IRMA THOMAS-IN BETWEEN TEARS.
IRMA THOMAS-IN BETWEEN TEARS.
Irma Thomas, The Soul Queen of New Orleans career in the music business has spanned six decades, with her first single (You Can Have My Husband But) Don’t Mess With My Man on the Ron label charting back in 1960. Since then, Irma has recorded for some of the best know soul labels, including Minit, Chess and Imperial. She was a contemporary of artists like Gladys Knight, Aretha Franklin and Dionne Warwick. Unlike her contemporaries, Irma never found the mainstream success they enjoyed. Sadly, her longevity didn’t translate into commercial success, but Irma Thomas is a hugely respected artist who has released over a dozen albums and over thirty singles. One of these albums was Irma’s third album In Between Tears, released in 1973 on the Fungus record label. This album was later rereleased in 1981 on the Charly label.
In Between Tears saw Irma team up with legendary producer Swamp Dogg with Duane Alman playing guitar. Due to the hurricane in 1969 that had reeked havoc Irma’s beloved New Orleans, she had to move Los Angeles. Once there, her musical career was put on hold, with Irma working in the retail sector. That was until 1973, when Irma released the single She’ll Never Be Your Wife on the Fungus label. Her comeback was complete when she entered the studio with Swamp Dogg at the helm to record In Between Tears. When the album was released, it wasn’t a huge commercial success, but instead, is now considered a minor classic, which demonstrates just what deep soul is about. The big question is, what difference had irma’s absence from the music industry made to her music, and was there a different sound on Between Tears?
In Between Tears opens with the title track In Between Tears, a track that was written by Jerry Williams Jr. and Doris Troy. When the track opens with chiming guitars, rhythm section and piano accompanying Irma, the tempo is quick, the sound full and Irma’s voice world weary, but strong. She’s backed by sweet, tight, female backing vocalists while, the bass line is fast, strings sweep in adding a sense of sadness, while a piano and chiming guitars complete the line-up. As Irma sings the lyrics, she gets across the sense of anger, sadness and betrayal in the lyrics, about a woman whose husband has left her. Even though Irma’s been away from the music industry for four years, her ability to make a song her own, hasn’t deserted her. She sings the lyrics as if she’s lived them a thousand times, and combined with Swamp Dogg’s faster and fuller arrangement, made all the better by the addition of female backing vocalists, this is an excellent track to start the album.
She’ll Never Be Your Wife was Irma’s comeback single, after a year year absence from music. When the track opens, a piano, swirling strings, guitars and the rhythm section combine before Irma’s vocal enters. Her voice has a deep, throaty sound, perfect for the heartache and pain in the song. The tempo is slower, the sound laden with emotion, grand sweeping strings a wailing Hammond organ the latest addition to the arrangement. Again, Jerry Williams Jr song is about betrayal and a relationship breaking up, with Irma refusing to sign the divorce papers, telling her man, that his new lady will never be his wife. Like the opening track, Irma is able to get across the emotions involved in this situation perfectly, her powerful voice full of anger and bitterness at this betrayal. Backed by another great arrangement from Swamp Dogg, the album just keeps getting better. Hopefully, the next seven songs will be just as good.
It’s a dramatic combination of reverberating guitars, strings drenched in sadness, short bursts of horns and the rhythm section that accompany Irma as These Four Walls opens. Her voice is strong as she sings about how happy she is, being within these four walls, albeit, her man is still married, with a family to feed. Some day, whether in hope or belief, she says, they’ll be together. Accompanying her are female backing vocalists, whose voices soar soulfully in unison, while the arrangement is slow and dramatic, but slightly spoiled by the constant reverberating guitar. It’s a sound that you quickly tire of, and whoever was responsible, spoiled an otherwise excellent arrangement and song. However, regardless of that, Irma’s vocal is hugely emotive, laden with hope and desire.
What’s So Wrong With You Loving Me opens with a slow, spacious introduction, chiming guitars, rhythm section and piano combining before Irma’s strong emotive vocal accompanied by backing vocalists whose voices soar high. The arrangement veers between a slower style and then quickens, allowing both Irma and her band to get across the drama in the lyrics. They’re about two married people having an affair, and how they have to lead a double life, flitting around in pursuit of their forbidden love. During this track, Irma’s voice is a combination of power and passions, constantly questioning. Swamp Dogg’s arrangement is stirring and dramatic, using drums, piano and strings to get across the duplicity and danger this relationship is fraught with. Together with Irma’s vocal, it’s a potent combination resulting in an outstanding track.
It’s a very different sound and style on You’re the Dog (I Do the Barking Myself). Blazing horns, chiming guitars, piano and driving rhythm sections accompany Irma’s powerful, dynamic vocal. She sings about how she feels the roles are reversed in the relationship, how she’s keeping her man and he needs to buck his ideas up. Behind her, chiming sometimes, screaming guitars accompany the bursts of braying horns and dramatic piano while, backing vocalists accompany a now, roaring, screaming Irma, whose frustrated and angry. Although very different in style from previous tracks, this song allows Irma to demonstrate not only her versatility as a vocalists, but her hugely powerful vocal.
The style changes on Coming From Behind/I Wish Someone Would Care. It opens with a monologue from a miserable and weary, but bitter and angry Irma against a backdrop of slow rhythm section, piano and chiming guitars which are interspersed with drama and space. This monologue is about how Irma’s man has left her, how sad and miserable she is, but how she knows he’ll return, which brings out the anger and bitterness in her voice. Although this works well, it maybe goes on a bit too long. Things change when I Wish Someone Would Care starts, with the tempo still slow, the arrangement still featuring those chiming guitars, piano and slow rhythm section. Irma’s voice grows in power, becoming a roar, laden with emotion and sadness, as she almost pleads for somebody to care for her. Her voice sits atop an spacious, understated arrangement, allowing Irma’s voice to take centre-stage. This it does, with her emotive performance having much in common with the previous track. Personally, as much as I enjoyed the monologue, I much prefer the emotion ridden pleas of Irma on I Wish Someone Would Care, a truly impassioned performance.
When Turn My World Around bursts into life, it’s immediately apparent that this track is something special. From the bursts of blazing horns, guitars and driving rhythm section that combine with Irma’s weary vocal, the tempo is quick and the sound full. At a breakneck pace, a brilliant track unfolds, with Irma lost, needing love and affection, her lover having left her. Lush strings sweep in, joining backing vocalists while Swamp Dogg’s arrangement that features braying horns throughout the track, that match the passion and energy of Irma’s emotionally charged vocal. By the end of the track, Irma and Swamp Dogg have worked their magic, creating one of the album highlights.
One thing that I’m not a fan of on a soul album, are rock guitars. That to me is a no-no. Recently, I wrote a review of an Ann Peebles album that featured a track that bore the scars of this aberration. When We Won’t Be In Your way begins, I’m horrified to hear this unwelcome addition. The introduction is drama laden with wailing Hammond organ, dramatic rhythm section and soaring, screaming guitars. They give way to a brow-beaten, weary Irma, who has gathered up her kids and left her husband. Horns cut in, briefly blazing, giving way to more screaming guitars. However, although they succeed in creating a sense of the turmoil Irma’s describing, they overpower everything else. This is unfortunate as it despoils the rest of the arrangement at this point. What’s even worse is that this song features an outstanding and hugely emotive vocal from Irma. The sad thing is that this would’ve been a great song without the screaming, rock guitars.
In Between Tears closes with I’d Do It All Over You, another faster track that sees Irma forget about the sadness and heartache of a relationship, as she sings about how she’d do it all again. There’s a sense of defiance and bravado, even vulnerability in her vocal. Behind her piano, rhythm section and guitars combine to produce as fast paced arrangement, with the addition of blazing horns the perfect finishing touch. Together, they combine to create a fast, furious and fulsome backdrop for Irma’s now, roaring, screaming vocal, which is laden with defiance and bravado. Such an excellent, energetic and dynamic track seems the perfect way to end this album, as anything else would seem like second best.
After four years away from the recording studio, Irma Thomas had lost none of her enthusiasm, energy and talent. On In Between Tears she delivers each song with a mixture of emotions. One minute she’s heartbroken and despairing, the next, she’s feisty, full of defiance and bravado. During some songs, there’s a world weary sound to her voice, as if she’s lived a dozen lives, when in reality, she was only thirty-two. This demonstrates one of Irma’s talents, the ability to bring the story behind the lyrics to life. When she does this, she becomes a masterful storyteller. Of the nine songs on the album Swamp Dogg, aka Jerry Williams Jr. wrote of cowrote eight of them. Not only that, but he produced the album as well. With a crack band behind her, the result was an album that deserved to do so much better. Unlike many albums, this album is long on quality and short on filler. Sadly, the album wasn’t a huge commercial success. It has been released several times since then by various labels, but in my opinion, the best way to buy it is as part of a compilation released by Kent Soul in 2008. It features the album plus the rest of Irma’s 1970s recordings, in total nineteen great tracks. This allows you to hear some brilliant music from The Soul Queen of New Orleans. Standout Tracks: In Between Tears, She’ll Never Be Your Wife, These Four Walls and Turn My World Around.
IRMA THOMAS-IN BETWEEN TEARS.
ANITA BAKER-COMPOSITIONS.
ANITA BAKER-COMPOSITIONS.
Some time ago, I wrote an article of Anita Baker’s seminal 1986 album Rapture, one of my favorite soul albums of the eighties. I’ve long been a fan of Anita’s music, and have for some time, been meaning to write another article on Anita’s music. Today, while I was listening to a number of albums, I came across my copy of Anita’s fourth album Compositions. After listening to what is another of my favorite Anita Baker albums, I decided that this was a good album to write about, because it sees a slight change in Anita’s music, when a jazz influence was introduced to her music. This didn’t affect her popularity though.
Like Rapture and Giving You the Best That I Got, it was produced by Michael J. Powell, who formed the Detroit based soul group Chapter 8, which Anita was the lead vocalist for. He had produced Anita’s two previous platinum certified album. Compositions was released back in June 1990, and featured four songs that Anita either wrote or co-wrote. The album reached number five in the US Billboard 200, was certified platinum and won Anita a Grammy Award for the Best Female R&B Performance at the 1991 Grammy Awards. Unlike the album, the singles released from the album weren’t as successful.Talk To Me was the first single released from the album in 1990. Although it reached number four in the US R&B Charts, it only reached number forty-four in the US Billboard 100. Soul Inspiration, the second single of 1990, only reached sixteen in the US R&B Charts and seventy-two in the US Billboard 100. When Fairy Tales was released as the third single in 1991, it reached number eight in the US R&B Charts. Although the singles failed to match the success of Compositions, Anita Baker’s career was going from strength to strength. After just four solo albums, Anita was one of the biggest soul singers of the time. On Compositions, Anita demonstrated not only her talents as a vocalist, but as a songwriter, writing four of the songs. It’s that album that I’ll now tell you about.
Compositions opens with Talk To Me which Anita cowrote with Michael Powell and Vernon Falls. It’s a piano led track, with the rhythm section, percussion and guitars combining with keyboards before Anita’s thoughtful vocal enters. Her vocal is slow, as she accentuates notes while she asks her partner to talk to her, share his problems and worries. As the track progresses, her alto vocal grows in power and emotion, while a lovely piano led arrangement unfolds. Greg Phillinganes on piano and the rest of this tight band take a welcome diversion into jazz territory, while Anita give’s an outstanding, emotive vocal. If the rest of the album is as good as Talk To Me then this is going to be a magical musical journey.
Perfect Love Affair sees the piano add atmosphere and brief, bursts of drama to the introduction while the rhythm section, percussion and guitars accompany Anita on this slow track. Immediately, this proves to be a fitting predecessor to Talk To Me, with Anita turning back the clock, remembering when she met her partner, and they embarked on their perfect love affair. Meanwhile, keyboards have joined the track, which has the piano at the heart of sound, ably assisted by percussion and the rhythm section. There’s a lushness to this slow, quite beautiful track. Anita’s voice is laden with emotion and passion, with backing vocalists accompanying her later in the track. Like the opening track, both Anita and her band combine brilliantly on a track she cowrote with Joel Davis. Although quite different from Rapture, it still features the trademark vocals of Anita Baker.
Whatever It Takes To Make You Happy is a track that slowly, reveals wave after wave of beautiful music, which as the track unfolds, just gets so much better. During this track, Anita demonstrates her vocal range, delivering the lyrics with a combination of power and emotion. Behind her, the arrangement features a combination slow rhythm section, chiming guitars, piano and keyboards. Together, the play slowly and thoughtfully, with the piano, keyboards and chiming guitars at the heart of arrangement’s success. Guitars and keyboards melodically combine, their sounds reverberating behind Anita’s powerful vocal. When Michael J. Powell’s arrangement is combined with Anita’s vocal, this is a potent combination, resulting in yet another great track from Anita.
Soul Inspiration was written by Grammy Award winning songwriter Terry Britten and Graham Lyle, of Gallagher and Lyle. Chiming guitars, keyboards, piano and rhythm section combine before Anita’s quieter, much more subtle vocal enters. Against a sweeping backdrop of piano, rhythm section, keyboards and guitars, Anita’s voice grows in power and strength. She accentuates notes, while the arrangement grows, becoming grand and dramatic, quite similar to certain songs on Rapture, albeit Anita’s style has a slight jazz influence. Adding the finishing touches to one of the album’s highlights are female backing vocalists. Their much more restrained voices provide a contrast to Anita’s powerful vocal, while bursts of horns cut in, accompanying the piano as the track reaches its impressive crescendo.
There’s quite a pronounced jazz influence on Lonely. This is apparent pretty much from the start of the track. Compositions was an album that saw Anita’s music become jazz tinged. However, this didn’t impact upon sales, with the album being certified platinum in the US for sales over one million copies. Piano and rhythm section combine with Anita’s jazz tinged vocal. Keyboards and percussion join with piano and rhythm section as Anita’s voice grows in power, before the piano leads the track into a swinging slice of jazz. This very different style of vocal and arrangement works well, although it’s quite a departure from her usual style. Along with Anita, pianist Greg Phillinganes steals the show. His piano playing is exquisite and both he and Anita demonstrate both their talent of versatility on Lonely.
When No One To Blame opens, the introduction reminds my of the introduction to No One In the World, one of the best tracks on Rapture. After that, it’s a quite different track, lacking dynamism of No One In the World. Having said that, it isn’t a bad track. Far from it. It’s just the introduction means comparisons will be made. This is a much slower and thoughtful track, with just a hint of jazz shining through. A piano and rhythm section combine before Anita’s subtle vocal enters. Percussion, keyboards and guitars join the mix, while Anita’s vocal is quite different from previous tracks, much more restrained. It grows in power slightly, but is still considered as she sings about being in love and trying to resist the feeling. This isn’t possible, as she’s almost infatuated and is translated into her vocal. It grows in power as she gets across the hopelessness she’s experiencing, trying to fight the feeling. The best way to describe this track is a slow burner, one of these tracks that takes a while to unfold and reveal itself. When it does, it becomes a good song, laden with emotion and feeling, albeit not as good as the previous five tracks.
A combination of percussion, piano, rhythm section, keyboards and guitars accompany Anita on the floaty More Than You Know. It’s a much better track than the previous track, one with a bigger, fuller sound and much more dynamic vocal from Anita. Space is left in the track however, which combines elements of Rapture era Anita Baker with shades of jazz. This isn’t surprising considering Earl Klugh guests on guitar, playing a lovely, tender solo during the track. Meanwhile, Anita’s voice is loud and powerful, making good use of her wide range. More Than You Know is an excellent track, one that reminds me of the brilliance of Anita’s best ever albumRapture.
Love You To the Letter is another track where the jazz influence is immediately noticeable. This is the case when a piano plays a jazz influenced introduction, accompanied by drums played with brushes in a jazz style. The tempo is slow, the arrangement spacious, while Anita’s vocal has a tenderness. Keyboards and a bass join the arrangement which is a lovely laid back slice of jazzy music, which is hugely sympathetic to some beautiful lyrics about the joy and beauty of being in love. It’s an epic jazz workout lasting nearly seven and a half tender minutes, which just fly by as you’re in raptures listening to Anita’s tender and beautiful vocal.
Compositions closes with Fairy Tales co-written by Anita with Michael J. Powell and Vernon Falls. After the tender, beauty of the previous track, Fairy Tales has a lot to live up to. The question is, can it manage to do so? When the rhythm section, keyboards, guitars, percussion and piano combine with Anita’s vocal things sound promising. Quickly, Anita’s vocal grows in power as the tempo quickens, and a melodic, sometimes dramatic jazz tinged arrangement unfolds. Anita turns back the clock remembering the fairy tales her mother told her, how her future would be bright, whereas reality was far from that. Her dream never came true, it was a case of paradise lost. Anita’s voice sounds disappointed and full of sadness, bitterness and regret. During the track the piano takes the track into a length jazz drenched musical journey which is very different from the rest of the album. It’s a catchy, virtuoso performance from Greg Phillinganes, with Anita seemingly confident that he won’t steal the show. With playing like that he very nearly does, but in the end, Anita is very definitely the star of this excellent track which matches the expectations of the previous track nicely.
Although Compositions was quite different from Rapture, it’s still an excellent album, one of my favorite Anita Baker albums. Nothing will ever surpass the seminal Rapture, but Compositions comes a worthy second. On this album, there was a jazz influence in Anita’s music, both in her vocals and in the arrangements. This wasn’t overdone, and is best described as jazz tinged. There’s still the usual soulful side of Anita’s music, plus the energy and dynamism that I’ve come to expect in her voice. During this album, she delivers the nine songs with a combination of emotion, power, passion and tenderness. Of the nine songs on the album, I’d say that eight are of the highest standard, with When No One To Blame a slow burner, not quite as good as the rest. The albums features some really talented musicians with pianist Greg Phillinganes one of the stars of the album. With Michael J. Powell producing this album like he had each of her solo albums, this was a recipe for another hugely successful album. This was the case, with the album being certified platinum after selling over one million copies. If you’ve never heard this album, this is one of Anita Baker’s best albums. Although twenty-one years old, the album has a timeless quality like all good music has. It’s well worth buying and together with Rapture, are the perfect introduction to Anita Baker’s brilliant music. Standout Tracks: Talk To Me, Whatever It Takes To Make You Happy, Soul Inspiration and Love You To the Letter.
ANITA BAKER-COMPOSITIONS.
JIMMY HUGHES-WHY NOT TONIGHT?
JIMMY HUGHES-WHY NOT TONIGHT?
Between 1962 and 1970, Jimmy Hughes only released three albums before retiring from music and withdrawing from public life. Why I hear you ask? The answer to that is quite simple, Jimmy became disillusioned that his music wasn’t being sufficiently promoted by Volt Records’ boss Al Bell, as well of becoming tired of touring and being away from his family. Instead, he took a job working for the US government making parts for nuclear power plants. After that, his only involvement in music was singing in his church choir. Sadly, Jimmy Hughes’ music never found the success of his cousin Percy Sledge. However, the three albums Jimmy Hughes recorded feature some excellent music. These albums were recorded for three of the best known record labels of the sixties Vee-Jay, Atco and Volt.
Someone who played an important part in Jimmy Hughes’ career was record producer Rick Hall of Fame Records. in 1962, Jimmy had auditioned for Rick Hall and he was so impressed that he recorded Jimmy’s debut single I’m Qualified, a track Rick had co-written with Quin Ivy. Before this, Jimmy’s only musical experience had been singing in the gospel quartet The Singing Clouds. This debut single was released on the Philadelphia label Guyden. After the single was recorded, Jimmy returned to his day job in a rubber factory,
Two years later, Jimmy and Rick Hall’s path’s crossed again, when Jimmy returned to Rick with a ballad he’d written Steal Away. The song based on the gospel song Steal Away To Jesus, was recorded in just one take. Little did Jimmy and Rick realize it, but this one song would help define the Muscle Shoals sound that become so hugely popular and famous. After recording the follow-up single Try Me, which reached number sixty-five in the US R&B Charts, an album entitled Steal Away was recorded. It was released in 1965 on the Vee-Jay label. On that album, are some of the first songs penned by Dan Penn and Spooner Oldham.
After the release of his debut album, Jimmy toured with some of the great names in soul music, including Sam Cooke, Bobby Womack and Jackie Wilson. When Jimmy’s next few singles failed to build on the success of his first two singles, Jimmy was sidelined whilst Vee-Jay focused on acts like The Four Seasons and The Beatles. On the back of Jimmy’s cousin Percy Sledge’s successful classic single When A Man Loves A Woman, Rick Hall managed to get Jimmy a new deal for his label to be distributed by Atlantic. This coincided with an upturn in Jimmy’s fortunes. His next three singles on Fame, Neighbor, Neighbor reached number four in the US R&B Charts and sixty-five in the US R&B Charts in 1966, while I Worship the Ground You Walk On reached number twenty-five in the US Billboard 100. In 1967, Why Not Tonight reached number five in the US R&B Charts and ninety in the US Billboard 100. Jimmy’s next single It Ain’t What You Got reached number forty-three in the US Billboard 100. It was 1967 that the album this article is about Why Not Tonight was released. After that, Jimmy only released one further album.
Jimmy’s third and final album Something Special was released on Volt Records in 1969. By now, Jimmy was disillusioned, having become fed-up being away from his family on tour. What didn’t help was his belief that Al Bell, who produced his album, hadn’t promoted his album sufficiently. He felt that other acts were being promoted much better than he was. His quote was he felt like the “low man on the totem pole,” described his feelings perfectly. After that, Jimmy decided enough was enough, and he returned to “civilian life,” after eight years in the music business. Although Jimmy Hughes career may not have had the longevity of his contemporaries, he produced three great albums. The second of those was Why Not Tonight, which I’ll now tell you about.
Why Not Tonight opens with the title track Why Not Tonight which opens with a combination of slow guitars, organ and rhythm section before Jimmy’s vocal enters. There’s a sense of sadness and longing in his voice as he asks how long will his girlfriend keep him waiting. Adding to the deeply sad and thoughtful sound are female backing vocalists whose voices rise in unison soulfully, against a slow, emotive arrangement that’s made up of piano, guitars and rhythm section. It’s a lovely slow song, full of emotion and longing, thanks to Jimmy’s vocal and the slow, spartan arrangement.
The tempo increases with I’m A Man of Action written by Jimmy himself. Rasping horns combine with an organ, rhythm section and guitars, while Jimmy’s voice is strong and joyful. Behind him, the arrangement is quicker and fuller, with bursts of braying horns, a driving rhythm section adding drama, guitars and a wailing Hammond organ completing the chugging arrangement. Together, they combine to produce a faster, uptempo slice of sixties soul, featuring a joyous vocal from Jimmy and an equally, joyful arrangement, made all the better with the addition of rasping horns and punchy rhythm section.
I Worship the Ground You Walk On sees the tempo drop again, with a dramatic, emotive arrangement accompanying Jimmy’s deeply moving, besotted vocal. Rasping horns, piano, chiming and guitars combine with a slow rhythm section that provides the track’s heartbeat. The arrangement is laden with drama, thanks to short, sharp bursts of horns sitting atop the arrangement while Jimmy’s passionate, heart-rending vocal demonstrates how he could throw himself into a song, and in the process, bring the track to life. What really helps his vocal is Rick Hall’s arrangement. A slower tempo and looser, style with space left within the arrangement works perfectly. Add to that, Jimmy’s vocal and the result is a hugely moving track.
Neighbor, Neighbor was one of Jimmy’s hit singles reaching number four in the US R&B Charts and sixty-five in the US R&B Charts in 1966. There’s a real bluesy sound and feel to this dance-floor friendly track. The track has an old-fashioned sound featuring an upright bass, blazing horns, chiming guitars and drums accompanying Jimmy’s quicker swinging vocal. It’s a track that swings along, horns at the heart of the track’s success and Jimmy telling his neighbor that what goes on behind his door is his business, nobody else’s. Of the tracks on the album so far, this is easily the best, thanks to the tempo, style and lovely old-fashioned sounding arrangement.
Slow spacey drums, tambourine and guitars combine with Jimmy’s vocal, which is accompanied by backing vocalists at the start of It Was Nice. Their addition is a masterstroke, and it’s almost call and response they sing with Jimmy. Behind them, the tempo is slow, with a brief burst of horn cutting in, while guitars, rhythm section and tambourine complete the line-up. Jimmy meanwhile, sings about being deeply in love, almost infatuated by his lover. As a result, there’s a sense of bliss and joy in his vocal. This is the second of the three songs written by Jimmy on the album, and originally, it was the b-side of Jimmy’s 1965 single Goodbye My Lover Goodbye. Although maybe not single material, it’s a little gem of a track, with another joyous vocal from Jimmy and sympathetic arrangement by producer Rick Hall.
The second side of the original album is another Dan Penn and Spooner Oldham penned track, Slippin’ Around With You. This album was one of the first to feature songs by two men who’d become one of the most successful songwriting partnerships, Penn and Oldham. One of Rick Hall’s talents was being able gather around him a group of hugely talented writers and musicians. They were the latest writers to arrive at Fame and provided four tracks for Why Not Tonight. This is a quicker track, with flourishes of piano, bursts of blazing horns, driving rhythm section and female backing vocalists uniting soulfully before Jimmy’s quick, powerful and emotive vocal enters. During the track, the tempo is quick, space is at a premium in the arrangement which drives along a melange of horns, piano guitars and rhythm section accompanying Jimmy jubilant vocal. Although the track has the perfect Northern Soul tempo, it was his another Fame artists Art Freeman, whose version that gained popularity of the Northern Soul scene. However, Jimmy’s jubilant version would still go down well on many dance-floors today.
Bells chime as Midnight Affair dramatically and slowly reveals itself. It’s a tale of late night assignations sung and played slowly, with a piano, brief bursts of horns, chiming guitars, organ and slow, drama laden rhythm section that accompany Jimmy’s pleading, desperate vocal. Like the previous track, it’s a Penn and Oldham song, although a very different one. Of the two, I much prefer the drama and almost desperation in Jimmy’s vocal, set against a slow, dramatic and moody arrangement. It’s a track with a strong narrative that Jimmy brings brilliantly to life.
It’s A Good Thing is the third in trio of Penn and Oldham tracks on side two. The track had been influenced by the music of The Impressions, whose music was hugely popular at this time. However, Jimmy pulls out a great vocal on this track, which is accompanied by an equally great Rick Hall arrangement. Backing vocalists open the track, bringing to mind the sound of The Impressions. They give way to bursts of horns, rhythm section and guitar, before Jimmy’s vocal. His voice is full of emotion as he sings about love, and wanting to be in love with a woman who doesn’t love him. Behind him, dramatic horns, cut in, while the backing vocalists almost serenade Jimmy, their voices the perfect accompaniment to his. Although people have said the song was influenced by The Impressions, I prefer to say that Jimmy was paying homage to them, on this excellent Penn and Oldham track.
Jimmy the lover man enters stage left on the far from subtle, somewhat salacious even concupiscent I’m the Loving Physician. Quick, soaring guitars, rhythm section and short stabs of horns accompany a boastful vocal from Jimmy. He’s joined by swooping female backing vocalists, who accompany Jimmy’s quick, confident vocal, while guitars and rhythm section drive the arrangement along. To me, it’s a good enough track, but lacks the lyrics lack the quality of the previous three tracks on side two. Maybe they’ve a lot to live up to, having been penned by Penn and Oldham. However, both the vocal and arrangement are good, it’s just the lyrics let the side down somewhat.
Why Not Tonight closes with I Stand Accused written by Jerry and William Butler with Curtis Mayfield. This is a trio of big names collaborating so much is expected of this composition. It doesn’t disappoint either. From the slow, emotive introduction that sees backing vocalists, a wailing Hammond organ, chiming guitars and the rhythm section accompany one of Jimmy’s best vocals on the album. It’s laden with emotion and feeling, with Jimmy’s sadness and regret almost tangible, because he loves a woman whose in love with another man. Behind him, Rick Hall’s arrangement is perfect for Jimmy’s vocal. Like the vocal, it has sound full of sadness and emotion because of the combination of the Hammond organ, chiming guitars and rhythm section. Add in the backing vocalists, and you’ve the complete package, the perfect backdrop for Jimmy’s vocal. This is a hugely emotional and quite beautiful track, one of the album’s highlights and perfect to close the album with.
Listening to Why Not Tonight?, it seems incredible that the album wasn’t a much bigger success. Jimmy Hughes has an excellent voice, and is one of the unsung heroes of soul music. His music deserved to be heard by a much wider audience, and it’s understandable that having recorded such an excellent album and failing to receive the commercial success it deserved, he became disillusioned by the music industry. On Why Not Tonight he had everything going for him. Great songs written by hugely talented songwriters like Penn and Oldham and the Butlers, Jerry and William with Curtis Mayfield, plus two he wrote himself, He was backed by some of the best musicians of the time, the Muscle Shoals rhythm section and had Rick Hall one of the best producers, producing the album. Despite all of this, the album wasn’t a huge success. After this album, Jimmy recorded just one more album Something Special, released on Volt. It wasn’t a commercial success, and wasn’t helped by what Jimmy saw as a lack of promotion, Jimmy quit the music industry. By then, he was tired of constant touring and being away from his family. Instead, he returned to “civilian life,” turning his back on music, apart from in the church. This was the music industry’s loss. That day, music lost a hugely talented singer and songwriter, someone who had so much more to offer musically. Thankfully, all three of Jimmy’s albums are now available on Kent Soul. Why Not Tonight can be found on Why Not Tonight? The Fame Recordings Volume 2. Steal Away The Early Fame Recordings is the first in the trio of rereleases, with Something Extra Special The Complete Recordings featuring Jimmy’s final album and the rest of the music he recorded for Volt. As usual, Kent have produced three excellent compilations, which allow those who want to hear Jimmy’s music either again, or for the first time, the opportunity to do so. So go on, treat yourself to three CDs’ of music from one of soul music’s unsung heroes. Standout Tracks: Why Not Tonight, I Worship the Ground You Walk On, It’s A Good Thing and I Stand Accused.
JIMMY HUGHES-WHY NOT TONIGHT?
A TASTE OF HONEY-A TASTE OF HONEY.
A TASTE OF HONEY-A TASTE OF HONEY.
Not long ago, I was listening to a number of compilations of disco classics released by Harmless Records. Between 2010 and 2011 they released a total of twelve compilations of disco tracks. This was the perfect opportunity to reacquaint myself with some of the music I’d grown up listening to. On the albums were a number of well known and some less well known tracks. One of the many tracks that I knew were A Taste of Honey’s huge hit single Boogie Oogie Oogie, one of the most infectiously catchy songs you’ll ever hear. It was on the excellent compilation Disco Discharge-Disco Ladies, which features twenty-one 12 inch singles over two discs. A few weeks later, I was looking for a couple of albums that I wanted when I noticed that A Taste of Honey’s debut album A Taste of Honey had been remastered and rereleased. Back in 1978 when the album was released, I never bought the album, but decided to take the plunge and buy it. Would the rest of the album be as good as the hook-laden Boogie Oogie Oogie?
When I received the album and started reading the credits, I noticed that Fonce and Larry Mizell had produced the album for Sky High Productions. That was a good omen, as the Mizell brothers had produced many big names. Their previous work included Donald Byrd, The Jackson 5, Bobbi Humphrey, The Blackbyrds and Johnnie Hammond. They’d produced albums for some of the biggest labels in music, Blue Note, Motown, Epic and Prestige. Looking again at the album credits I noticed Wade Marcus had arranged the strings on the album. He’d previously produced Stevie Wonder, Gary Bartz, Donald Byrd and The Emotions. Clearly, an experienced production team had been assembled for A Taste of Honey’s debut album.
Although A Taste of Honey had been formed in 1971 by co-vocalist and bassist Janice-Marie Johnson, Carlita Dorhan co-vocalist, Perry Kibble keyboards and drummer Donald Ray Johnson. Over the next few years, the line-up changed a few times, with Gregory Walker joining as lead vocalist. Unfortunately, he decided to leave just before Boogie Oogie Oogie was released. After honing their sound for six years, the group were signed by Capitol Records. It was in a club that the Mizell brothers spotted the group, and convinced Capitol to audition them. This they did, with the group signing a five album contract. When it came to recording their debut album Taste of Honey, the Mizell brothers were chosen to produce it.
Taste of Honey was released in 1978 and featured the huge hit Boogie Oogie Oogie. It had reached number one in the US Billboard 100, the US R&B Charts and the US Dance Charts. This was almost unheard of in the US, reaching number one in the three major charts. Meanwhile, the single was a huge hit in the UK in 1978, reaching number three. Part of the success of the single was it had crossover appeal, attracting a wide range of record buyers. The success of Boogie Oogie Oogie must have helped sales of the album Taste of Honey. it reached number six in the US Billboard 200 and number two in the US R&B Charts. This was the group’s most successful studio album.
Another Taste released in 1979 failed to match the success of their debut album, reaching just fifty-nine in the US Billboard 200 and twenty-six in the US R&B Charts. Their third album Twice As Sweet, released in 1980, did much better, reaching number thirty-six in the US Billboard 200 and twelve in the US R&B Charts. It featured the single Sukiyaki which reached number three in the US Billboard 100 and number one in the US R&B Charts. Their final album Ladies of the Eighties saw their popularity slip again reaching number seventy-three in the US Billboard 200 and fourteen in the US R&B Charts. It seemed that they couldn’t quite replicate the success of Boogie Oogie Oogie and their debut album A Taste of Honey, which I’ll now tell you about.
A Taste of Honey opens with Boogie Oogie Oogie a bona fida disco classic with the most uplifting introduction you’ll ever hear. It’s all there a quick, funky, buzzing bass, chiming, shimmery, guitars, bouncy drums, percussion and keyboards combining before the sweetest of vocals enters. After that, it’s just a joyous five and a half minutes of music. The Mizell brothers arrangement heads of into a funky workout with one of the best bass lines you’ll hear outside a Chic track. Occasional screaming guitars, handclaps, sweet backing vocals, the funkiest of rhythm sections and keyboards to produce a classic disco track, laden with hooks and the most joyous sound. Even thirty-three years later, it’s timeless classic of the disco genre.
This Love of Ours is the polar opposite of the previous track. It’s a lush sounding love song, full of swirling strings that are responsible for a somewhat dramatic sound. This track allows the group to demonstrate that they’re far from one trick ponies, just able to produce disco classics. Drums, dramatic, swirling strings and a slow bass combine before Hazel Payne’s lead vocal enters. It too, is slow, but thoughtful and emotive. From there on, both the arrangement and vocal just get better, with chiming guitars joining the arrangement as the sweet vocal becomes full of emotion and heartache. In the background, the strings are at the heart of the arrangement, as drums inject bursts of drama, while guitars chime, combining perfectly with the strings. Although very different from the opening track, it’s a very beautiful song thanks to the vocal and arrangement.
As Distant opens, a dirty, funky bass combines with flourishes of piano, and drums creating a dramatic, funky introduction which promises much, but does can it deliver. A burst of guitar signals the arrival of the vocals. They’re subtle, lush even, and are accompanied by sweeping strings and the still funk influenced combination of rhythm section, percussion and guitars. The arrangement meanders along, with strings at it’s heart, while the vocal drops in and out of the mix. Occasionally, a funky laden breakdown occurs, but quickly, things return to a much more understated sound. Later, the vocal becomes stronger, becoming a cross between a snarl and roar. Towards the end of the track, the quality of sound isn’t the best, becoming fuzzy. That sounds like a problem with the remastering. Did the track deliver? It did, although what sounded like a delicious slice of funk, ended up just to have a drizzle of funk, in among the sweeping, lush sounding music.
When World Spin begins, it’s a bold sound that eventually unveils itself, with the rhythm section punchy, guitars chiming and strings swirling and sweeping dramatically while a considered, almost deliberate vocal sits atop the arrangement. It’s quickly apparent that the Mizell brothers have gone for a big production here, with the sound much fuller, impressive and with an almost grandiose drama. By comparison, the vocal is slightly weak, compared to the previous track and the quality of the arrangement. Part of the problems seems the style of vocal, which is quite deliberate. Midway through the track, the style changes, with a funky breakdown, giving way to some jazz influenced chiming guitars. Later, the vocal improves, and is much better. However, like the previous track, the sound quality sounds blurred and jumpy towards the end of the track. Definitely a remastering problem. Overall, the arrangement is excellent as you’d expect from the Mizell brothers, with the vocal improving as the track progresses.
The third single released from the album was Disco Dancin’ which only released number sixty-nine in the US R&B Charts. Listening to the track, that seems fair. Straight away, it’s obvious that this track lacks the quality of the previous ones. This is the case with the lyrics. They’re slightly stilted, wooden even, and there’s an awkwardness about the arrangement. It sounds like a funk based track trying to dress up as a disco track, and doesn’t work. This is a pity, because the standard of playing on the track is excellent, it’s just musicians can only play what they’re told to play. When the track opens, a hugely funky bass and excitable vocal combine, before the rhythm section, keyboards and guitars combine with the vocal. After that, the hugely repetitive, rather poor lyrics are sung against a backdrop of funk influenced rhythm section, guitars and a proliferation of keyboards and synths that don’t gel well, sounding awkward. Without wanting to sound repetitive, the sound quality isn’t great at the end of the track, again, becoming fuzzy. Overall, a disappointing track.
Hopefully, You will make up for the previous poor track. When it opens with a funk influenced introduction that gives way to a track that has Chic as its influence. However, A Taste of Honey don’t have Niles and Bernard. It’s not a bad song, but it’s not one of their best either. After the combination of rhythm section, keyboards and guitars gives way to the vocal which is delivered in short, sharp bursts, against a backdrop that’s drenched in funk thanks to the reliance on the rhythm section and guitars. Occasionally, the vocal sounds sweeter, with almost a lush sound, but returns to its previous style. What the group appear to be trying to achieve is a funk based track that can masquerade as a disco track. It doesn’t quite work, even when the keyboards play a bigger part and the arrangement starts to open up. Although better than the previous track, it isn’t as good as the opening four tracks. This makes me think of the Odyssey album I reviewed recently, when side one was far better than side two. History does have a tendency of repeating itself, is a very true statement.
If We Loved is a slower ballad, with swirling, dramatic strings, piano, keyboards and rhythm section combining with chiming guitars as backing vocals enter. They give way to Hazel Payne’s lead vocal which is slow, emotion and passionate as she sings about, being in love and how she could make her lover happy. Backing vocalists sing tight harmonies, subtly, while the slow arrangement meanders along with the rhythm section keeping the tempo slow. Guitars chime, while a saxophone solo soars above the arrangement and strings sweep gently in. This is a much better song, with the vocal perfect for the lyrics and the lovely slow, sometimes dramatic, arrangement. Maybe a couple of slower songs would’ve been preferable to a couple of the faux disco tracks.
Following on from the lovely If We Loved is another slower track, Sky High, which has a spacious arrangement, with strings playing an important part in the arrangement. Hazel Payne sings the lead vocal, her voice perfect for this type of track. When the track opens, chiming guitars and dramatic swirling strings give way to Hazel’s lovely sweet vocal. The rhythm section, percussion and sweeping strings combine with the chiming guitars, providing a backdrop for Hazel’s vocal. During the track, subtle changes in tempo and short, sharp bursts of drama from the drums and strings add variety, while the chiming guitars and strings combine beautifully with the vocal. It seems that like the previous track, Sky High sees a return to form for A Taste of Honey. This is thanks to a gorgeous vocal and equally beautiful arrangement from the Mizell brothers.
A Taste of Honey closes with Your In Good Hands which was the second single from the album, which failed to chart. This is a pity as it’s a lovely slow track, with flourishes of drama and another quality vocal from Hazel. It’s chiming guitars and swirling strings that opens the track before Hazel’s slow, emotive and passionate vocal enters. The track has an old fashioned arrangement that features sweeping and swirling strings, chiming shimmering, guitars and tight backing vocals, set against a slow arrangement which features a slow rhythm section, piano and guitars. During the track the lushest of strings feature as does an excellent piano solo. Together with one of the best vocals on the album, this is the perfect way to end the album, with one of the best tracks.
Before I bought the recently remastered copy of A Taste of Honey, I’d only heard a few tracks by the group. Obviously, I was aware of the disco classic Boogie Ooogie Oogie and a few other tracks, but I didn’t really know what to expect. After the first five tracks, I was pleasantly surprised, having enjoyed each track with was of a high standard. Then when I heard Disco Dancin’ and You, I wondered if it was all downhill from here after two pretty poor tracks. Thankfully, the final three tracks made up for these two tracks. Bringing the Mizell brothers onboard to produce the album was a masterstroke. Their experience in production lead to to a really polished sound on the album, with their arrangements of the highest quality. A less experienced producer might not have achieved such a polished sound and as successful an album. With them at the helm, A Taste of Honey had both a hugely successful single in Boogie Oogie Oogie and an equally successful album in A Taste of Honey.
However, one thing that disappointed me was the sound quality. Towards the end of many of the tracks the sound became fuzzy and thick, and wasn’t of the quality of the rest of the tracks. This is surprising as the album has just been recently remastered. I listened to the album on a high end stereo and headphones and the problem was quite noticeable. It slightly spoiled my listening and it always seemed to happen at the same point, towards the end of the track. Apart from that, the rereleased album on BBR Records is a good package, featuring three bonus tracks, two of Boogie Ooogie Oogie and one of my nemesis Disco Dancin’. Overall, I enjoyed A Taste of Honey, and think the album is well worth a listen, as seven of the nine tracks are really good. My only caveat is the sound quality. If like me, you’re someone who pays close attention to remastering and technical issues, then it may annoy you somewhat. However, surely that’s worth living with to hear the joyous disco classic Boogie Ooogie Oogie again. Standout Tracks: Boogie Ooogie Oogie, This Love of Ours, If We Loved and Your In Good Hands.
A TASTE OF HONEY-A TASTE OF HONEY.
THE THREE DEGREES-THE DEGREES.
THE THREE DEGREES-THE DEGREES.
Previously, I’ve written about The Three Degrees before, an article about their fourth album International, which was their second and final album on Philadelphia International Records. They only recorded two albums on Philadelphia International Records, but these two albums were the ones that launched their careers, turning them into a hugely popular and commercially successful international act. During this period, the line-up of The Three Degrees was the classic lineup of Sheila Ferguson, Valerie Holiday and Fayette Pinkney. This was the lineup of the group between 1967 and 1976. After that, Fayette Pinkney, one of the original members of the group left in 1976. So, The Three Degrees and International, feature what many people consider the classic lineup of the group and some of the best music they ever recorded.
The Three Degrees signed to Philadelphia International Records after their contract with their previous record label Roulette had expired. Whilst on Roulette, the group had released two albums Maybe in 1970 and So Much Love in 1972. Neither albums were hugely successful, with Maybe reaching 139 in the US Billboard 200 and sixteen in the US R&B Charts, So Much Love failed to even enter the US Billboard 200 and only reached number fifty-six in the US R&B Charts. Their most successful single so far was Maybe, released in 1970, which reached number four in the US R&B Charts and number twenty-nine in the US Billboard 100. However, once they signed to Philadelphia International Records and with Gamble and Huff now guiding their careers, all this would soon change. For the next three years, and two albums, their world would change immeasurably.
Having signed for Philadelphia International Records in 1972, The Three Degrees first album for their new label was released in 1973. On its release, it reached number twenty-eight in the US Billboard 200 and thirty-three in the US R&B Charts. In the UK the album fared even better, reaching number twelve. Four singles were released from the album, with the Gamble and Huff penned When Will I See You Again being the most successful, reaching number two in the US Billboard 100 and number four in the US R&B Charts. Meanwhile, it reached number one in the UK.
The other three singles released from the album didn’t do quite as well. Dirty Ol’ Man reached number fifty-eight in the US R&B Charts, but reached number one in the Netherlands. Year of Decision reached number seventy-three in the US R&B Charts, and number thirteen in the UK. The final single released from the album I Didn’t Know, reached number eighteen in the US R&B Charts.
At this time, The Three Degrees had provided the vocals for two hit singles with Philadelphia International Records’ house-band M.F.S.B. TSOP (The Sound of Philadelphia) reached number one in the in the US Billboard 100 and US R&B Charts. In the UK it only reached number twenty-two, Their second collaboration with M.F.S.B. Love Is the Message, reached eighty-five in the US Billboard 100 and forty-two in the US R&B Charts. So two years after signing for Philadelphia International Records, The Three Degrees had both a number one and number two single in the US, and a hugely successful album The Three Degrees. Their career had been transformed, helping make them one of the most successful groups Philadelphia International Records. It’s that album The Three Degrees, that I’ll now tell you about.
The Three Degrees opens with Dirty Ol’ Man, a Gamble and Huff track, which reached number one in the Netherlands. Unfortunately, the single didn’t do so well elsewhere, reaching just number fifty-eight in the US R&B Charts. When the track opens the tempo is quick, and the arrangement has a full sound. Swirling, lush strings, a punchy rhythm section and chiming guitars at the heart of the sound while Sheila sings about a married man who has problems keeping his hands to himself. Her voice is loud and scathing, as she sings the lyrics, accompanied by Valerie and Fayette whose backing vocals are equally powerful, but later become softer and more subtle. Throughout the track the tempo is quick, with no let up in what’s a catchy, bright and sweeping arrangement. Part of the track’s success is down to the way the sweeping, swirling strings, chiming guitars and quick, punchy rhythm section combine. Add to that excellent vocals and it’s a winning combination, the perfect track to open the album.
When Can’t You See What You’re Doing To Me opens, there are two major differences from the opening track. The tempo is slower and the vocal is much gentler, quite subtle. Meanwhile, the slower arrangement sees the rhythm section, bursts of horns and chiming guitars combine before the a lovely gentle vocal enters. Throughout the track, drums punctuate the track with sharp, bursts of drama. Matching the sadness of the lyrics, about a woman being mistreated by her partner, are the sweeping strings that enter. They provide a contrast to the drama, and capture the mood perfectly. Flourishes of strings and dramatic bursts of drums highlight the broken promises in the lyrics, and are the perfect accompaniment for the sadness and sense of betrayal in the vocal. Credit is due for Lenny Pakula’s arrangement, and Gamble and Huff’s production. Together with The Three Degrees, they bring to life quite brilliantly Bruce Hawes and J.B. Jefferson’s lyrics.
A Woman Needs A Good Man begins slowly with grand, dramatic sweeping strings, bursts of rasping horns, a stab of a wailing Hammond organ accompanying The Three Degrees harmonies. After that, the rhythm section enter, adding brief bursts of drama to accompany the vocal, which is slow and thoughtful. Then, the tempo speeds up, with the vocal becoming laden with emotion and drama, while a funk influence briefly shown through. This recurs, with bursts of horns getting in on the act, while the vocal is much louder, full of passion and feeling. However, many women nowadays will disapprove of the line “she needs good man, she needs a strong man.” Although the track features some deeply emotional vocals, and the arrangement by Norman Harris is good, I’m not sure about the constant speeding up and slowing of the tempo. Personally, the song might suit being sung in a slower style throughout. That’s just a personal opinion, and many people may disagree with it.
The most successful song on the album was When Will I See You Again. It reached number two in the US and number one in the UK, becoming one of the group’s most successful and popular singles. Even today, it’s often played on the radio, and still sounds as good as it did nearly forty years ago. This was the third Gamble and Huff penned track, all of which were released as a single. A combination of organ, the lushest of strings and rhythm section combine before the breathy vocals enter. When they do, chiming guitars join, accompany one of the best vocals on the album. It’s emotive, questioning and full of passion. Bursts of horns accompany those lush strings, with the rhythm section and organ at the heart of the arrangement, accompanying Sheila’s soaring vocal. Meanwhile, Valerie and Fayette’s backing vocals are softer, sweeping behind Sheila’s lead vocal. By the end of the track, you realize that this was just one of these tracks where everything combined perfectly. The right group and right singer sang some fantastic vocals, and were accompanied by a hugely talented group of musicians M.F.S.B. Add to that, Bobby Martin’s beautiful arrangement and Gamble and Huff’s production, and you’ve a track that demonstrates just what made The Sound of Philadelphia so special and hugely popular.
I Didn’t Know is an uptempo and uplifting love song with another excellent arrangement, this time by Richard Rome. Bursts of rasping horns, sweeping, swirling strings, a punchy rhythm section organ and guitars complete the lineup on this faster dance-floor oriented track. It features a joyous and passionate vocal from Sheila and some of the best backing vocals on the album. They’re almost Supreme-esque in nature, as they sweep in and out of the track. From the opening bars of the track, it’s immediately apparent this is a special track. You’re not disappointed. The longer it progresses, the better it gets, with the arrangement and vocal uniting as one to create a fantastic track. Why it didn’t do much better than a number eighteen peak in the US R&B Charts is beyond me? An absolute stomper.
On this album there are three tracks penned by Bruce Hawes and J.B. Jefferson. I Like Being A Woman is the second of these. Again it’s a faster tempo, with a lovely bright upbeat sound that greets the listener. A combination of piano, rasping horns, punchy rhythm section and strings that accompany the vocal, which is powerful and joyous. The lyrics are about being in love and the joy of being a woman. Meanwhile, grand strings, accompany the rhythm section, chiming guitars and piano, with occasional contributions from an organ and horns. Later in the track, Sheila half-speaks the vocal against a sweeping, punchy and drama filled arrangement. This is effective, although many independent women may take umbrage with some of the lyrics, especially the comments about women’s liberation. Having said that, both the arrangement and vocals combine well, creating a joyous sounding, and sometimes, punchy and drama laden track, which features some excellent vocals.
If and When is the third of the Bruce Hawes and J.B. Jefferson penned tracks on the album. It’s a very different sounding track, with a hugely dramatic opening with rolls of drums, flourishes of piano and dramatic strings combining before Sheila’s slow and thoughtful vocal enters, as she sings about a relationship about to end. Behind her Valerie and Fayette’s backing vocals soar emotively, while the earlier drama continues. Strings sweep and shimmer, while the rhythm section provides dramatic stabs and flourishes as guitars chime and the piano plays. When taken with the vocals it’s hugely powerful, deeply moving and drama laden. A brilliant vocal combining masterfully with another of Lenny Pakula’s arrangements to produce another emotive and excellent track from The Three Degrees.
The Three Degrees closes with the third and final Gamble and Huff track on the album Year of Decision, and one of the best tracks on the album. Whereas the previous track was full of emotion and sadness, this track is uplifting and joyous. Straight away, an uptempo, quicker arrangement combines with some incredibly joyous vocals. Keyboards, rhythm section, rasping horns and chiming guitars combine before The Three Degrees joyous vocals combine powerfully, as they soar united. It’s a really catchy hook-laden track that sweeps along beautifully, with lush strings joining the arrangement. This to me, is just the finishing touch to this arrangement by Norman Harris. Everything about it works perfectly, a combination of sounds that come together to produce a timeless classic, that deserved to do far better than number seventy-four in the US R&B Charts. Thankfully, it reached number thirteen in the UK, where it was a much bigger hit.
This is the second of two albums The Three Degrees albums for Philadelphia International Records that I’ve reviewed recently. My first was their second album on Philadelphia International Records, International which was an excellent album, and my favorite of the two albums. The Three Degrees is also a very good album, featuring some wonderful music. Of the eight tracks, the Gamble and Huff penned tracks Dirty Ol’ Man, When Will I See You Again and Year of Decision are my favorite tracks, Credit must go to When Can’t You See What You’re Doing To Me and I Didn’t Know which features an excellent arrangement by Richard Rome. Like many of the albums on Philadelphia International, there is no filler on the album, just eight great tracks. From the first to last track, The Three Degrees sing each song with a mixture emotion, joy and passion. Whatever emotion is required, they provide it. They were ably assisted by some hugely talented musicians in M.F.S.B. with whom they had two hit singles Love Is The Message and TSOP (The Sound of Philadelphia). The album was produced by two of the most important men in seventies soul music Gamble and Huff, who enlisted the help of arrangers like Norman Harris, Bobby Martin, Richard Rome and Lenny Pakula. They arranged the eight songs on the album, with Gamble and Huff adding their magic in the production process. All these people helped to make The Three Degrees huge stars worldwide. During the time they spent on Philadelphia International they produced their best music, music which recently, has been remastered and rereleased on BBR Records. Both International and The Three Degrees are now available after a near thirty year absence. Each album features bonus tracks, with both of The Three Degrees collaborations with M.F.S.B. on the album. So not only do you get this album, but you get Love Is the Message and TSOP (The Sound of Philadelphia). Should you want to reacquaint yourself with The Three Degrees music, or hear it for the first time, this is the perfect opportunity. If you don’t when will you see this album again? Standout Tracks: Dirty Ol’ Man, When Will I See You Again, I Didn’t Know and Year of Decision
THE THREE DEGREES-THE DEGREES.
ODYSSEY-ODYSSEY.
ODYSSEY-ODYSSEY.
Back in December 1977, Odyssey had a major hit on their hands with a disco classic Native New Yorker, a track which, thirty-four years later, is still a hugely popular dance-floor classic. Back then, having loved the tracks I’d heard from the album, I decided to try and find a copy of the album. However, the album hadn’t even entered the charts in the UK, so finding a copy wasn’t an easy task. I tried all the record stores in the large town I lived in, but to no avail.
Fast forward four years, and I’m now living in a tiny village of one thousand people, and on a shopping trip the next town, I decided to have a look at the latest albums that had been released. Having decided upon what to buy, I spy a pile of cheaply priced albums. My friend and I decided to crate dig, sensing maybe, there might be a few hidden gems there. This was indeed the case, and having picked a small pile of albums, saw it sitting there, a copy of Odyssey’s debut album Odyssey. Not only that, but it was for the princely sum of one pound. Quickly, I added the record to my now growing pile of goodies. Getting the album home, I’m delighted with my purchase, adding it to my quickly growing collection. All goes well, until a few years later, disaster strikes.
By then, I’d moved house a few times, and in the process, amassed a large collection of albums and CDs. I’d bought a new high-spec hi-fi, one without a turntable. For the first time in my life I was turntable-less. One problem though, was I was lacking in place. Having updated most of my vinyl albums to CD, i decided with sadness, to sell my treasured vinyl. With a heavy heart, I let them go, receiving a fair price, which I promptly invested in more albums. However, there were a few albums that I didn’t have on CD, with Odyssey’s debut album Odyssey one of them. I had a compilation of their best songs, but now that album. Imagine my delight when I noticed it had been rereleased and remastered. Immediately, I bought a copy, and quickly, reacquainted myself with it.
Immediately, I’m transported back to December 1977, when I first heard the familiar opening bars of Native New Yorker, sung by sisters Lillian and Louise Lopez and former New York City police officer Tony Reynolds. Native New Yorker, like many of Odyssey’s later singles, proved more popular in UK than the US, reaching number five in the UK, while it reached number twenty-one in the US Billboard 100 and number six in the US R&B Charts. However, the album fared much better in the US, reaching thirty-six in the US Billboard 200 and sixteen in the US R&B Charts. In the UK, the album failed to chart. When the follow-up to Native New Yorker, Weekend Lover was released, it only reached number thirty-seven in the US R&B Charts and fifty-seven in the UK.
After that, the group had a number of successful singles in the UK between 1977 and 1982. In July 1980, Use It Up and Wear It Out gave the group their only number one single, staying at number one for four weeks. Despite the single’s huge success failed to even chart in the US Billboard 100.
Following on from their debut album Odyssey, the follow-up album 1978s’ Hollywood Party Tonight failed to chart in the UK, and in the US only reached number 123 in the US Billboard 200 and seventy-two in the US R&B Charts. After that, Odyssey’s albums like their singles, became popular in the UK. Their third album, Hang Together released in 1980, reached number thirty-eight in the UK, proving more popular than in US, where it only reached number 181 in the US Billboard 200 and sixty-six in the US R&B Charts.
Building on their new-found success in the UK, 1981s’ I’ve Got the Melody reached number twenty-nine in the UK and 175 in the US Billboard 200 and sixty-two in the US R&B Charts. 1982 saw Odyssey release two new albums Happy Together and The Magic Touch of Odyssey. Although the former reached number twenty-one in the UK, the group’s popularity was beginning to wain. The album only reached number twenty-three in the US R&B Charts. It was the last of Odyssey’s albums to chart in the US. Their second album of 1982 only reached number sixty-nine in the UK, and never charted in the US. Joy, released three years later in 1985, reached number sixty-nine in the UK and was the last album the original album of Odyssey released. Since then, the line-up has changed a number of times, and sadly, Tony Reynolds died in February 2010. Then, much to my surprise, I noticed that Odyssey had released a new album in 2011, entitled Legacy. It however, failed to chart in the UK and US. However, it’s an album that was released thirty-four years ago in 1977, Odyssey, that I’ll now tell you about.
Odyssey opens with the disco classic Native New Yorker, which has that familiar introduction that transports me back to December 1977. Michael Brecker’s saxophone slowly plays, accompanying lush strings, chiming guitars, keyboards and a punchy rhythm section before the Lopez sisters sing the lead vocal. Her voice is warm, with a joyous sound as she sings about the sights and bright lights of New York City, accompanied by the other two members of the group, singing tight harmonies and beautiful, subtle backing vocals. Meanwhile, the arrangement is fast, full and fantastic. So much is going on, all of it good, with a fast, funk laden bass, accompanying the lushest of strings, while Michael Brecker’s saxophone and Richard Tee’s piano playing are two of the tracks highlights. Of all the tracks Odyssey recorded, this was their masterpiece, a timeless dance-floor classic, that sounds as good today as it did in 1977.
Ever since Native New Yorker was released, I’ve always wondered why Ever Lovin’ Sam was the B-side to Native New Yorker. Surely, this track would’ve been a potential single? It opens with grand flourishes of piano before softening, when the vocal enters with a prominent bass line. The vocal has a similar joyous sound to Native New Yorker, although the tempo is much slower. Later, bursts of horns cut in, with the lushest of strings joining shortly after. When drums play a prominent part, the tempo lifts, with the song swinging deliciously along. Here, the lyrics about a younger woman having a relationship are sung with passion and joy, with the rest of the group contributing some soft, gentle backing vocals. It’s a catchy song, a tale of love against the odds, with another excellent vocal and arrangement.
The second single from the album was Weekend Lover, which deserved to do much better than its peak of number thirty-seven in the US R&B Charts and fifty-seven in the UK. It’s another hook-laden melodic track, with one of the best vocals on the album accompanied by a lush, sweeping arrangement, that has elements of funk within it. Weekend Lover has a hesitant opening before strings sweep grandly in accompanied by a slow, careful bass, drums and percussion. They accompany the thoughtful, yet still joyous lead vocal that questions the future of their relationship with a married man, but has succumbed to its forbidden charms. Meanwhile, like the previous two tracks, a melodic, catchy arrangement unfolds. Chiming guitars, lush sweeping strings and punchy rhythm section join with percussion to create an arrangement that veers between slow and hesitant to a faster, fuller style, with just a little funk making its presence felt. Likewise, the vocal veers between soft and melodic to a louder, stronger, passion laden style. By the end of this lovely, catchy and hook-laden track, I’m left shaking my head, wondering why such a great track failed to do much better when released as a single back in April 1978.
You Keep Me Dancin’ closed side one of the album. It’s a slow, tender song with a really sad sound, because of the way the vocal is delivered and an arrangement that features strings at its heart. The rhythm section, tight harmonies, percussion and chiming guitars combine before the lead vocal enters. She sings about a relationship that gradually, faded away. When the lush, sad strings combine with percussion, slow rhythm section and subtle backing vocals, it’s a potent combination, one that’s been designed to tug at your heartstrings. The track combines sadness and drama, so much so, that you end up feeling sad and sorry for the lovelorn character in the song. Having succeeded in tugging at your heartstrings, with this quite different, but very beautiful, sad song the perfect way to close side one of the album.
Side two of Odyssey opens with The Woman Behind the Man, by far the weakest song on the album. It has a slight reggae sound and feel, with Odyssey singing about creationism. Birdsong and snatches of a conversation open the track, before slow, melodic keyboards enter, accompanied by more birdsong, strings and acoustic guitar. The lyrics which later mention historical figures, are sung in a reggae style. Quickly, the tempo increases, but if anything, the song gets worse. Neither the vocal, nor the arrangement, have anything to commend them. It’s a faux reggae song that should’ve been omitted from the album. Take my advice, program your CD played to miss this track out.
Easy Come, Easy Go/Hold De Mota Down has a Latin influenced sound when the track opens. It’s an improvement on the previous track, opening with a fast piano solo, driving rhythm section, percussion and blazing horns before the lilting vocal enters. The tempo is quicker, the sound infectious, full of drama and percussion created by drums, piano and percussion. Later, grand, swirling strings enter, providing another layer of sounds and a contrast to the drama. Chiming, screaming, guitars combine with the piano, percussion and rhythm section to combine an uptempo, uplifting and carefree sound, made all the better by a jubilant, blissful vocal. This is a much better infectious slice of Latin influenced music.
A piano opens Golden Hands, playing quickly, before the rhythm section, strings and guitar combine to produce a dramatic sound. After the drama dies down, the tempo is slower when the vocal enters, singing about a young boy who is determined to fight his way out of poverty, one way or the other. The lyrics aren’t the best on the album, and are stilted, somewhat wooden even. Thankfully, the arrangement is better. It quicken, filling out, sweeping along with drums and piano used to inject drama, while bass, guitars and percussion combine. Meanwhile the vocal is good, veering between a tender to more powerful style, accompanied by bursts of rasping horns and sweeping strings. Sympathetic and subtle backing vocals accompany the lead vocal, and like the lead vocal and arrangement are sound good, but are let down by some weak lyrics.
Odyssey closes with Thank You God For One More Day. Grand, dramatic strings, piano, rhythm section and guitars combine with a joyful lead vocal as Odyssey give thanks to God for granting them each day. The arrangement is quick, fulsome and has a joyous, gospel influenced sound, with rasping horns, driving rhythm section, lush, sweeping strings and backing vocalists combining to achieve this. It’s a track that’s catchy and has an infectious, feel-good sound. My only criticism are the lyrics. Like the previous track, they’re slightly weak and aren’t the best on the album. However, it’s a good track to close side two of the album, thanks to the joyous sound of the track.
I hadn’t heard this album for many years before reacquainting myself with it recently. However, one thing that hasn’t changed, is my opinion of the album. I’ve always thought that it’s an album of two contrasting sides. Side one was a much better side, with four great songs, while side two has one good song, two average ones and one really poor one. When I had the original album, I used to tend to play side one much more than side two. Mind you, side one opened with the brilliant Native New Yorker, the excellent Ever Lovin’ Sam and the equally good Weekend Lover and Even You Keep Me Dancin’. After that, things go slightly downhill, except Easy Come, Easy Go/Hold De Mota Down. Apart from that track, side two is pretty average, with The Woman Behind the Man being easily, the worst track on the album.
It’s always seemed to me that Odyssey were a group who could release some wonderful singles, but couldn’t quite release an album of great songs. There always seemed to be a couple of tracks that just let the rest of the album down. This was the case on their debut album Odyssey, released in 1977. Part of the problem was the group tried to change styles too often. On the album were a disco classic Native New Yorker, the Latin influenced Easy Come, Easy Go/Hold De Mota Down, the reggae tinged The Woman Behind the Man and the gospel influenced Thank You God For One More Day, I’ve always thought that Odyssey were at their best when they produced dance-floor friendly tracks, like their disco classic Native New Yorker. It’s just a pity that all the tracks on Odyssey weren’t as good as Native New Yorker. If they were, what an album it would be. Standout Tracks: Native New Yorker, Ever Lovin’ Sam, Weekend Lover and Even You Keep Me Dancin’.
ODYSSEY-ODYSSEY.
BILLY PAUL-WHEN LOVE IS NEW.
BILLY PAUL-WHEN LOVE IS NEW.
In a previous article I wrote about one of Billy Paul’s best know albums Let ‘Em In. After his hugely successful 360 Degrees of Billy Paul, released in 1972, which helped make Billy Philadelphia International Records’ first male superstar, 1976s’ Let ‘Em In is one of his best known and most successful albums. However, the album that preceded Let ‘Em In, 1975s’ When Love Is New, is the album this article is about. It’s probably, Billy Paul at his most political and socially conscious on side one of the album. These first three tracks on the album People Power, America (We Need Light) and Let the Dollar Circulate are very different to Marjorie which closes side one of the album. These three tracks are a long way from Me and Mrs Jones, but demonstrate a side to Billy that many people might well be unaware of. The rest of the album sees normal service resumed, with Billy singing his heart out on three long, slow, tender ballads like the title track When Love Is New and Let’s Make A Baby. Although just seven tracks and thirty-seven minutes long, it features Billy Paul at his very best. When the album was released, it reached number seventeen in the US R&B Charts, staying in the charts for seventeen weeks. This album marked the end of an era, with this the last ever album to feature the original M.F.S.B., the legendary Philadelphia International house band. Not long after this, they quit the employ of Gamble and Huff, reconvening as The Salsoul Orchestra. So as well as allowing the listener to revel in the sound of Billy Paul, it allows them to bid a fond farewell to one of the best ever house bands, M.F.S.B.
When Love Is New opens with People Power, a song with a message, one that asks the people to come together and make a stand, and help forge a new and brighter future for the US, still reeling after the resignation of disgraced President Richard Nixon. The track opens with a combination of chiming guitars, dramatic swirling strings, keyboards and drums before a flourish from the rhythm section signals both the entry of Billy’s frustrated and angry vocal, and a quicker, fuller arrangement. While Billy preaches about the need for unity and People Power, the arrangement unfolds to reveal a dramatic and dynamic driving sound, with the driving rhythm section, keyboards, chiming guitars at the heart of the arrangement while, percussion, grand swirling strings and blazing horns combining to match the frustration yet hope of the lyrics. Billy meanwhile, is accompanied by female backing vocalists, whose sweet and soulful voices unite, the perfect contrast to Billy’s much more powerful vocal. M.F.S.B. on this last hurrah for Gamble and Huff, provide a fast, powerful and emotive backdrop for Billy’s vocal, and the lyrics by McFadden, Whitehead and Castarphen. Together, the produce a powerful, potent and important message for the people of the fifty-one states.
America (We Need Light) is a paean to the soon to be new political administration that would enter The White House in 1976, about the changes needed to get the US back on its feet. The introduction is funk laden thanks to the rhythm section and guitars, before the lush, strings sweep in accompanying a powerful and hopeful vocal from Billy. Here, the tempo is quick as the songs sweeps along, with the rhythm section, chiming guitars and sweeping strings mainly responsible for creating an uplifting, melodic sound that matches the hope in Billy’s vocal. Although deeply political and full of social consciousness, this is a brilliant track with one of the best arrangements on the album, one that matches Billy’s hopeful pleas.
The third and final of the socially conscious songs on When Love Is New is Let the Dollar Circulate. When drums, bass chiming, shimmery guitars and blazing horns combine with grand strings during a lengthy and drama laden introduction, they’re just building up to Billy’s entrance. Eventually, he does, proceeding to sing about the economic woes of the US and how to rectify them, money must flow and circulate through the economy. As well as producing some excellent music, Billy offers free of charge, some interesting and insightful economic advice. His vocal is considered, a mixture of frustration and hope, as behind him, another fuller arrangement unfolds. It’s a combination of sweeping strings, clavinet, punchy rhythm section and braying horns. They create an arrangement that marches along to the beat of Earl Young’s drums for one last time. Adding to the fuller, compelling arrangement are the female backing vocalists whose softer voices provide a contrast to Billy’s clearly frustrated vocal. Like the previous two tracks, Billy delivers a message to the people, using the medium of some majestic music, reaching the ears of people who might ignore similar messages from the politicians who they no longer trusted.
Closing side one of the album was Marjorie, a jazzy number, that seemed out of place following three such socially conscious tracks. It has a quicker tempo, floating along with a quaint old-fashioned sounding arrangement that brings to mind an era long gone by 1975. Having said that, it’s a catchy track, almost infectious that has you transfixed for its duration. Piano, rasping horns, lush strings and the rhythm section turn back time as does Billy, who reverts to jazz crooner, and carries it off with aplomb. The addition of subtle female backing vocalists, punchy, rasping horns, lush strings and bursts of drama from the rhythm section bring to mind a big jazz band, with its members in dinner suits as they accompany Billy. This is added to, when the tinkling piano enters, adding just the finishing touches to this very different and very good retro sounding song. It’s a nice way to end side one after the three political and socially conscious tracks.
Opening side two, was the first of the three long, slow love songs When Love Is New. The tempo is slow, there’s a lushness to the sound and tenderness to Billy’s vocal. Strings lush and sweet enter, accompanied by a slow, subtle rhythm section piano and chiming guitars accompanying Billy’s gentle, tender vocal. There’s space aplenty throughout the arrangement, that sees horns gently rasping and the female backing vocalists as Billy sings about how it feels when love is new, and how after a while, love goes stale. Instead, he sings they must keep their love new, doing so thoughtfully and tenderly, accompanied by a beautiful lush and spacious arrangement that helps make this the best track on the album, one that’s utterly beautiful and up there with the best of Billy’s ballads and love songs.
The second of the three love songs on side two of the album is I Want Cha Baby which opens with the sultriest of saxophones accompanied by a slow piano, chiming guitars and slow rhythm section accompanying Billy’s pleas to the love of his life. Strings sweep in, followed by a dramatic burst of drums and horns, with subtle, sweet female backing vocalists. This continues throughout what is a beautiful yet drama laden track, featuring another excellent arrangement and probably, the tenderest of vocals from Billy. He pleads and persuades his way through just over six minutes of beautiful dramatic and beautiful music, resorting to a half-spoken vocal as he tries to win the affections of his love. Quite simply, this is one of the most seductive tracks on the album, and should carry a government health warning.
When Love Is New closes with Let’s Make A Baby, which, when it was released as a single reached number eighteen in the US R&B Charts and eighty-three in the US Billboard Charts. Again, Billy is at his persuasive best, pleading and attempting to woo his lover into making two into three. The tempo is slow, the sound spacious as keyboards, chiming guitars and rhythm section combine with Billy’s tender, seductive vocal. Lush strings sweep in and breathy female backing vocalists join in, helping Billy create a masterpiece in seduction lasting a lengthy seven minutes. Later, his vocal grows in emotion as he sings passionately about bringing another life into the world. Together with what was M.F.S.B. on their last appearance on a Philadelphia International album, Billy produces another brilliant track, rounding of a run of three beautiful, slow love songs with one of the best tracks on the album.
Listening to When Love Is New, I still believe that although side one has some powerful messages about the political and social issues of the day, many of which are still relevant today, I much prefer side two of the album and the suite of three love songs. That’s not to say that the three songs that open the album are bad songs, quite the opposite. They’re three great songs which deal with very important and real subjects, and feature some impassioned vocals, intelligent and thoughtful lyrics and of course, great arrangements. These arrangements were the swansong for one of the best house bands ever, M.F.S.B. After this, they left Philadelphia International and became The Salsoul Orchestra, creating many more moments of musical brilliance, backing artists like Loreatta Holloway. That however, was still to come. On side two of the album, Billy does what he does best, sings some beautiful, slow love songs, with just three songs lasting over nineteen sultry and seductive minutes. To me, this features some of the best love songs Billy recorded on Philadelphia International. In fact, it’s hard to remember another album where three great love songs like When Love Is New, I Want Cha Baby and Let’s Make A Baby, all followed one another. So powerful are they, that they require handled with care, and should be used responsibly. If not, tracks one and two might inadvertently make three. So When Love Is New features something for all the fans of Billy Paul, whether it’s social comment or love songs, they’re both here on this brilliant album. Enjoy. Standout Tracks: People Power, When Love Is New, I Want Cha Baby and Let’s Make A Baby,
BILLY PAUL-WHEN LOVE IS NEW.
THE O’JAYS-BACK STABBERS.
THE O’JAYS-BACK STABBERS.
Back in August 1972, after Gamble and Huff had previously managed to convince The O’Jays not to quit the music industry, the group released their debut album Back Stabbers. Having already released a series of singles and albums in the sixties for various labels including Minit, Imperial and Bell, nothing could’ve prepared them for the success that was about to come their way. Their debut single, Back Stabbers reached number three in the US Billboard 100 and number three in the US R&B Charts, while reaching number fourteen in the UK. The single was certified gold, having sold over 500,000 copies. This wouldn’t be the last single from the album that was certified gold.
Following on from this success, their debut album Back Stabbers reached number ten in the US Billboard 200 and number three in the US R&B Charts. Within less than a year, the album was certified gold, having sold over 500,000 copies. Quickly, it became one of the most important albums in the history of The Sound of Philadelphia. Since then, it’s seen as one of the most important soul albums of the seventies, and can be found in Rolling Stone magazine’s list of the 500 greatest albums of all time. The three remaining of the original five O’Jays had a lot to thank Gamble and Huff for. Eddie Levert, Walter Williams and William Powell’s lives were transformed, and the success of the album didn’t end there.
Although the second single released from the album 992 Arguments only reached number fifty-seven in the US Billboard 100 and thirteen in the US R&B Charts, the next single surpassed even the success of Back Stabbers. When Love Train was released in December 1972, this Gamble and Huff penned song reached number one in both the US Billboard 100 and US R&B Charts, while reaching number nine in the UK. Like Back Stabbers, it was certified gold, and became The O’Jays only US number one. One further single was released from the album, Time To Get Down, another Gamble and Huff composition. Unlike the joyous Love Train, Time To Get Down only reached number thirty-three in the US Billboard 100 and number two in the US R&B Charts. However, two million selling singles Back Stabbers and Love Train, and a million selling album Back Stabbers, was a pretty good way to start your recording career on Philadelphia International Records. However, what made Back Stabbers such a hugely successful album? That’s what I’ll now tell you.
The O’Jays debut album Back Stabbers opens with When the World’s At Peace, a track that opens with a dramatic sound that combines elements of funk with soul. There’s even a rock influence with the soaring, screaming guitars, that combine with blazing horns and a funky, driving rhythm section. It’s after that that The O’Jays’ vocal enters, loud and passionate, singing about the world being at peace, which, back in 1972, seemed as impossible as it does now. While a punchy, driving and clever, repetitive arrangement unfolds behind them, the lead vocal is accompanied by tight harmonies and soulful, backing vocals. Meanwhile, the arrangement is a quick, fulsome melange of a funky piano playing minor chords, while the rhythm section join in with the funk influence and punchy, blazing horns. Matching the faster, near frantic arrangement is a powerful, soaring lead vocal, supplemented by faster, harmonies and backing vocals. Although this is quite different to other tracks on the album, The O’Jays deliver their message with emotion and passion, mixing elements of funk and soul to do so with aplomb.
The million selling single Back Stabbers was the song that helped make The O’Jays one of the most popular and successful soul groups of the early seventies. This track is a warning about other men who will smile and shake their friend’s hand, but in reality, are plotting to steal their friend’s wife or girlfriend. A roll and flourish of piano, drums, chiming guitars and lush sweeping strings combine before a much gentler, but frustrated and angry vocal enters. Quickly, the lead vocal changes hands, with each member sounding equally dismayed and disgusted. Behind them, one of the best arrangements on the album is unfolding. It’s an infectious combination of dramatic, yet beautiful music, thanks to the combination of lush, sweeping strings, chiming, shimmery guitars, piano and drums, while the horns and rhythm section deliver punchy, brief bursts of drama. When combined with The O’Jays’ vocal with veers between gentle and considered, to a frustrated and cynical sound. Quite simply both their vocal and the arrangement are masterful, resulting in one of The O’Jays best ever tracks.
Who Am I starts with a gentle and subtle piano, percussion and slow, considered bass accompanying the gentle, melodic lead vocal, and tight harmonies from the rest of the group. After that, a brief burst of horns and drums, gives ways to grand, sad sounding strings, percussion and occasional chiming guitars, while one of the most moving vocals on the albums unfolds. The rest of the group sing some beautiful, subtle close harmonies, totally sympathetic to a hugely emotive and deeply sad vocal. There’s a subtlety to the arrangement that meanders slowly and sadly along, only interrupted by brief, sharp bursts of drama courtesy of the drums. However, what makes this such a beautiful, moving song is the vocals, made all the better by a sympathetic and subtle arrangement from Norman Harris.
The style and tempo changes with the uplifting and joyous (They Call Me) Mr Lucky, another track that features some brilliant vocals from The O’Jays. A lead vocal that’s a combination of power, emotion and joy is accompanied by close, joyous backing vocals and an arrangement that has a real uplifting, feel-good sound. This is thanks to an arrangement that has a somewhat old fashioned sound, with lush strings, chiming guitars, punchy drums, stabs of piano and percussion contributing to an arrangement that just swings along. This is an infectious, joyous combination, featuring some lovely lyrics from Gamble and Huff about how you feel lucky when you’re in love with someone special.
Closing side one of the album is yet another uptempo and joyful sounding track penned by Gamble and Huff, Time To Get Down. Here, the tempo is quicker, the arrangement fuller, and from the opening bars to close notes, just three and a half magical, magnificent minutes. This begins when the trademark Gamble and Huff drums enter, accompanied by keyboards, guitars and bass, before a quick burst of horns signals the arrival of another joyous lead vocal. It’s accompanied by equally joyful, backing vocals which soar beautifully above the lead vocal. Behind them, the arrangement has filled out, the faster tempo incorporating bursts of subtle horns, rhythm section, keyboards and guitar. Together, they provide the perfect, joyous backdrop for one of The O’Jays best vocals on the album. However, why the single didn’t fare better than number thirty-three in the US Billboard 100 and number two in the US R&B Charts puzzles me.
Side two of the album opens with 992 Arguments, which was the second single released from the album, and the follow-up to Back Stabbers. Unlike it’s brilliant predecessor, it only reached number fifty-seven in the US Billboard 100 and seventeen in the US R&B Charts. That, however, doesn’t mean it’s a bad song, quite the opposite, it’s a very good song. It’s quite different from the three previous tracks, and is a song that’s laden with drama, and quite emotionally charged, about a turbulent relationship. Straight away, bursts of dramatic drums, stabs of piano, braying horns and bass combine before the passionate, frustrated lead vocal enters. Strings sweep and swirl, while a wailing Hammond organ and percussion adds to the already dramatic arrangement. As the song progresses, the tempo quickens and gets fuller, with the rest of The O’Jays contributing punchy, angry backing vocals. This is an epic tale of woe, lasting over six emotionally charged and frustrated minutes, and the longer the track progresses, the more the drama builds and builds, climaxing in a dynamic crescendo. It’s an excellent track, very different to tracks like Back Stabbers and Love Train, featuring great vocals and an outstanding drama drenched arrangement.
Listen To the Clock On the Wall is a song about adultery and the guilt that comes hand in hand with forbidden, stolen moments of love and passion. Arranged by Leonard Pakula the track is a compelling description of secret assignations and stolen love, in the same vein as Candi Staton’s Mr and Mrs Untrue. When the track opens the repetitive nature of part of the arrangement is a masterstroke, the percussion getting across time slipping away quickly, while the sweeping strings, chiming guitars and braying horns combine to produce an atmospheric and dramatic backdrop for the vocal. It’s laden with frustration and emotion, as it’s accompanied by brief bursts of dramatic drums, while the rest of The O’Jays contribute soulful, tight harmonies and backing vocals. Together with the arrangement, it’s a dramatic and compelling track, full of emotion, sadness and betrayal.
Following on from the drama and emotion of the previous track Shifty, Shady, Jealous Kind of People is a song with a strong narrative, that describes perfectly, the jealous, interfering and mean-spirited people who can’t stand to see people get on and improve their lives. They always want to know people’s business and do them down. Jealousy and bitterness runs through their veins in equal parts to their blood. As the song opens, keyboards, rhythm section and angry, braying horns combine with grand, disdainful strings to combine the perfect backdrop for the frustrated and angry vocal that enters. It’s powerful, full of disgust, while tight harmonies almost mock them, with their sweet, united voices. This works beautifully, when combined with the arrangement that gets across the anger, frustration and disgust of the lyrics. In three and a half minutes, this mini-drama penned by Gamble and Huff with McFadden and Whitehead gets across the emotion, frustration and anger felt by anyone who has had the misfortune to meet Shifty, Shady, Jealous Kind of People. Quite simply, a mocking, mini-masterpiece aimed squarely at these people.
Sunshine is a slow ballad, a love song, featuring some great vocals and a slow arrangement laden with emotion and drama. Drums, chiming guitars, piano and percussion combine before a thankful, joyous and powerful vocal enters, accompanied by tight, harmonies and backing vocals. Meanwhile, the arrangement meanders beautifully along, with strings, lush and sweet, sweeping in, while the arrangement veers between dramatic and melodic. Thom Bell’s arrangement is stunning, full of emotion and beauty, with his ability to combine just the right choice of instruments at the right time, to achieve maximum effect. The combination of the slow tempo, melodic, moving and dramatic arrangement and one of the most beautiful vocals on the album result, in another stunning track.
Back Stabbers closes with Love Train, the second million selling single from the album. It was The O’Jays only number one in the US and is best described as three minutes of brilliant, joyful, hook laden, feel-good music, that demonstrates just what made The O’Jays and The Philly Sound so massively, popular. When we board the “train,” the speed is quick, the sound joyous thanks to the most infectious arrangement and vocal. Chiming guitars, driving rhythm sections, lush, sweeping and swirling strings keyboards and blazing horns combine with a hugely, joyous and passionate vocal. It’s accompanied by the rest of The O’Jays who give a similarly uplifting performance against a backdrop of some fast-paced strings, blazing horns, punchy drums and one of the best bass lines on the album. For three minutes you’ve to resist the temptation to rejoice at the brilliance and beauty of the track. You want to give thanks and rejoice to The O’Jays, arranger Thom Bell and producers Gamble and Huff for achieving three minutes of musical perfection, which are the perfect way to end the album. After all, anything else would be a let down.
Over the last few months, I’ve reviewed three of The O’Jays studio albums on Philadelphia International Records, Ship Ahoy, Family Reunion and Back Stabbers. These album had been unavailable for some time, and many people longed to either buy a copy to replace their cherished vinyl copy or hear these albums for the first time. Thankfully, they’re now able to do so, as all three albums have been remastered and rereleased. This allows a new generation of music fans to share what those of us who were around back then, to love and enjoy. Along with Harold Melvin and The Blue Notes, The O’Jays have always been one of my favorite groups on Philadelphia International. During their time on the label, they released some of the best soul music of the early seventies. This includes Back Stabbers, the album that made The O’Jays stars. On the album were two classic Philadelphia International tracks Back Stabbers and Love Train, both million selling albums. However, this album is more than just two brilliant singles. It features ten songs, each of which see The O’Jays at the top of their game. They were ably assisted by the masterminds behind The Sound of Philadelphia, Gamble and Huff, along with arrangers like Thom Bell, Bobby Martin and Norman Harris, and songwriters like McFadden and Whitehead and Bunny Sigler. Together, this creative team helped The O’Jays make a hugely successful album, which is one of the most important and influential seventies soul albums. If you’ve never heard it, now is your chance to hear some brilliant music by one of the best soul groups of the seventies, The O’Jays. Go on, get on the train. Standout Tracks: Back Stabbers, Time To Get Down, Sunshine and Love Train,
THE O’JAYS-BACK STABBERS.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
Although Harold Melvin and The Blue Notes had originally been formed back in the early fifties, as The Charlemagnes, and became The Blue Notes in 1954, it wasn’t until August 1972, that the group released their debut album, originally entitled I Miss You. However, after the success of If You Don’t Know Me By Now, the second single released from the album, Philadelphia International Records decided to repackage the album, giving it a new cover and title, Harold Melvin and The Blue Notes. The now entitled Harold Melvin and The Blue Notes, reached number fifty-three in the US Billboard 200 and four in the US R&B Charts. This was a more than satisfactory outcome for what many people perceive is the classic line up of the group. This was Teddy Pendergrass singing lead vocal, with Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson singing harmonies and backing vocals.
After this, the group embarked on its most successful period, with Black and Blue their second album, released in September 1973, reaching number twenty-seven in the US Billboard 200 and five in the US R&B Charts. It featured one of their most successful singles, The Love I Lost (Part 1), which reached number seven in the US Billboard 100 and number one in the US R&B Charts. Meanwhile, the group were hugely popular in the UK, with the single reaching number twenty-one.
1975 saw the group’s popularity soar, with them releasing two hugely successful albums. The first was To Be True, which reached number twenty-six in the US Billboard 200 and number one in the US R&B Charts. It became the group’s first album to be certified gold. Later that year, To Be True’s success was surpassed by Wake Up Everybody, which reached number nine in the US Billboard 200 and number one in the US R&B Charts. Not only that, but it was certified platinum, have sold over one million copies. As if that wasn’t enough, Wake Up Everybody (Part 1), the first single released from the album reached number twelve in the US Billboard 100 and number one in the US R&B Charts.
Back then, it seemed, the group could do no wrong, but that would change when Teddy Pendergrass left the group and the group changed labels to ABC Records. After that, the group never replicated the success of the period between 1972 and 1975, on Philadelphia International, when is seemed the group could do no wrong. However that was all in the future, and back in August 1972, the group were about to embark on a four year adventure when they became of the best know purveyors of the Philly Sound, the first installment of which was I Miss You, which I’ll now tell you about.
I Miss You opens with the title track, I Miss You, penned by the two geniuses behind Philadelphia International Gamble and Huff, and like the rest of the album, recorded at the SIgma Sound Studios. Suddenly, after eighteen long years, Harold Melvin and The Blue Notes had at last, recorded their debut album, and what a start to the album I Miss You is. When the track opens, a hugely moving arrangement unfolds, with vibraphone, rhythm section and an atmospheric Hammond organ, almost groaning in sympathy to Teddy’s plight. His vocal is laden with emotion, sadness and regret as he sings how his baby has left him, and how he’s alone and heartbroken. Behind him, The Blue Notes tight, subtle harmonies sympathetically accompany Teddy. Meanwhile, the arrangement is a combination of understated and dramatic. As the track progresses, the drama builds and builds, with a combination of dramatic piano, rhythm section, chiming guitars, wailing Hammond organ and lush, sweeping strings achieving this wonderfully. Over an epic eight and a half minutes, a heartbroken Teddy emotionally sings his heart out. The additional of a one-way telephone conversation during the track, is a masterstroke, especially, against Teddy’s desperate vocal. On I Miss You, Teddy is definitely the star of the show, but much of the credit must go to Thom Bell for a brilliant arrangement, and of course Gamble and Huff for their production of the track. Overall, it’s a brilliant track to open this debut album, which deserved to do much better than its number fifty-eight peak in the US Billboard 100 and number seven in the US R&B Charts when released as the first single from the album.
Ebony Woman begins with a flourish of piano, grand strings, which swirl and sweep, while Teddy’s considered and thoughtful vocal enters, accompanied by The Blue Notes adding some beautiful, backing vocals, against a backdrop of sweeping, lush strings and a flourishes of dramatic piano. There’s a lovely old-fashioned sound to the arrangement, thanks to the addition of the rasping horns, sweeping strings and tight, soaring backing vocals. This starts to give way to a more modern sound, when the rhythm section, chiming, shimmery guitars enter and the sound fills out. However, regardless of whether the sound is old-fashioned or modern, Teddy launches himself into the song, delivering the lyrics with emotion and passion, while The Blue Notes accompany him. Although very different to the opening track, it’s still laden with emotion, passion and features an arrangement that combines something old, with something new, and of course The Blue Notes.
The final song on the first side of the original album was Yesterday I Had the Blues, another epic track, written by Gamble and Huff. This track lasts seven and a half magical minutes, starting slowly and spaciously, with the mood laid back, while a flourish of piano, moody bass and chiming guitars accompany subtle, backing vocals by The Blue Notes. When an atmospheric Hammond organ plays, that’s the signal for Teddy’s deeply emotive vocal to enter. He nails the lyrics, singing how he was desperate yesterday, but things have changed and he’s found love. Behind him, the arrangement is atmospheric, moody and dramatic. A saxophone briefly drenches the arrangement, combining perfectly with the lushest of sweeping strings and the Hammond organ. Meanwhile, Teddy’s slow but beautiful heartfelt vocal is made all the better by The Blue Notes thoughtful contributions. For seven and a half minutes, you’re transfixed by the most beautiful music, thanks to Teddy, The Blue Notes and one of the best arrangements on the album. Quite simply, ballads don’t get much better than this.
After saying that ballads don’t get much better than Yesterday I Had the Blues, side two of the album opens with If You Don’t Know Me By Now, which defeats that statement at a stroke. This was song that when it was released as a single, prompted Philadelphia International to give the album a new title and cover. Although just three and a half minutes long, these are some of the most beautiful, moving and tender minutes of music. They open with the lushest of strings, a slow, careful rhythm section and chiming guitars, before horns interject subtly and briefly. It’s only then that The Blue Notes sing the tenderest of backing vocals, before Teddy takes centre-stage. He sings the lyrics slowly, giving a dramatic and heartfelt delivery of the lyrics, with The Blue Notes harmonizing. His pleas that his lover must know him and trust him by now, are from the heart, full of sincerity and emotion. Behind him, the rhythm section provide the song’s slow, heart achingly sad heartbeat, while a piano, sweeping strings and guitars achieve musical perfection, matching Teddy and The Blue Notes brilliance. Of all the ballads the group recorded, this is the best. Absolutely beautiful, tender and moving, yet laden in drama.
Be For Real sees Teddy chastising his woman for her boastful ways and love of materialism, when his half-spoken vocal enters, accompanied by slow drums, percussion, keyboards, gently chiming guitars and subtly rasping horns. Everyone plays with subtly and thoughtfulness, and that’s the case when a Hammond organ enters, adding it’s unique and atmospheric sound to the swirling saxophone and twinkling piano that become prominent in the arrangement. Teddy meanwhile, isn’t a happy man, sad, frustrated and angry that his lover is making his friends look bad, because they don’t have what he has. After four minutes, the track opens out, with Teddy’s voice growing in power and passion, soaring soulfully, accompanied by The Blue Notes whose harmonies blend perfectly with Teddy’s lead vocal. Still the arrangement has a lovely understated sound and feel, that later, grows, full of emotion and drama. This sees dramatic flourishes of piano, sweeping strings, chiming guitars, a floaty flute and driving rhythm section provide the perfect backdrop for Teddy and The Blue Notes as the song reaches its climax. When it does, it surpasses everything that’s gone before during the previous seven minutes. It’s a dramatic, fulsome and emotional ending to a hugely powerful song with an important message, that demonstrates not just Teddy’s talent and versatility as a vocalist, but that of the magnificent Blue Notes.
After such an emotionally charged ending to the previous track, Let Me Into Your World sees the Harold Melvin and The Blue Notes, drop the tempo on another gorgeous track, which features some tight, vocal harmonies. Although the tempo drops, there’s still plenty of emotion and drama within the track. As the track opens, drums, keyboards and strings combine before breathless backing vocals from The Blue Notes. While Teddy emotive lead vocal is accompanied by shimmery guitars, prominent bass, swirling strings and brief bursts of horns, The Blue Notes sing some of the tightest, most soulful harmonies on the album. Meanwhile, Teddy, as usual, launches himself into the song, his vocal rising laden with feeling and passion, powerfully. The arrangement rises and falls in waves, its beauty constantly revealing itself and enchanting you. By the end of the track, what makes this such a great track is the interplay between Teddy and The Blue Notes, whose contributions demonstrate that although Teddy may have been the lead singer, this was far from a one man band.
I Miss You closes with Let It Be You, another of the Gamble and Huff penned tracks. When you spend as much time listening to the music of Philadelphia International Records as I have over they years, you soon realise just how prolific and successful a songwriting partnership this was. This track demonstrates their talents as songwriters and producers perfect, and is a fitting track to close the album. A combination of dramatic soaring harmonies, slow sweeping strings, blazing horns, piano and rhythm section open the track. After that, Teddy’s powerful vocal enters, laden in feeling and passion, while the rest of the group accompany him, their voices uniting dramatically, matching Teddy every step of the way. Meanwhile, the arrangement has become hugely dramatic and stirring. Braying horns, sweeping strings and flourishes of piano compete with the rhythm section and guitars, ultimately uniting in a spectacular climax, with Teddy and The Blue Notes united voices. Not only is this spectacular and dramatic, but it’s a fitting and quite brilliant ending to this album.
In previous articles I’ve written about how it’s a misnomer to call any artist an overnight success. Usually, this is far from the truth, and Harold Melvin and The Blue Notes prove my point perfectly. Eighteen years after the group was formed, they released their debut album I Miss You. Even then, it was only after the release of the seminal If You Don’t Know Me By Now, as the second single that the group’s fortunes changed. The single reached number three in the US Billboard 100 and number one in the US R&B Charts. This prompted Philadelphia International to change the album’s title from I Miss You, to Harold Melvin and The Blue Notes, and give the album a new cover. After that, the album sold well, peaking at number fifty-three in the US Billboard 200 and number four in the US R&B Charts. That was just the first step on a musical adventure that saw Harold Melvin and The Blue Notes release three further hugely successful albums, that saw them become one of the most popular soul groups of that time. I Miss You which is a fantastic album, was just the first step to stardom for Teddy Pendergrass, Harold Melvin, Lloyd Parks, Lawrence Brown and Bernie Wilson. Over the next three years they release three more albums Black and Blue, To Be True and Wake Up Everybody. Of these albums, I’ve previously reviewed Black and Blue and Wake Up Everybody, both of which are excellent albums. If you’re unfamiliar with the music of Harold Melvin and The Blue Notes, I can thoroughly recommend all of these albums, of which I Miss You, is a good introduction to some brilliant music. Standout Tracks: Yesterday I Had the Blues, If You Don’t Know Me By Now and Let Me Into Your World.
HAROLD MELVIN AND THE BLUE NOTES-I MISS YOU.
CANDI STATON-CANDI STATON.
CANDI STATON-CANDI STATON.
Sometimes, I decide to write more that one article on an artist, if they’ve released a number of highly regarded or important albums. However, sometimes, my reasons for writing about an artist more than once are that as well as being an important and influential artist, they’re an artist whose music I love. Candi Staton, falls into the three categories I’ve mentioned. I’ve long been a huge fan of Candi’s music, and recently, was delighted when a compilation of all the music Candi recorded for Fame Records was released. Previously, the Honest Jon’s label had released an excellent compilation of her music on Fame Records, but the Kent Soul compilation features forty-six tracks over two discs, including many previously unreleased tracks. This is the perfect introduction to the music of Candi Staton, back when she was The First Lady of Southern Soul.
Back when she was with Rick Hall’s Fame Records label, Candi released three outstanding, critically acclaimed albums, all of which, are among some of my personal favorite albums. Of all the Southern Soul singers whose music I enjoy, Candi is right up their at the top of my list of favorite singers. Previously, I’ve written about Candi’s 1969 debut album I’m A Prisoner and her 1971 album Stand By Your Man. The latter of these two albums saw Candi nominated for a Grammy Award for her version of the Tammy Wynette penned Stand By Your Man.
The last of the three album’s she recorded for Fame Records was Candi Staton, released in 1972. This was the last album that Rick Hall produced for Candi, and featured In the Ghetto, Elvis Presley’s 1969 hit single. When it was released as a single, it reached number twelve in the US R&B Charts, and entered the top fifty of the US Billboard 100. This track saw Candi once again, nominated for a Grammy Award. After the released of Candi Staton, Rick Hall had negotiated a new contract for Candi with United Artists, which started with Candi’s next album 1974’s release Candi. However, her final album, Candi Staon, on Rick Hall’s Fame Records featured some of the best music she’d recorded, and it’s that album I’ll now tell you about.
Candi Staton opens with Do It In the Name of Love, a funky slice of Southern Soul, that opens with bursts of blazing horns, the rhythm section and chiming guitars combining before Candi’s charismatic and passionate vocal enters. She’s accompanied by soulful, backing vocalists, a wailing Hammond organ and the combination of funk laden, braying horns, guitars and rhythm section. Together, they produce a hugely atmospheric backdrop for Candi’s vocal, which is now a combination of power and passion, that brings Bobby Bloom and Neil Goldberg’s lyrics about a nervous lover to life. Together with Rick Hall’s fulsome, emotive arrangement, this is an excellent track to open Candi’s third and final album on Fame Records.
Darling You’re All That I Had sees Candi singing about the love she lost, and how her man has left her, leaving her feeling sad, lonely and used. Again, Rick Hall manages to arrange the track in such a way to match the sadness, emotion and drama of Candi’s vocal. To do this, horns drench the track, when it opens, with the rhythm section, guitars and lush, sweeping strings all part of his arrangement. He uses horns to add both emotion and drama, while the strings help get across the sadness and desperation in Candi’s voice. Adding to an already moving arrangement is a piano, which combines beautifully with the dramatic, bursts of horns and lush strings. When this is combined with Candi’s deeply emotional, sad vocal, it’s a potent and winning combination from The First Lady of Southern Soul.
Pam Sawyer and Gloria Jones cowrote Blackmail, and when you hear the lyrics, they’re written from a woman’s perspective. They’re about how when a man has been rejected by a woman, he’ll stoop the lowest level, threatening to tell her husband about their stolen kiss. Here, Candi gets across how worried, petrified she is, being blackmailed by her rejected beau. The track has a faster tempo, with Candi’s voice laden with emotion, demonstrating the fear and worry someone would experience in such a situation. Likewise, the quicker arrangement is full of swirling strings, punchy horns, with a piano prominent in the arrangement, while the rhythm section and guitars drive the track along. Mean while, backing female vocalists cut in, their voices soaring in unison, just like the blazing horns. This much faster, punchier and driving arrangement is perfect for Candi’s distraught and panicky vocal.
In 1969 Elvis Presley had a hit with In the Ghetto, written by Mac Davis. When you listen to that version of the song, it’s a man singing about the problems and worries a woman bringing up children in poverty is experiencing. Although that version is deeply moving, I’ve always felt the song suits a woman singing it. Now many people have recorded versions of this track, but my favorite version, is Candi’s. She seems to be able to get across the hopelessness and pain the character is experiencing. Combine that with Rick Hall’s arrangement, and you’ve got the definitive version of the song, like Candi sung the definitive version of Stand By Your Man. As the track opens, an atmospheric and emotive, combination of the rhythm section, guitars, swirling, shivery strings and a hugely moving harmonica accompany Candi’s thoughtful, dramatic and melancholy vocal. Backing vocalists accompany Candi throughout the track, adding subtle, considered vocals that compliment Candi. Later in the track, Candi’s voice grows in power and emotion, as she delivers the heartache and hopelessness of the situation. Horns rasp, a guitar cuts in repeatedly, while stings shiver and swirl and that heart-achingly sad harmonica cuts in. By the end of the track, you can’t failed to be moved by Candi’s rendition of Mac Davis’ song and Rick Hall’s beautiful arrangement. I defy anyone to find a better version of this song, ever.
The final song on side one of the original album was Wanted: Lover, which previously, had been released on Fame as a single by James Govan, which incidentally, is one of the tracks on the forthcoming The Fame Studios Story 1961-1973 box set on Kent Soul. Personally, this is a track that I think suits a female voice much more than a male vocal. When the track opens with dramatic, blazing horns, sweet, soulful backing vocalists singing in unison, while the rhythm section and horns provide a sultry sounding arrangement. When Candi’s vocal enters, it’s strong and confident as she sings, neigh pleas about wanting a lover, while waves of the catchy, sultry arrangement unfold dramatically. Candi’s vocal is made all the better by the addition of the growling horns and soulful backing vocalists. Like previous tracks, Rick Hall is a magician, able to arrange the song in such a way that when his arrangement is combined with Candi’s vocal they bring the song to life, and tell the story that lies within the lyrics. It’s the perfect, passion laden track to close side one of the album.
Side two of the album opens with The Best thing You Ever Had, written by George Jackson. It’s one of the album’s standout tracks, which is apparent even after a few bars of the track. Guitars, drama laden braying horns, swirling strings and rhythm section combine to produce an emotionally charged, faster and fuller arrangement before Candi’s strident vocal bawls that she was the best thing her man ever bad. As she sings, her voice is full of confidence, anger and maybe even relief, at being free. Accompanying her are a trio of female backing vocalists, whose high soaring vocals match Candi’s confident vocal. Although just two and a half emotionally charged minutes long, this track demonstrates Candi’s versatility and talent as a vocalists, as she makes these lyrics come alive brilliantly.
Lovin’ You, Lovin’ Me sees the tempo and style change with lush sweeping strings at the heart of the introduction, before with a swirl they drop out and give way to Candi’s thoughtful, tender vocal as she sings about how glad she’s to have found her lover. As Candi sings, the rhythm section, guitars and piano play slowly and thoughtfully, allowing Candi’s vocal to take centre-stage. Later, with a flourish, the strings rejoin, adding brief bursts of drama, their lushness adding to an already understated arrangement that flows beautifully along. Barbara Wyrick’s lyrics are quite beautiful, and the way Candi delivers them is just perfect. There are no dramatics, just a thoughtful, considered delivery of them, which when combined with the understated arrangement, works beautifully.
After the tenderness of the previous track, Candi ups the tempo, on the dramatic, horn laden I’ll Drop Everything and Come Running. The horns growl and blaze as the track opens, joined by the rhythm section and chiming guitars before Candi’s powerful, emotive voice enters. From there on, the arrangement is a combination of braying horns, soulful backing vocalists and driving rhythm section as Candi tells her lover how she’d drop everything come running to him. Matching her passion, is the arrangement, with the horns perpetually punctuating the track, while backing vocalists cut in, their voices powerful, as they unite. Throughout the track, space is at a premium, while emotion and passion run high, on this fantastic sultry, funky slice of soul.
You Don’t Love Me No More is another emotionally charged track, with Candi realizing her man no longer loves her any more. It’s a slow, dramatic slice of the finest Southern Soul. Emotive, horns slowly drench the introduction, while a piano adds atmosphere and the rhythm section provide the track’s slow, atmospheric heartbeat. When Candi sings, she knows her man don’t love her any more, but tells him he’ll never find anyone as good as her. Meanwhile, chiming, shimmery guitars and a wailing, atmospheric Hammond organ cuts in. These addition makes an already brilliant arrangement even better, resulting in one of the most moving, hugely dramatic tracks on the album, thanks to Candi’s heart wrenchingly moving and sad vocal.
Candi Staton closes with The Thanks I Get For Loving You a track that Candi wrote herself. Chiming guitars, drama laden, swirling strings and a driving rhythm section combine at the start of the track before Candi’s angry vocal enters. She’s sings how she’s through with her man, fed up with his cheating, but warns him confidently, that she’s the best he’ll ever get. Behind her, backing vocalists seem accompany her, almost saying go girl, you tell him. Meanwhile behind her, one of the best arrangement on the album is unfolding. Wailing guitars, drama laden piano and strident strings combine with a rhythm section that provides the track’s pulse. Together this is hugely effective, and provides the perfect backdrop for Candi’s angry yet confident vocal. Quite simply, this is the perfect track to close the album with. Not only is it one penned by Candi Staton, but features an outstanding, emotive vocal, and a hugely sympathetic arrangement from Rick Hall that lifts it to the next level.
As someone who has been a fan of Candi Staton’s music for many years, I always look back at the three albums she recorded for Fame Records as “vintage” Candi Staton. Much as I love her later work, this for me, is the best music she ever recorded. She was working with a hugely talented producer in Rick Hall, who to me, brought out the very best in Candi. Rick Hall had gathered some of the most talented house bands in America back then. This included guitarist Jimmy Johnson, bassist David Hood and drummer Barry Beckett, who just replaced Spooner Oldman. This wasn’t the only advantage Rick Hall had over other studios. He also had some of the best songwriters around, including Dan Penn and later, George Jackson, who replaced him. Together, they all worked with Candi, helping her to produce three critically acclaimed and quite brilliant albums. This lead to Candi been crowned the The First Lady of Southern Soul, a title she richly deserved. Of her three albums for Fame, I like each of them equally, but if forced to name just one, I think Candi Staton would be my choice. These albums were very different to Candi’s later disco tracks like Young Hearts Run Free and her million selling Acid House hit with The Source You Got the Love. Since then, Candi has made something of a comeback, recording two new albums for Honest Jon’s His Hands and Whose Hurting Now. Recently, Candi was touring the UK and now aged seventy-one gave great performances that won her a new generation of fans. Should you wish to hear some of her earlier recordings on Fame, you can either choose from the Candi Staton compilation on Honest Jon’s or Candi Staton Evidence: The Complete Fame Records Masters on Kent Soul. Both are good value, and feature some brilliant music, so my advice would be buy both, and experience the brilliant music of Candi Staton, The First Lady of Southern Soul. Standout Tracks: In the Ghetto, The Best thing You Ever Had, You Don’t Love Me No More and The Thanks I Get For Loving You.
CANDI STATON-CANDI STATON.
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JEAN CARN-JEAN CARN.
JEAN CARN-JEAN CARN.
By the time Jean Carn signed for Philadelphia International Records in 1976, she’d been involved in the music business since the late sixties. After studying at Atlanta’s Morris Brown College, Jean became know as a hugely versatile vocalists, with a five octave range and the ability to sing in a variety of styles. She’d planned to continue her musical education in New York, at the prestigious Juilliard School of Music, but met Doug Carn, a jazz pianists. Jean became the vocalist for Doug’s jazz fusion band, before she featured on three of Doug’s albums on Black Jazz Records. These were 1971s’ Infant Eyes, Spirit of the Land released in 1972 and 1973s’ Revelation. Jean’s vocal brought her to the attention of both jazz fans, and a band that was about to record their debut album Earth, Wind and Fire.
Not long after the release of 1971s’ Infant Eyes, Jean had come to the attention of Earth Wind and Fire who were about to record their debut album Earth Wind and Fire. Hooking up with Earth Wind and Fire allowed Jean to demonstrate her versatility as a vocalist,because previously, she’d just sung jazz music. So, Jean became a member of the group for their first two albums on Warner Bros. Their debut album Earth Wind and Fire released in 1971, reached number 172 in the US Billboard 200 and twenty-four in the US R&B Charts. Their second album, also released in 1971, The Need of Love reached number eighty-nine in the US R&B Charts and thirty-five in the US R&B Charts. However, Jean wasn’t credited as a member of the group.
In 1975, Jean became the vocalist for Norman Connors, featuring with Michael Henderson on the 1975 hit single Valentine Love. Coincidentally, another Philadelphia International Records vocalist Phillis Hyman was another featured vocalist for Norman Connors. The following year, 1976, saw Jean sign for Philadelphia International, where she would record four albums.
Jean’s debut album on Philadelphia International was entitled Jean Carn, and released in 1977. When it was released, the album reached number twenty-four in the US R&B Charts. This album was produced by Gamble and Huff, and featured Jean singing a combination of soul and jazz tracks. When Free Love was released as a single, it fared well, reaching number twenty-three in the US R&B Charts.
The following year, in June 1978, her follow-up album Happy To Be With You was released. It featured the brilliant track Don’t Let It Go To Your Head, which was released as a single. Amazingly, it didn’t do as well as her debut single for Philadelphia International, only reaching number fifty-four in the US R&B Charts.
This was followed by 1979s’ When I Find You Love. Her fourth and final album for Philadelphia International, was Sweet and Wonderful, which was released on the subsidiary TSOP label, in 1981. After five years, Jean decided to leave Philadelphia International, heading to another of soul music’s great labels, Motown.
Having left Philadelphia International, Jean signed to Motown, where she released Trust Me In 1982. This was the only album she released on Motown, and the only album she released until 1986s’Closer Than Close in 1986. After that, Jean released three further albums including You’re A Part of Me in 1988, which was released on Atlantic Records. Seven years later, Jean released two further albums, Carne Sings McCoy and Closer Than Close. Since then, Jean hasn’t released any further albums. However, the album this article is Jean’s debut album, Jean Carn, which I’ll now tell you about.
Jean Carn opens with the Gamble and Huff penned Free Love, which was released as single, reaching number twenty-four in the US R&B Charts. When the first staccato notes of Free Love bursts brightly from your speakers, it’s apparent Gamble and Huff foresaw Jean as Queen of the dance-floors. A combination of punchy rhythm section, soaring, chiming guitars and percussion quickly lock into a groove to accompany Jean’s charismatic vocal, before sweeping, swirling strings enter. From there, the track sweeps quickly, with blazing horns and drums dramatically punctuating the track, When Jean’s voice softens, she’s joined by sweet, brief bursts of backing vocalists. Together with rest of the catchy, mostly lush sounding arrangement, this brilliant and timeless dance track is the perfect way to open the album. One thing though, why didn’t it do much better when released as a single?
The tempo and style changes on No Laughing Matter, which is a lovely ballad, that allows Jean to demonstrate her versatility as a vocalist. Very different is Jack Faith’s arrangement, which has a lovely understated quality, with lovely, lush strings, percussion and piano at the heart of it’s beauty. Later, horns gently and subtly, interject, combining with the rhythm section and adding to an already beautiful arrangement. Meanwhile, Jean’s vocal is thoughtful and gentle, her phrasing perfect as she sings another Gamble and Huff penned track. Here, the lyrics are a mixture of sadness and joy. The joy is when Jean sings about being in love and how precious life is, and the sadness come when she sings about having a bad start in life. When Jack Faith’s arrangement is combined with Jean’s vocal, the result is stunning, a beautiful and hugely moving song, featuring a beautiful vocal and arrangement.
I’m In Love Once Again has a spacious and dramatic introduction, with a harp, percussion, drums and brief bursts of horns combining, slowly and gently, before after a dramatic burst of drums, Jean’s high and thoughtful vocal enters. She’s accompanied by a gentle piano, rhythm section, grand, sweeping strings and guitars. Like the opening track, the arrangement is punctuated by dramatic bursts of drums and strings. This is one of these tracks that the longer it goes on, the better the arrangement gets. It seems to take a couple of minutes before the track really opens out and reveals it’s beauty. Much of the track’s success is down to Jean’s now powerful, emotive and passionate vocal which is accompanied by quicker, sweeping strings, rasping horns chiming guitars and the rhythm section. Towards the end, a prolonged piano solo, adds the finishing touches to what is a fine track, thanks to Jean’s power laden and passionate vocal, and a slow burner of an arrangement.
There’s a jazz influence present in Don’t You Know Love When You See It which features a dramatic arrangement from Bobby Martin. A wailing, atmospheric Hammond organ, dramatic braying horns, slow moody rhythm section and chiming guitars combine to produce an arrangement that has elements of soul and jazz present before a slow, considered vocal from Jean enters. Her voice soars powerfully, as she uses her five octave range to its full. Behind her, the arrangement has a dramatic, moody sound because of the slow tempo and the combination of instruments deployed. This includes rasping, wailing horns, sweeping strings, chiming, shimmering guitars and a slow, thoughtful rhythm section. Although very different from previous tracks, both Jean’s thoughtful and dynamic vocal and Bobby Martin’s slow, moody and atmospheric arrangement combine to produce a drama laden, but excellent track.
Where Did You Ever Go is the slowest track on the album, and is another ballad, written and produced by Dexter Wansel. The arrangement has a “big” melodramatic sound, with strings sweeping emotively and dramatically, while a piano adds a sense of drama. Jean meanwhile, gives a hugely emotional, dramatic performance, as she sings about being left alone by her lover. Dexter Wansel drops the strings in at just the right moment, ensuring they’re deployed at the most effective time. This really works, adding to the sadness and loss Jean sings about. Again, she uses her wide vocal to really get across the sadness of the lyrics. Unlike other tracks, the arrangement relies upon fewer instruments, and this less is more attitude works well, with the piano and strings combining beautifully with Jean’s emotive, drama laden vocal.
The sound of waves breaking on a beach, seagulls, a boat’s horn and church bells open You Are All I Need. This gives way to a slow, dramatic lush strings, rasping horn and a quicker, rhythm section and percussion before a gentle, floaty vocal from Jean enters. Quickly, against a backdrop of atmospheric rasping horns, the lushest of sweeping strings and the rhythm section combine to produce an arrangement that veers between a quicker yet gentle flowing arrangement, to a jazz funk influenced sound when the rhythm section and horns get into a groove and are allowed to demonstrate their considerable talents. Sometimes however, the arrangement has a hesitancy, and the earlier flowing sound almost stumbles along, because of the latest change in tempo. Meanwhile, Jean’s vocal changes in style, ranging from a gentle, thoughtful style, to a much more powerful, passionate style, and even to a style that’s jazz tinged. However, my problem with this track is the constant changes in tempo and style. For me, it doesn’t quite work, and although not a poor track, it’s the weakest track on the album, which is a shame considering Jean’s great vocal.
Things get back on track with If You Wanna Go Back another of the Gamble and Huff penned tracks. This is one of the dance floor orientated songs on the album, and has long been a favorite of mine. From the opening bars of the track, you realize that it’s something special. Rhythm section, piano, quick, lush, sweeping strings combine to create a “bouncy,” joyous sound before Jean’s emotive, charismatic vocal enters. It matches the brilliance of the arrangement, which sweeps along beautifully, with the strings, piano and rhythm section, being joined by bright, bursts of joyful horns. Together with Jean’s vocal and Bobby Martin’s arrangement, you can trace house music’s lineage to tracks like this. Tracks like this had a huge influence on the sound on the nascent house music of the eighties, because of their arrangements and vocals. Many house tracks “borrowed” heavily the sound of tracks like this with their use of piano, horns and strings and a female vocal atop the arrangement. However, much as I love house music, they were but pretenders to the throne, because Gamble and Huff, and arrangers like Bobby Martin could produce and arrange much better tracks, including this brilliant track.
Like the previous track, You Got A Problem is track written by Gamble and Huff, and arranged by Bobby Martin. Similarly to the previous track, they sprinkle their magic dust over this track, resulting in another joyous sounding slice of Philly Soul. A combination of blazing horns, fast sweeping strings, driving rhythm section and chiming guitars combine to produce a quick, joyful backdrop for Jean’s strong, soulful vocal. She’s accompanied by backing vocalists whose tight, sweet and soulful contributions are the perfect accompaniment to Jean’s fuller, passion laden vocal. Meanwhile, one of the best arrangements on the album is unfolding. The winning combination of sweeping strings, punchy, braying horns, piano, guitars and rhythm section that accompany Jean’s vocal help to produce one of the album’s best tracks, only surpassed by Free Love.
Jean Carn closes with Time Waits For No Man, and like the previous tracks has a bright, uplifting arrangement which sees strings, pounding rhythm section, bursts of horns and chiming guitars combine before Jean’s powerful and emotive vocal enters. During the track Jean displays her power and versatility as a vocalist, bring the lyrics to life, while behind her the arrangement is fast and fulsome, with the rhythm section driving the track along. Punchy horns interjects, while strings sweep and swirl and later, keyboards help fill the sound out. Like previous tracks, backing vocalists supplement Jean’s vocal, with their voices subtly enveloping her vocal. When all of this is combined with Jean’s vocal, the end result is a good track, although not quite of the standard of the previous track. That maybe is an unfair comparison, because You Got A Problem is an outstanding track. Maybe if the running order had been reversed, and this was the penultimate track, instead of the final track, I wouldn’t be drawing this comparison. However, Time Waits For No Man is a good track, and a good way to end what was an excellent debut album from Jean Carn.
As regular readers of this blog will have gathered, I’m a huge fan of Philadelphia International Records, and all the music Gamble and Huff released on that label. Their work with Jean Carn on her debut album features some wonderful music, especially the Free Love and You Got A Problem, two of the four tracks they cowrote on this album. On this album, some of the most talented people working at Philadelphia International all worked on the album. This included McFadden and Whitehead, Dexter Wansel who wrote and produced tracks on this album. Two people whose role in not just this album, but many of the albums on Philadelphia International are Bobby Martin and Jack Faith, who arranged a number of the tracks on this, and many other albums. Of course, without M.F.S.B. the legendary Philadelphia International house band this, and other, albums wouldn’t have sounded as good as they did. M.F.S.B featured some of the most talented musicians in Philadelphia, and on this album, they provided the perfect backdrop for Jean’s vocal. Although this was Jean’s debut solo album, it’s a really mature album. By 1977, she was an experienced and versatile vocalist, blessed with a five octave range. On Jean Carn, she used that voice magnificently, singing songs with a combination of tenderness and power, bringing to life the stories behind the nine songs. Why the album didn’t do better, always puzzles me. It only reached number twenty-four in the US R&B Charts. An album with such great music on it deserved to do much better. Thankfully, the album was rereleased in 2004, on Demon Music Group together with Jean’s second album Happy To Be With You. This allows either those who missed the album originally, or were too young back in 1977, to hear the first two albums from the hugely talented Jean Carn. Standout Tracks: Free Love, No Laughing Matter, If You Wanna Go Back and You Got A Problem.
JEAN CARN-JEAN CARN.
THE CHI-LITES -THE CHI-LITES.
THE CHI-LITES -THE CHI-LITES.
The early seventies were a great time for anyone who loved soul music. It seemed that during that period, labels throughout America were consistently producing some fantastic music. Several cities had successful labels, all of which were releasing both critically acclaimed and commercially successful music. This seemed to be the case throughout America. Philadelphia had Philadelphia International Records, home of The O’Jays, Harold Melvin and The Blue Notes and Billy Paul and Philly Groove home to The Delfonics and First Choice, Memphis was home to Hi Records who had Al Green, Ann Peebles and Otis Clay on their roster, while Stax had artists like Booker T and The MGs’, Johnnie Taylor, Shirley Brown and Isaac Hayes and Fame had Candi Staton. Detroit had Motown, home to Marvin Gaye, Diana Ross and Stevie Wonder, before the label moved to Los Angeles. Meanwhile, Chicago had Cadet home to Terry Callier and Rotary Connection, while Curtis Mayfield’s Curtom label had Donnie Hathaway, The impressions and Leroy Hutson. Another of Chicago’s hugely successful and important labels was Brunswick, which was home to Jackie Wilson and The Chi-Lites.
From the release of their debut album in 1969, The Chi-Lites had been one of Brunswick’s most popular and successful groups. Their debut album was Give It Away in 1969 was a combination of cover versions and original material, and although it only reached number 180 in the US Billboard 200, it reached number sixteen in the US R&B Charts.
When they released their second album 1070s’ I Like Your Lovin’ (Do You Like Mine?) was a somewhat controversial release, featuring just three new songs, with the remaining tracks have been on their debut album Give It Away. The album failed to chart, although the single Are You My Woman (Tell Me So?) reached number seventy-two in the US Billboard 100 and eight in the US R&B Charts.
By the time their third album (For God Sake) Give More Power To the People was released in 1971, The Chi-Lites made their breakthrough, twelve years after first being formed in 1959. The album reached number twelve in the US Billboard 200 and three in the US R&B Charts. On the album was Have You Seen Her, one of the group’s best loved and most successful songs. It reached number three in both the US Billboard 100 and the UK.
Surpassing the success of For God Sake) Give More Power To the People was 1972s’ A Lonely Man, which reached number five in the US Billboard 200 and number one in the US R&B Charts. The album featured Oh Girl which reached number one in both the US Billboard 100 and US R&B Charts. Also on the album was a cover of Marvin Gaye’s Inner City Blues (Make Me Wanna Holler).
A Letter To Myself was The next album, released in 1972. It wasn’t as successful as their two previous albums, reaching number fifty in the US Billboard 200 and number four in the US R&B Charts. Looking back, this was the start of the fall in The albums. After this, their albums didn’t sell in such huge amounts.
The Chi-Lites, the album this article is about, was released in 1973. Although it only reached eighty-nine in the US Billboard 200 and number three in the US R&B Charts, it featured some wonderful music. Songs like Homely Girl, Stoned Out of My Mind and Too Good To Be Forgotten were on this album, and considering the quality of the music on the album, it’s lowly chart placing in surprising.
After this, The Chi-Lites only released two further albums on Brunswick. These were Toby in 1974 which only reached number 181 in the US Billboard 200 and twelve in the US R&B Charts. Their final album for Brunswick 1975s’ Half A Love only reached number forty-one in the US R&B Charts. Following the release of Half A Love, The Chi-Lites signed to Mercury Records. Sadly, the two albums they released on Mercury failed to chart, and after that, they changed labels several times, but failed to replicate their earlier success on Brunswick. However, the music they released on Brunswick was some of the best soul music of the early seventies. One of these albums was 1973s’ The Chi-Lites, which features some great music, which I’ll now tell you about.
The Chi-Lites opens with Homely Girl, the musical equivalent of the children’s tale The Ugly Duckling, where a plain girl grows up and is transformed into a beautiful woman. The song is sung from the perspective of the only guy who spotted the inner beauty of the Homely Girl. When the track was released as the third of four singles from the album, it reached number fifty-four in the US Billboard 100 and three in the US R&B Charts. In the UK, the single reached number five. It’s that familiar piano solo that opens the track, before the rhythm section, guitars and bursts of horns combine before Eugene Record’s heartfelt vocal enters. He’s accompanied by the rest of the group singing sweet, soulful backing vocals, while a flute floats above the rest of the arrangement. As the song progresses, horns interject, while strings sweep lushly accompanying the lead and backing vocals. By now, Eugene has told the story brilliantly, against a quite beautiful arrangement, and made all the better by the addition of strings, horns and backing vocals. The end result is a masterful and hugely memorable slice of soul music, the perfect way to open the album. However, why wasn’t it a much bigger hit in the US Billboard Charts, because it was a huge hit here in the UK?
After such a memorable opening track, The Chi-Lites follow this up with Go Away Dream. The rhythm section, chiming guitars, swirling strings and horns open the track, with an introduction that although slow, has bursts of brief drama thanks to the horns and drums combining. After that, Eugene sings the lead, singing about dreaming about how he keeps dreaming about a woman, but never gets to meet her. His vocal gets across the frustration and unfairness he feels, while gentle backing vocals briefly accompany him. Meanwhile understated lush strings, gentle piano and slow rhythm section provide the mainstay of the arrangement and occasional braying horns add bursts of drama. When these two “parts” of the arrangement combine, they provide the perfect backdrop for Eugene’s tale of frustration and disappointment. Like the previous track, this is a song with a story behind it, and although not in the class of Homely Girl, it’s still an excellent song.
Too Good To Be Forgotten is a slightly quicker track, with a fuller, more dynamic arrangement. This track was another of the singles released from the album. It was the fourth single and for some reason, wasn’t released in the US, but reached number ten in the UK. When the track opens, the tempo is quicker, with a catchy, feel-good sound apparent when a combination of rhythm section, guitars, flute and backing vocals accompany Eugene’s lead vocal which has a joyous sound. Horns blaze in, serenading his vocal adding to the already catchy, joyful track that’s unfolding. Meanwhile, Eugene, accompanied by similarly joyous backing vocalists, tells a tale of being distracted by a beautiful woman on his way home, and he can’t get her out of his mind. By now, a catchy hook laden track has revealed itself, one with an infectious, feel-good sound, thanks to a combination of an a faster, fuller sounding arrangement and Eugene’s joyous vocal. Together, they create one the catchiest songs on the album, and one that deserved to be released as a single in the US.
I Found Sunshine, has similarities to the previous track. The tempo is quicker, the sound fuller and there is a joyful, feel-good sound apparent from the opening bars. A combination of clavinet, rhythm section and sweet, bright horns play before Eugene’s faster, melodic vocal enters, with the rest of The contributing backing vocals. At times, the arrangement has similarities with some of Stevie Wonder’s early seventies music, thanks to the use of the clavinet. Throughout, the track the tempo is quick, the sound fuller and totally joyous. Much of the credit must go to Eugene Record who wrote the track, and produced the album. He seemed able to combine the right instruments at just the right time. During the track, the addition of clavinet and horns, and the way they drop in and out of the track, is a masterstroke, especially the way they combine with the vocals. When the song was released as the second single from the album it reached forty-seven in the US Billboard 100 and seventeen in the US R&B Charts, In the UK, the track only reached number thirty-five. For such a catchy, uplifting slice of soul, this was a disappointment. Surely this brilliant track deserved to do much better.
The final track on side one of the original album was I Never Had It So Good (And Felt So Bad) a slow, hugely sad track about a man whose just been divorced. When the track opens, swirling, dramatic strings are accompanied by a bass and equally dramatic horns before a half-spoken vocal enters. It’s accompanied by the strings, bass and horns before a sad, rueful vocal from Eugene enters, with the rest of the group providing sympathetic backing vocals. As the track progresses, the arrangement veers between an understated, sad sound to a much fuller drama laden sound. Both help bring the sadness and emotion of the lyrics to life and get over the sense of regret and loss felt. Although quite different from the previous tracks, it’s a hugely moving, track full of sadness, regret and sorrow.
Side two of the album opens with Marriage License, a somewhat tongue in cheek song that compares the Marriage License with a driving license. The track was co-written by Eugene and Alonnzo Tucker, who regularly wrote songs for Jackie Wilson. When the track opens, the tempo is slow, with keyboards, backing vocals, horns and bass accompanying Eugene’s vocal. Behind him, string sweep, a flute floats above the arrangement while drums and braying horns inject brief, bursts of drama. Eugene sings the song thoughtfully, his voice tender, with the backing vocals subtly accompanying him. Although both the vocal and arrangement are really good, the lyrics aren’t the best on the album. They lack depth and aren’t of the standard of Homely Girl, Too Good To Be Forgotten or I Found Sunshine.
I Forgot To Say I Love You Till I’m Gone is a much better track, after the somewhat disappointing previous track. From the opening bars the tempo is quicker, the sound uplifting with the rhythm section and guitars driving the track along, before punchy horns and swirling strings enter, accompanying a quicker, joyful vocal from Eugene. Adding to an already good arrangement is a piano, and swooping backing vocals. However, my only criticism is the occasional fat sound from the horns, which seems out of place. Apart from that, everything comes together to create another catchy, upbeat tale about being in love, beautifully sung by Eugene with another good arrangement.
It’s a grand, dramatic sound that opens One Man Band (Plays Alone), a song co-written by Thom Bell and Linda Creed. Thom Bell had produced The Delfonics for Philly Groove Records and later, The Stylistics. Drums, sweeping, swirling strings and bursts of drama laden horns combine before Eugene sings about being alone, having being hurt and let down by people. He’s content to spend time alone, living in his own world. Behind the arrangement combines beauty and drama, with grand sweeping strings, a gentle country influenced piano and subtle bursts of horns creating the beauty, while rasping horns create drama. They combine with one of the best vocals on the album. Both Eugene and the other combine perfectly. Their vocals are thoughtful, full of emotion and sympathetic to the lyrics, getting across both the contentment and disappointment. Although this is cover of a track originally recorded by Ronnie Dyson, it works really well for The Chi-Lites , and is one of the best songs on the second side of the album.
Bet You’ll Never Be Sorry is best described as a catchy track that swings along. It features an arrangement that veers between bursts of brief, musical drama and a lovely understated sound. When the track opens, when drums, blazing horns, guitars, bass and sweeping strings combine to produce a stirring, dramatic sound to before Eugene’s vocal enters, During the track his vocal ranges from a gentle, thoughtful style to one that matches the bursts of drama of the arrangement. One of the things I’ve always like about the track is the slightly old fashioned swinging arrangement. This sees the rhythm guitar sitting atop the arrangement, while around it, lush, strings sweep, horns provide bursts of drama and the rhythm section provide the track’s heartbeat. Matching the quality of the arrangement is the vocal, with Eugene seemingly reserving one of his best and most joyous vocals for this track, which was originally recorded by Gerald Sims, who wrote the song.
The Chi-Lites closes with the first of the singles released from the album, Stoned Out of My Mind, which reached number thirty in the US Billboard 100 and three in the US R&B Charts. It’s an uptempo track with rhythm section, braying horns, guitars and keyboards before Eugene’s gentle vocal about infidelity enters. He’s accompanied by the other Chi-Lites, whose soulful accompaniments are sympathetic to Eugene’s moving keyboards and guitars combine to produce a fast moving, fulsome arrangement that provides a contrast to Eugene’s sad, gentle vocal, which is laden with frustration and worry. Together they combine to produce a to produce one of the album’s best tracks and the perfect track to close the album with.
I’ve always thought that The Chi-Lites was one of the group’s most underrated albums. It failed to recapture the commercial success of their earlier albums, but featured some brilliant music. There is a wide variety of songs on the music from ballads to faster, much more uptempo songs. However, each track features some great vocals from Eugene and tight, harmonies from the rest of The Chi-Lites. Similarly, the arrangements on the album are each of the highest quality, thanks to Eugene Record’s slick production. On the album he uses the lushest of strings and blazing horns to good effect, creating the perfect backdrop for his lead vocal. Although lacking the militancy of their earlier albums, it’s crammed full of ten slices of the finest and sweetest soul music. Great songs, sung beautifully with emotion and feeling, together with arrangements featuring a cast of some of the finest musicians around, all helped to make this the beautiful and brilliant album it is. Even though the album is thirty-seven years old, it has a timeless quality, similar to the music released on labels like Philadelphia International, Fame, Stax and Hi. Like the music released by these labels, albums like The Chi-Lites are like bottles of fine wine, they mature with age. Standout Tracks: Homely Girl, I Found Sunshine, One Man Band (Plays Alone) and Stoned Out of My Mind.
THE CHI-LITES -THE CHI-LITES.
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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.
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