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‘The Sound Of Philadelphia’ Revived
Via Magical 1973 Concert Disk
Via Magical 1973 Concert Disk
By Tom Wilk
Contributing Writer
In the 1970s, Philadelphia International Records put the City of Brotherly Love on the national music map with its brand of sophisticated soul music that has been described as putting a bow tie on funk.
Under the direction of label owners, Kenny Gamble and Leon Huff, artists such as the O’Jays, Harold Melvin and the Blue Notes, the Three Degrees and Billy Paul made the Philly Sound a household word.
The instrumental backbone behind those studio recordings was MFSB, an acronym for Mother Father Sister Brother, the house band at Philadelphia International. MFSB worked exclusively in the studio — except on one memorable occasion.
“Golden Gate Groove: The Sound of Philadelphia Live in San Francisco 1973” (Philadelphia International/Legacy) documents the 35-piece ensemble, with horns and string section, backing up the label’s biggest acts at a Columbia Records sales convention. The June 27, 1973 performance would be the only time the band went on the road and would prove to be a magical evening.
Harold Melvin and the Blue Notes, featuring Theodore Pendegrass Jr., as he is billed here, execute a dynamic vocal blend on “If You Don’t Know Me By Now” and “The Love I Lost.” The band and singers stretch out “I Miss You” for more than 11 minutes.
The Three Degrees are showcased on “I Didn’t Know” and “Dirty Old Man” while Billy Paul offers a superb reading of “Me and Mrs. Jones,” a dramatic ballad of infidelity that became his signature song.
The O’Jays close the concert with a four-song set, bookended by their biggest hits - the gritty “Back Stabbers” and the anthemic “Love Train.” MFSB steps into the spotlight with strong instrumental versions of “Freddie’s Dead,” the Curtis Mayfield hit from the “Superfly” soundtrack, and an abbreviated version of “TSOP,” still a year away from becoming a No. 1 single. The song was used as theme for “Soul Train,” whose host, Don Cornelius, served as the show’s master of ceremonies.
Writer Ashley Kahn provides an informative essay on the background of “Golden Gate Groove,” which adds a welcome chapter to the history of Philadelphia International Records.
*
Contributing Writer
In the 1970s, Philadelphia International Records put the City of Brotherly Love on the national music map with its brand of sophisticated soul music that has been described as putting a bow tie on funk.
Under the direction of label owners, Kenny Gamble and Leon Huff, artists such as the O’Jays, Harold Melvin and the Blue Notes, the Three Degrees and Billy Paul made the Philly Sound a household word.
The instrumental backbone behind those studio recordings was MFSB, an acronym for Mother Father Sister Brother, the house band at Philadelphia International. MFSB worked exclusively in the studio — except on one memorable occasion.
“Golden Gate Groove: The Sound of Philadelphia Live in San Francisco 1973” (Philadelphia International/Legacy) documents the 35-piece ensemble, with horns and string section, backing up the label’s biggest acts at a Columbia Records sales convention. The June 27, 1973 performance would be the only time the band went on the road and would prove to be a magical evening.
Harold Melvin and the Blue Notes, featuring Theodore Pendegrass Jr., as he is billed here, execute a dynamic vocal blend on “If You Don’t Know Me By Now” and “The Love I Lost.” The band and singers stretch out “I Miss You” for more than 11 minutes.
The Three Degrees are showcased on “I Didn’t Know” and “Dirty Old Man” while Billy Paul offers a superb reading of “Me and Mrs. Jones,” a dramatic ballad of infidelity that became his signature song.
The O’Jays close the concert with a four-song set, bookended by their biggest hits - the gritty “Back Stabbers” and the anthemic “Love Train.” MFSB steps into the spotlight with strong instrumental versions of “Freddie’s Dead,” the Curtis Mayfield hit from the “Superfly” soundtrack, and an abbreviated version of “TSOP,” still a year away from becoming a No. 1 single. The song was used as theme for “Soul Train,” whose host, Don Cornelius, served as the show’s master of ceremonies.
Writer Ashley Kahn provides an informative essay on the background of “Golden Gate Groove,” which adds a welcome chapter to the history of Philadelphia International Records.
*