Kraftwerk
The imprint of Germany’s Kraftwerk is on every electronic dance record ever made. As much performance artists as recording artists, their unlikely R&B/dance crossovers, “Trans-Europe Express” and “Numbers” were commentaries on the modern technological world. But they also remain the incontrovertable precursors of almost any hit dance, R&B or electronica record, up to the present day, if you trace the influences backward.
MFSB
Under the direction of Kenny Gamble and Leon Huff, MFSB is one of the greatest assemblages of talent in the history of record-making, playing rhythm for decades’ worth of Philadelphian soul hits. Its official lineup includes a slate of distinguished songwriters, producers and arrangers in their own right: Norman Harris, Ronnie Baker, Earl Young, Bobby Eli, and Vincent Montana Jr., alongside drummer Karl Chambers, keyboardist Lenny Pakula, saxman Zach Zachery, percussionist Larry Washington and concertmaster Don Renaldo.
The Trammps
The Trammps’ rollicking early hits, “Zing! Went the Strings of My Heart” and “Hold Back the Night,” updated the historic African-American vocal group tradition of The Coasters and the Temptations in the early Seventies, and established the style of disco music before the word existed. Led by the peerless Philadelphia drummer Earl Young, their body of work is the manifesto of dance: “Disco Inferno,” “That’s Where the Happy People Go,” “Disco Party” “Love Epidemic” and “Where Do We Go From Here.”
Songs (15 Nominees):
Bad Luck – Harold Melvin & The Blue Notes (Philadelphia International, 1975)
Writers: John Whitehead, Gene McFadden, Victor Christarphen
Producers: Kenneth Gamble, Leon A. Huff
Arranger: Bobby Martin
Mix: Joe Tarsia
With the mighty vamping of the MFSB studio band and the prodigious, testifying lead vocal of Teddy Pendergrass, “Bad Luck” was one of Philadelphia’s most perfectly-realized amalgams of the street and the sanctified. Danceable Philadelphian R&B in its fullest flower, illustrating Gamble & Huff’s penchant for bringing timely social comment to a pop-R&B idiom.
Don’t Leave Me This Way – Thelma Houston (Tamla, 1976)
Writers: Kenneth Gamble, Cary Gilbert, Leon A. Huff
Producer: Hal Davis
Arranger: Art Wright
Motown regularly paid tribute to Philadelphia in album-track covers, but rarely released them as singles: when they did, as in the case of “I’m Gonna Make You Love Me” and “Don’t Leave Me This Way,” they were massive hits. Supercharged rhythm playing, a breathtaking tambourine-driven break and an inspired performance by Houston, carried her from being a well-regarded industry secret to a Number One hitmaker.
Fly, Robin, Fly – Silver Convention (Midland International, 1975)
Writers: Silvester Levay, Stephan Prager
Producer: Michael Kunze
Arranger: Silvester Levay
“Fly, Robin, Fly” was considered by producer Kunze to be an unfinished demo when he took it to the music market MIDEM early in the year. But its sparse, deeply pulsing take on the sophisticated soul of Barry White and Philly turned out to be not only complete, but a refreshing, unique and unpredictable change of pace when disco was being stereotyped as big, showbizzy and overproduced.
Girl You Need A Change of Mind – Eddie Kendricks (Tamla, 1972)
Writers: Leonard Caston, Anita Poree
Producers: Frank Wilson, Leonard Caston
Arrangers: David Leacraft and LeRoy Fleming
Widely credited as the record that first exemplified the dramatic and rhythmic power of the breakdown and build on the dance floor. With its thoughtful singer-songwriter vibe building to gospel-fired frenzy, Kendricks took a critical step forward in this landmark record, as he transitioned himself from co-lead in the classic lineup of The Temptations to trend-setting solo artist.
Got To Be Real – Cheryl Lynn (Columbia, 1978)
Writers: Cheryl Lynn, David Paich, David Foster
Producers: David Paich, Marty Paich
Arrangers: David Paich, Marty Paich
Lynn improvised her lyrics to David Paich’s piano playing, and with such west coast all-stars as Ray Parker Jr. and James Gadson playing rhythm, she created the quintessential pop/funk/R&B/disco fusion. Its breadth of appeal has spanned from the most glittery drag balls, to the roughest hip-hop parties, then and now. Classic example of a young prodigy taking on the mantle of R&B with confidence and deep talent.
