Refreshed

THE EBONYS
The Ebonys
(Philadelphia International/Epic/Legacy)
THE MANHATTANS
The Manhattans
(Philadelphia International/Columbia/Legacy)
HAROLD MELVIN & THE BLUE NOTES
Wake Up Everybody
(Philadelphia International/Epic/Legacy)
THE O'JAYS
Ship Ahoy
(Philadelphia International/Epic/Legacy)
Come back with us once again, O man (and woman), to a time when flared trousers, wide lapels and platform boots were de rigeur on the dancefloor, a time when disco wasn't a dirty word, a time when heartfelt if simplistic messages of social unity and luv über alles were delivered over soaring strings, light, R&B-derived melodies and irresistible booty-shaking beats. Yes, we're not only talking about the 70s, but the 70s of Philadelphia International, the superstar soul label that ruled black music in the 70s in much the same way Motown assumed the throne in the 60s and Atlantic in the 50s. Philly International blended the experimental cultural commentary of the Temptations' psychedelic soul period with the Supremes' delicately crafted pop/soul hits, added a dash of rubbery funk as pioneered by Curtis Mayfield, and came up with a formula that ruled the radio with a benevolent hand and a dreamy smile. One could argue that the R&B airwaves haven't been quite as wonderful since, though that's opening up a can of worms that's not exactly germane to the current discussion. Besides, it's not as if the music is no longer available; not only do oldies soul stations spin it regularly, but Sony Legacy (Sony's Columbia and Epic were PI's distributors back in the day) has done a superlative job bringing the best of it back to light in newly remastered editions. Thus we present the latest batch of gems from the vaults of Philadelphia International.

Singers Jenny Holmes, David Beasley, James Tuten and Clarence Vaughn convened as the Ebonys in 1969, though they didn't cut their self-titled debut until 1973. Philly International was still enjoying its upward swing at the time, and label heads Kenneth Gamble and Leon Huff applied their magic touch to this group of unknowns in hopes that they would match the success of the label's better-known acts. It wasn't to be, though the group did score a couple of minor hits before disintegrating after a second album. The Ebonys is almost a summary of the label's varied approaches to soul music. There are grooving disco/funk tunes ("Hook Up and Get Down," "Nation Time"), mildly psychedelicized social commentary ("Life in the Country," "I'm So Glad I'm Me") and overwrought love ballads (almost everything else). That last approach is what provided the Ebonys with their hits, namely "You're the Reason Why" and the seemingly endless "It's Forever," both of which echo the gruff soul man/sweet backup singers approach favored by Harold Melvin & the Blue Notes and the Chi-Lites. This edition adds four bonus tracks in the same veins, including a terrific psych/funk cut called "Do It." The Ebonys definitely fall on the second tier of 70s soul acts; without a personality of their own, they were simply a vehicle for the Gamble/Huff songwriting/production workshop. Fortunately, the Philly soul team knows its way around hooks and melodies, so The Ebonys, while no lost classic, is never less than enjoyable.

Like their labelmates the O'Jays, the Manhattans formed in the 60s as a doo-wop group, but found their biggest successes in the 70s under the Philly International banner. The quintet also stands out because it was one of the few PI projects not masterminded by Gamble and Huff, and much of its material was self-generated, a real rarity at the label. The band's 1976 self-titled PI debut is smooth 70s soul, not particularly unique but definitely with its modest pleasures. Frontman Gerald Alston (later a Motown solo artist) has a silky smooth croon, minus the rough edges of the 60s era but still with plenty of soul. As with many of the Philly vocal band records, this one is kind of ballad-heavy. While it's impossible to argue with sensual, romantic tracks like "We'll Have Forever to Love," "Hurt" and "Take It or Leave It," a few more groovy disco/funk tunes like "Searching For Love" and "How Can Anything So Good Be So Bad For You?" would have broken the monotony. Corny easy listening sops like "La La La Wish Upon a Star" and "Wonderful World of Love" don't do much for the album's credibility either. But when the group is good, it's very, very good, as on the smash hit ballad "Kiss and Say Goodbye," written by harmony singer Winfred "Blue" Lovett. The bonus tracks on this edition include the instrumental backing for "Take It or Leave It," a different mix of "Searching For Love" and an interview excerpt, but they neither detract nor add to what's essentially a very solid if unspectacular Philly soul record. (more)

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