying her with their joyous, gospel tinged sound. This meeting of voices and styles really lifts the track, improves it. Still, the arrangement features just the guitars and rhythm section, with the drums at the forefront of the arrangement. Offering some variety are strings which sweep in, while the guitars seem to want to inject a modicum of funk into proceedings. What’s almost a wah-wah sound is straining at the leash, but is never unleashed. The same can be said of the track. Throughout it, I always expect it to break out into something joyous and beautiful, maybe Roberta interacting and feeding off the backing vocalists. Sadly this never happens, and it seems a missed opportunity. Instead, the track has a slightly flat feel and sound. Although not a bad track, it isn’t the best on the album by a long shot.
Hopefully, Conversation Love will make amends for the previous track, River. Straight away, things sound promising, when a piano, flute, string and rhythm section combine with Roberta’s voice which is deeper, richer and charismatic. The arrangement is fuller, grander, with lush strings sweeping while the piano’s contribution is subtle, while the rhythm section provide the track’s heartbeat. Waves of music rise and fall dramatically, with the strings shimmering and sweeping beautifully, responsible for this. This is a much better track, mainly because of Roberta’s beautiful, considered delivery of the lyrics, and the much fuller arrangement, which is bathed in drama and atmosphere. It’s very much a return to form for Roberta, after the slight disappointment of the previous track.
Things change quite dramatically in terms of style on When You Smile, when Roberta rolls back the years, delivering the song in a style that brings to mind ragtime and big band music. Quite simply it’s a brilliant track, which reminds you what music used to sound like many years ago. The track bursts into life with rhythm section, piano and banjo combining with Roberta’s vocal. Her delivery of the lyrics is in a dramatic, big band style, with horns serenading her. Talking of the lyrics, they’ve a lovely sentiment, and you can’t help but smile when you hear them. Quite simply, you can’t help but be seduced by the catchiness of the track, it’s totally melodic and hook laden. A combination of an excellent vocal and infectiously catchy arrangement by Joel Dorn easily make this one of the track’s highlights.
Killing Me Softly closes with a cover of a Leonard Cohen track Suzanne, which Roberta delivers dramatically and thoughtfully, against a suitably subtle arrangement. It’s an epic version of this song lasting nine and a half minutes, and is up there with Leonard Cohen’s version of the song, as the definitive version. As the track opens it’s just piano and percussion that combine before keyboards and bass then enter. All play gently, subtly and thoughtfully before Roberta’s tender and gentle vocal enters. Straight away, it’s apparent Roberta’s slowed down version is transforming the song totally. Obviously, Roberta has a very different voice than Leonard Cohen, and her much more gentle, melodic and soulful delivery of the lyrics are a polar opposite of Leonard’s gruff, rasping vocal. She seem to enliven the lyrics, so much so, that you can visualize and empathize with Suzanne’s plight. During the track, the tempo rises and falls, with the arrangement a mixture of subtle and dramatic. Both the piano and strings are responsible for increasing both the tempo and drama, while a combination of melodic keyboards, gentle chiming guitars, percussion and rhythm section all play with a subtlety. Like the arrangement, Roberta’s vocal rises dramatically, demonstrating her power and versatility, delivering the lyrics with drama, passion and soul. By the end of the track, I’ve come to the conclusion that this is my favorite version of the song. I even prefer it to Leonard Cohen’s original version. To me, the combination of Roberta’s excellent vocal and an arrangement that’s a mixture of drama and subtlety transform this song totally. Just as the album opened with a brilliant song in Killing Me Softly, Suzanne provides a brilliant ending to the album.
I’d long planned to write about Killing Me Softly, since I wrote about Donny Hathaway’s album Everything Is Everything. My reason for wanting to write about this album is that when people talk about R&B and soul music nowadays, people seem to forget about Roberta Flack. This to me is strange considering how hugely successful a career she had. Between 1969 and 2003, she had seven albums and five singles that were certified gold and three albums that were certified platinum. That demonstrates just how huge a star she was. Nowadays, people seem to remember her for two of her most successful singles The First Time I Ever Saw Your Face and Killing Me Softly. One of my reasons for writing this article was to remind people that there was much more to Roberta’s career than these two singles. Granted both are brilliant songs, with Killing Me Softly being the outstanding track on the album Killing Me Softly. On that album, Roberta demonstrates her versatility and talent as a vocalist, singing songs in different styles, including soul, jazz and R&B. Killing Me Softly is an excellent album, containing some wonderful music. Apart from Killing Me Softly, the album contains an outstanding version of Suzanne, a Leonard Cohen song, and When You Smile which features an arrangement that has its roots in ragtime and big band music. These are just some of the great tracks to be found on this album. Should you have never heard Roberta Flack’s music, why not try this, especially if you like The Fugees version of Killing Me Softly WIth His Song. If you buy this album, you’ll hear the definitive version of the track, from Roberta Flack, a hugely talented singer, songwriter and musician. Standout Tracks: Killing Me Softly WIth His Song, I’m the Girl, When You Smile and Suzanne.
ROBERTA FLACK-KILLING ME SOFTLY.
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