I really like the voice of Candi Staton. I have her 2-cd-set "Evidence - The Complete Fame Records Masters" from the Kent label (Ace Records U.K.) and 2-cd-set of her Warner albums "Candi" and "Young Hearts Run Free" from the Edsel label (Demon Music Group U.K.). The second set has four versions of "Young Hearts Run Free": album version, single edit version, 12" extended M&M Mix Eighty-Six, and Instrumental M&M Mix Eighty-Six. From the booklet: "Crawford had come up with a strong lyric which essentially told the story of a woman locked into in loveless relationship and advocated that others in a similar position should break free of any binding domestic situation to follow their hearts and their stars in the pursuit of true happiness." She liked it to get a song that relates to her how she felt at the time because she was on her third unsuccessful marriage.
A truly distinctive voice. A friend of mine grew up on crazy funnymentalist television during the '80, which apparently Staton appeared on a lot, and when "Young Hearts Run Free" spun at my house one evening he recognized her voice within seconds, even though he never realized she'd sung secular music. I somehow missed this one growing up and into the 21st century, only discovering it a decade or so ago (no pun intended...discovering...heh...please tip your waitress). Fantastic cut, socially relevant but not preachy lyrics, incredible performance. A true classic. I'd actually heard a tiny snippet of this song for 20 years without knowing it - Utah Saints had sampled Staton for "My Mind Must Be Free" back in the early '90s:
And yet, another veteran comes back in 1976: I'm Not In Love - Dee Dee Sharp It blew me away when the radio announcer said this was Dee Dee Sharp (of the early 60s "Mashed Potato Time" fame). I guess it was only fitting that this Philadelphia native would would wind up on another home-based label, in this case the tsop label, a subsidiary of Philadelphia International Records. She sings the hell out of this 10cc classic, and her voice and vocal style really matured in the twelve years since those Mashed Potato sides on the Cameo label. She even borrows those Eartha Kitt tongue rolls. I love it when she remarks "Me? In love? I know you're crazy!" on the fadeout. Stay tuned for more veterans.
Without doing some research, I have no idea what Ms. Sharp was up to for all those years but it certainly was a welcome return. Her voice here reminds me of other female singers of that time I was digging on like Marlena Shaw and Angela Bofill.
I haven't heard any Marlena Shaw since she was on the Chess label in the 60s. That's something I need to correct. I wouldn't hear of Angela Bofill until four years later.
Ms. Sharp had been married to Kenny Gamble of the Gamble-Huff writing/producing team (indeed, on a later album a couple years from this, she actually would be credited on the cover and label as "Dee Dee Sharp Gamble"); I'm not sure, but she may have been the one credited as "Dione Gamble" in the "Vocal Arrangements" credit on Winfield Parker's 1971 cover of the Edwin Starr oldie "S.O.S. (Stop Her On Sight)," per below: Ironically, her version of "I'm Not In Love" was produced (and arranged) by Bobby Martin. The one cover of "I'm Not In Love" that I am familiar with from that time period, however, was Richie Havens', from the point he joined A&M Records. I remember hearing that one "at the time," on WPIX-FM 102 in-between plugs for Crazy Eddie.
Given the trajectory of her life within a few years of this, that she did this song was a bit ironic, no?
Sadly, this one didn't even get into the R&B Top 60, but it's a great take. She sounds a little like Patti LaBelle. Now I know where Queen Latifah got her arrangement from...
Also . . . Ms. Sharp had an "in" at Philadelphia International from at or near the start; in its early months in 1971, she and one David Sigler (any relation to Bunny?) duetted on a short track, "Conquer The World Together" (I have a promo, the label shown after the clip is a stock): 'Course, like most Philly International releases before the O'Jays were signed, this didn't seem to do much diddly-squat chart-wise from what I could tell . . .
In case you're wondering what happened to the last three posts, that was me. I had them murdered. Why? I didn't realize the song I mentioned is on the R&B #1 list, and it's coming up soon, even though it was getting heavy rotation on the radio during July of 1976. The song had a long life! It will also come up on the other Billboard thread, too. The song was massive! So, moving on, the next #1 single is: I'll Be Good To You - The Brothers Johnson July 12, 1976, 1 wk These guys came out of nowhere if you hadn't known about Quincy Jones' previous album "Mellow Madness". And, these brothers from Oakland, California had the goods! Louis Johnson, also known as 'thunder thumbs", talent was on par with the best bassists like Larry Graham. We'll be seeing a lot from these guys in the next five years.
Oh, do I remember this from way back when . . . ! And it could be argued that The Brothers Johnson were the quintessential Quincy Jones artists, so joined to the hip were they to him professionally. I.I.N.M., one or more of the brothers also had some involvement with Lesley Gore's then-recent album Love Me By Name which reunited her with 'Q' for the first time since her days with Mercury in the '60's when he was one of that label's key A&R men.
Oh yeah! The Brothers J were a fantastic presence who seemingly came out of nowhere. The start of something good.
Next #1: Sophisticated Lady (She's A Different Lady) - Natalie Cole June 19, 1 wk Not my favorite Natalie Cole song, but it was also quite popular, and it spoke directly to a growing Black middle-class in the mid-70s. But, I prefer the other track radio was playing at the same time which I will post in the next post.
Can We Get Together Again - Natalie Cole I prefer this album track more, and it recalls her first hit "This Will Be".
Also, The Isley Brothers were still going very strong. One of the songs radio was playing during this time was... Who Loves You Better - The Isley Brothers One interesting thing is that the commercial single is in mono.
Original copies had just the main title, if apparently only on promos: But it seems early on, the subtitle was added to distinguish from, and avoid any potential confusion with, the Duke Ellington composition (with lyrics by Irving Mills and Mitchell Parish; I noticed among the covers of this standard, her old man Nat King Cole was not on the list of those who recorded that); as below: A few copies were pressed by the onetime Capitol plant in Scranton which, by this point, was owned by North American Music Industries: It should be noted that Canadian Capitol releases used the pop/country Portland orange and tan label color scheme. Though this A side was NOT the Duke Ellington composition, ironically the B side was a standard associated with Billie Holiday (one of those who covered said Ellington song) - "Good Morning Heartache."
I know artists often copy themselves when they have a hit record but dayum! They shoulda just called it This Will Be...Again! I didn't care for Sophisticated Lady back then but listening to it now, I kinda dig it although I'm only now noticing that opening sounds an awful lot like Fame.
Next #1: Something He Can Feel - Aretha Franklin Week ending June 25, 1976 4 weeks Here is the album version: This was a biggie in the R&B world. It didn't even hit me that it was a Curtis Mayfield production. I remember a lot of people really liking the song, though.
I lost track of Aretha's output after the With Everything I Feel In Me album but I do remember this one. It didn't make much of an impression on me at the time, probably 'cause it was rather retro and I was just into other things. With time and age, I appreciate any Aretha that harkens to her classic sound so I'll chalk this up to one that got away from me.
No memory of this one from the time, but when En Vogue covered it in '92 as "Giving Him Something He Can Feel", that made an impression. And not just on me - it topped the R&B charts for a second time and - unlike Aretha's version - made it all the way into the pop top 10 (#6). I will say, this is a somewhat unusual arrangement for Aretha. To me, she sounds a lot like Natalie Cole here, with those stabby horn arrangements and the vocals chorused just so. It works.
I listen to the album and when doing so, I don't see this song as a standout track. The whole album is very good.
Well, Natalie's stuff was being recorded in Chicago at this time, and Curtis Mayfield was based out of Chicago at the time he produced this 'Retha record, so . . . you do the math.
