Billy Paul had a good run in the '70s as an R&B vocalist, though he'd been recording since the '50s, when he debuted on Jubilee. Paul was featured on radio broadcasts in Philadelphia at age 11 and had an extensive jazz background. He worked with Dinah Washington, Miles Davis, and Roberta Flack, as well as Charlie Parker, before forming a trio... [+] Read More

Billy Paul had a good run in the '70s as an R&B vocalist, though he'd been recording since the '50s, when he debuted on Jubilee. Paul was featured on radio broadcasts in Philadelphia at age 11 and had an extensive jazz background. He worked with Dinah Washington, Miles Davis, and Roberta Flack, as well as Charlie Parker, before forming a trio and recording for Jubilee. His original 1959 recording of "Ebony Woman" for New Dawn was later re-recorded for Neptune as the title of his 1970 LP. He signed the next year with Philadelphia International and scored his biggest hit with "Me & Mrs. Jones" in 1972, topping both the R&B and pop charts. Paul had one other Top Ten R&B single, "Thanks for Saving My Life," in 1974. He remained on Philadelphia International until the mid-'80s. Paul recorded one LP for Total Experience in 1985, Lately, and another for Ichiban before announcing his retirement in 1989 in London. But he's since done several club dates, both in America and overseas. ~ Ron Wynn, All Music Guide [-] Hide

The Spinners were the greatest soul group of the early '70s, creating a body of work that defined the lush, seductive sound of Philly soul. Ironically, the band's roots lay in Detroit, where they formed as a doo wop group during the late '50s. Throughout the '60s, the Spinners tried to land a hit by adapting to the shifting fashions of R&B and... [+] Read More

The Spinners were the greatest soul group of the early '70s, creating a body of work that defined the lush, seductive sound of Philly soul. Ironically, the band's roots lay in Detroit, where they formed as a doo wop group during the late '50s. Throughout the '60s, the Spinners tried to land a hit by adapting to the shifting fashions of R&B and pop. By the mid-'60s, they had signed with Motown Records, but the label never gave the group much consideration. "It's a Shame" became a hit in 1970, but the label continued to ignore the group, and dropped the band two years later. Unsigned and featuring new lead singer Phillipe Wynne, the Spinners seemed destined to never break into the big leagues, but they managed to sign with Atlantic Records, where they began working with producer Thom Bell. With his assistance, the Spinners developed a distinctive sound, one that relied on Wynne's breathtaking falsetto and the group's intricate vocal harmonies. Bell provided the group with an appropriately detailed production, creating a detailed web of horns, strings, backing vocals, and lightly funky rhythms. Between 1972 and 1977, the Spinners and Bell recorded a number of soul classics, including "I'll Be Around," "Could It Be I'm Fallin in Love," "Mighty Love," "Ghetto Child," "Then Came You," "Games People Play," and "The Rubberband Man." Wynne left in 1977 and the Spinners had hits for a few years after his departure, but the group will always be remembered for its classic mid-'70s work.

Originally, called the Domingoes, the Spinners formed when the quintet were high school students in the Detroit suburb of Ferndale in 1957. At the time, the group featured Bobbie Smith, Pervis Jackson, George W. Dixon, Billy Henderson, and Henry Fambrough. Four years later, they came to the attention of producer Harvey Fuqua, who began recording the group -- who were now called the Spinners -- for his Tri-Phi Records. The band's first single, "That's What Girls Are Made For," became a Top Ten R&B hit upon its 1961 release and featured Smith on vocals. Following its release, Dixon was replaced by Edgar "Chico" Edwards. Over the next few years, the group released a series of failed singles, and when Tri-Phi was bought out by Motown in the mid-'60s, the Spinners became part of the larger company's roster. By that time, Edwards had been replaced by G.C. Cameron.

Though the Spinners had some R&B hits at Motown during the late '60s, including "I'll Always Love You" and "Truly Yours," they didn't have a genuine crossover success until 1970, when Stevie Wonder gave the group "It's a Shame." Motown never concentrated on the Spinners, and they let the group go in 1972. Before the band signed with Atlantic Records, Phillipe Wynne replaced Cameron as the group's lead vocalist. Wynne had previously sung with Catfish and Bootsy Collins.

At Atlantic Records, the Spinners worked with producer Thom Bell, who gave the group a lush, seductive sound, complete with sighing strings, a tight rhythm section, sultry horns, and a slight funk underpinning. Wynne quickly emerged as a first-rate soul singer, and the combination of the group's harmonies, Wynne's soaring leads, and Bell's meticulous production made the Spinners the most popular soul group of the '70s. Once the group signed with Atlantic, they became a veritable hit machine, topping the R&B and pop charts with songs like "I'll Be Around," "Could It Be I'm Falling in Love," "One of a Kind (Love Affair)," "Ghetto Child," "Rubberband Man," and "You're Throwing a Good Love Away." Not only were their singles hits, but their albums constantly went gold and charted in the Top 20.

Wynne left the band to pursue a solo career in 1977; he was replaced by John Edwards. Though none of Wynne's solo records were big hits, his tours with Parliament-Funkadelic were well-received, as were his solo concerts. In October 1984, he died of a heart attack during a concert in Oakland, CA. The Spinners, meanwhile, had a number of minor hits in the late '70s, highlighted by their disco covers of "Working My Way Back to You" and the medley "Cupid/I've Loved You for a Long Time." During the early '80s, they had several minor hits before fading away from the charts and entering the oldies circuit, reprising their earlier material for 1999's new studio effort At Their Best. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Delfonics were one of the first groups to sing in the sleek, soulful style that became popularized (thanks to producer Thom Bell) as the "Philadelphia sound." A vocal trio made up of brothers William and Wilbert Hart and high school friend Randy Cain, the Delfonics roots go back to doo wop singing at school dances in the early '60s. They... [+] Read More

The Delfonics were one of the first groups to sing in the sleek, soulful style that became popularized (thanks to producer Thom Bell) as the "Philadelphia sound." A vocal trio made up of brothers William and Wilbert Hart and high school friend Randy Cain, the Delfonics roots go back to doo wop singing at school dances in the early '60s. They were well-known in the Philly area for their supple, airtight harmonies talent that brought them to the attention of record producers, eventually landing them a contract with Cameo-Parkway. While their early records brought them little if any notice, it did bring them to the attention of producer/arranger Thom Bell who signed the band to his soon-to-be influential soul label Philly Groove. Right from the start this was a perfect match as the band released the classic "La La Means I Love You" in 1968, a song that began a string of hits lasting into the mid-'70s.

The sound that Bell created for the Delfonics was the antithesis of the soul sound that came from Stax in Memphis and Muscle Shoals in Alabama. He sandpapered away the grit, lightened up on the backbeat, brought in string sections, and created a smooth, airy sound. Critics enamored of the soul singing of Wilson Pickett and Otis Redding accused Bell and his groups of creating aural wallpaper, but the reality was that Bell and the Delfonics were setting the stage for a different kind of groove where subtlety and nuance reigned.

The hits slowed for the Delfonics in the mid-'70s, and in 1971 Randy Cain quit the band and was replaced by Major Harris. A few more minor hits followed but Harris left the band for a solo career in 1975, effectively finishing the Delfonics. In the late '90s, the group played a significant musical role in Quentin Tarantino's film Jackie Brown. Tarantino, a borderline obsessive fan of '70s pop culture, used "La La Means I Love You," and their best single, "Didn't I (Blow Your Mind This Time)," as a way of underscoring the relationship between actors Pam Grier and Robert Forster. In the film, Forster's character is so struck by the music (and Grier), he goes out and buys the Delfonics Greatest Hits cassette the following day. Something I'd recommend you do too. ~ John Dougan, All Music Guide [-] Hide

Philly soul vocal group the Three Degrees started in 1963 in Philadelphia, PA. They were discovered by producer and songwriter Richard Barrett. Barrett was a key force for 1950s groups the Chantels, Little Anthony & the Imperials, Frankie Lymon and the Teenagers, and his own group the Valentines. The original lineup was Fayette Pickney, Shirley... [+] Read More

Philly soul vocal group the Three Degrees started in 1963 in Philadelphia, PA. They were discovered by producer and songwriter Richard Barrett. Barrett was a key force for 1950s groups the Chantels, Little Anthony & the Imperials, Frankie Lymon and the Teenagers, and his own group the Valentines. The original lineup was Fayette Pickney, Shirley Porter, and Linda Turner. Barrett recorded this lineup on their first single, "Gee Baby (I'm Sorry)." In 1963, Linda Turner and Shirley Porter left the group and were replaced by Helen Scott and Janet Jones. Around this time, Barrett began managing and producing Sheila Ferguson who was a high school friend of Scott. Barrett got deals for both the group and Ferguson with Swan Records. By 1966, Helen decided to leave the group and become a housewife. Sheila Ferguson took her place. She sang backup on all the Three Degrees' Swan recordings, as did the Three Degrees for her solo singles. In 1967, Valerie Holiday joined the group, while Janet Jones departed. Over the next four years, both the Three Degrees and Ferguson released many singles.

In 1970, now signed to Roulette Records, the Three Degrees scored their first national chart hit with a remake of the Chantels' "Maybe" with Scott taking the lead vocals. It went to number four R&B in summer 1970. The follow-up, "I Do Take You," peaked at number seven R&B. Barrett got the group short-term deals with Warner Bros., Metromedia, and Gamble & Huff's Neptune Label. The group had a cameo in the classic 1971 movie The French Connection starring Gene Hackman and toured with Engelbert Humperdink. In 1973, Barrett worked a deal with Gamble & Huff's Philadelphia International Records (PIR). The Three Degrees' first PIR single was "Dirty Ol' Man," a disco hit. A short time later, Don Cornelius, producer and host of TV's Soul Train, approached Gamble & Huff about coming up with a new theme song for his hit syndicated show. The Three Degrees were asked to do vocals at the end of the show's new theme track. After some airings, public demand forced the TV show's theme to be released as a single. "TSOP (The Sound of Philadelphia)" by MFSB featuring the Three Degrees went gold hitting number one R&B and holding the number one pop for two weeks during spring 1974. Meanwhile, a previously released Three Degrees single, "Year of Decision," stalled at number 74 R&B. Another MFSB/Three Degrees single, "Love Is the Message," peaked at number 42 R&B in the summer of that year. In the summer of 1974, PIR released another single on the group, "When Will I See You Again." The single went platinum, selling over two million copies, going to number four R&B and number two pop around September 1974. Their PIR debut album, The Three Degrees, was released at the end of 1974. The follow-up, "I Didn't Know," written and produced by Bunny Sigler, went to number 18 R&B in early 1975. The group performed the song on a guest appearance on the hit NBC show Sanford and Son. Their only other charting PIR single was "Take Good Care of Yourself" (number 64 R&B in summer 1975).

Around 1976, Pickney left the group and was replaced by returning member Helen Scott. CBS released their album Standing up for Love in the U.S. in 1977. In 1978, the Three Degrees were signed to European label Ariola Records. The group recorded three LPs for the label. Longtime favorites in the U.K., the group performed at Buckingham Palace for Prince Charles' 30th birthday party and they were guests at his wedding to Princess Diana. During the first half of the '80s, the Three Degrees released U.K.-issued albums, Album of Love and Live in the UK and singles, "Liar" and "A Sonnet to Love." Stock/Aitken/Waterman produced a 1985 U.K. chart hit, "The Heaven I Need," on the group for Supreme Records. In 1986, Sheila Ferguson left the group. With Helen Scott, Valerie Holiday, and Victoria Wallace, the group recorded an album for Ichiban Records, ...And Holding! The act recorded another live CD with Billy Paul and Harold Melvin and the Bluenotes during a TSOP tour in the summer of 1989. Scott, Holiday, and new member Cynthia Garrison recorded three albums in the 1990s. ~ Ed Hogan, All Music Guide [-] Hide

As the first group to score hits with the songwriting/production team of Kenny Gamble and Leon Huff, the Intruders played a major role in the rise of Philadelphia soul, but are sometimes lost in the shuffle amid better-known acts like the O'Jays or Harold Melvin & the Blue Notes. The Intruders were originally formed as a doo wop group in 1960,... [+] Read More

As the first group to score hits with the songwriting/production team of Kenny Gamble and Leon Huff, the Intruders played a major role in the rise of Philadelphia soul, but are sometimes lost in the shuffle amid better-known acts like the O'Jays or Harold Melvin & the Blue Notes. The Intruders were originally formed as a doo wop group in 1960, and sang around Philadelphia for several years. Lead singer Sam "Little Sonny" Brown, Eugene "Bird" Daughtry, Phil Terry, and Robert "Big Sonny" Edwards signed with Gamble and Huff's fledgling Gamble label in 1966. They scored a Top 20 R&B hit that year with "(We'll Be) United," and followed it up a year later with "Together," as well as their first album, The Intruders Are Together. 1968, though, was the Intruders' breakthrough year: "Cowboys to Girls," a template for what would become Philly soul's trademark sound, topped the R&B charts and climbed to number six on the pop side, giving the group their biggest hit. The follow-up, "(Love Is Like A) Baseball Game," was their only other Top 40 pop hit, and the accompanying LP, Cowboys to Girls, wound up their most popular.

Gamble and Huff's success with the Intruders helped convince Columbia to grant them the money to launch Philadelphia International, which became the most successful soul label of the early '70s. The Intruders, meanwhile, were undergoing some internal turmoil; when they resurfaced on the 1970 Gamble LP When We Get Married, lead singer "Little Sonny" Brown had been replaced by nightclub singer Bobby Starr (born Robert Ferguson). The title cut, a Dreamlovers cover, was a hit on the R&B charts, as was the follow-up, "(Win, Place or Show) She's a Winner." Starr's tenure with the group was short-lived; Brown returned for the 1973 LP Save the Children, which spawned the Intruders' last two big hits, "I'll Always Love My Mama" and "I Wanna Know Your Name." For the 1974 follow-up, Energy of Love, the Intruders were switched from the Gamble imprint to the Philly International subsidiary TSOP; however, it was less successful than the quartet's previous releases, and they disbanded in 1975. Eugene Daughtry formed a new lineup in 1984 (without any other original members); they recorded an album titled Who Do You Love? for the U.K. imprint Streetwave before disbanding once again. Daughtry passed away in 1994 after a bout with cancer, while Brown unfortunately committed suicide following years of drug and alcohol problems. Bobby Starr, meanwhile, continued to lead another version of the group that features no other original Intruders. ~ Steve Huey, All Music Guide [-] Hide

The prototype for Gamble & Huff's classic Philly soul groups of the early '70s, the Intruders didn't spend much time in the pop Top 40 -- especially compared to heavy-hitters like the O'Jays or Harold Melvin & the Blue Notes -- but their smooth performances and Gamble & Huff's strong arrangements usually triumphed over the occasional... [+] Read More

The prototype for Gamble & Huff's classic Philly soul groups of the early '70s, the Intruders didn't spend much time in the pop Top 40 -- especially compared to heavy-hitters like the O'Jays or Harold Melvin & the Blue Notes -- but their smooth performances and Gamble & Huff's strong arrangements usually triumphed over the occasional novelty-ridden nature of their songs. The title track, "Cowboys to Girls," isn't a novelty by any means; it's one of the paragons of soul music, a delicious blend of subtle strings, punchy brass, and crystal harmonies from the group, with Samuel "Little Sonny" Brown's strong lead keeping it all together. The follow-up (and their only other Top 40 hit), "(Love Is Like A) Baseball Game," was a novelty, but a good one, as were the RgB hits "A Love That's Real" and "(Win, Place or Show) She's a Winner." At 20 tracks, Cowboys to Girls: The Best of the Intruders has room for all the Intruders' hits, including a few engaging latter-day entries like 1969's "Sad Girl" and 1970's "When We Get Married" (the latter during Bobby Starr's brief tenure at the head of the group). ~ John Bush, All Music Guide [-] Hide

Love Is the Message: The Best of MFSB is an extensive, 16-track career summary for Philadelphia soul's greatest instrumental outfit. Despite all the strings and horns coloring its orchestrations, MFSB managed to remain fairly funky, and along with Barry White's Love Unlimited Orchestra, the band's early work helped create the instrumental... [+] Read More

Love Is the Message: The Best of MFSB is an extensive, 16-track career summary for Philadelphia soul's greatest instrumental outfit. Despite all the strings and horns coloring its orchestrations, MFSB managed to remain fairly funky, and along with Barry White's Love Unlimited Orchestra, the band's early work helped create the instrumental blueprint for disco. Love Is the Message illustrates that MFSB crossed the line between smooth instrumental soul and disco quite often, even despite the fact that it's missing quite a few of the band's most popular disco cuts -- "Let's Go Disco," "Get Down With the Philly Sound," "Zip," "K-Jee," "Picnic in the Park," and "Summertime and I'm Feelin' Mellow" all earned substantial club/dance play, but are nowhere to be found here. Despite that bit of revisionist history, Love Is the Message does make for a fine overview of the band's more soulful outings. "T.S.O.P. (The Sound of Philadelphia)," the title track, "Sexy," "My One and Only Love," and "T.L.C. (Tender Lovin' Care)" were all among the group's most popular cuts, and they're all present, as are covers of Curtis Mayfield's "Freddie's Dead," the O'Jays' "Back Stabbers," and Elton John's "Philadelphia Freedom." Even if Love Is the Message isn't quite complete, though, it does accurately summarize how MFSB defined the sound of Philly soul, and it's really all that most fans will need. ~ Steve Huey, All Music Guide [-] Hide

The Delfonics were arguably the premier sweet soul band of the late '60s and early '70s; their shimmering harmonies and William Hart's agonizing falsetto, coupled with Stan Watson's production and Thom Bell's arranging and writing touches, created many unforgettable love songs. While their hits have been frequently collected and reissued, this... [+] Read More

The Delfonics were arguably the premier sweet soul band of the late '60s and early '70s; their shimmering harmonies and William Hart's agonizing falsetto, coupled with Stan Watson's production and Thom Bell's arranging and writing touches, created many unforgettable love songs. While their hits have been frequently collected and reissued, this CD set, while short (37 minutes), includes among its 12 tracks every major hit except "Over and Over." Engineering guru Bill Inglot used original masters, fully capturing the trio's marvelous interaction, the songs' sweeping arrangements, and the great mix of vulnerability, hurt, and poignance that characterized their finest hits. ~ Ron Wynn, All Music Guide [-] Hide

Too easily dismissed as little more than a one-hit wonder, Billy Paul was, in fact, one of the most gifted and affecting talents to grace the Philadelphia International stable -- the recipient of some of the Gamble & Huff team's most lush and sophisticated productions. His deeply soulful voice bridged the gap between jazz and soul, textured in... [+] Read More

Too easily dismissed as little more than a one-hit wonder, Billy Paul was, in fact, one of the most gifted and affecting talents to grace the Philadelphia International stable -- the recipient of some of the Gamble & Huff team's most lush and sophisticated productions. His deeply soulful voice bridged the gap between jazz and soul, textured in equal measure by street-smart swagger and touching vulnerability. Me and Mrs. Jones: The Best of Billy Paul goes far beyond the classic title track in restoring the singer to prominence, showcasing his versatility via superb covers of pop favorites, including Bob Dylan's "Don't Think Twice, It's All Right," Elton John's "Your Song," and Paul McCartney's "Let 'Em In." With the inclusion of R&B chart hits like "Thanks for Saving My Life" and "Billy's Back Home," it all adds up to a definitive portrait of Paul in his prime. ~ Jason Ankeny, All Music Guide [-] Hide

In the '70s, the Three Degrees bridged the gap between Philly soul and disco, moving from lush soul to seductive dance music within the course of their career. Although they had a few hits in the mid-'60s as R&B vocal group, their career didn't really take off until the mid'70s, when they signed to Philadelphia International and Gamble & Huff... [+] Read More

In the '70s, the Three Degrees bridged the gap between Philly soul and disco, moving from lush soul to seductive dance music within the course of their career. Although they had a few hits in the mid-'60s as R&B vocal group, their career didn't really take off until the mid'70s, when they signed to Philadelphia International and Gamble & Huff began producing their records. The Best of the Three Degrees: When Will I See You Again covers the trio's time at Philadelphia International, when they had a number one pop hit with "TSOP (The Sound of Philadelphia)" and a number two pop hit with "When Will I See You Again," in addition to a string of minor R&B hits. Although their sound was always pleasing, the Three Degrees didn't have quite enough depth in material to make this 14-track compilation consistently engaging. There are a couple of forgotten gems -- including the minor hit "Love is the Message" -- but the collection feels too comprehensive for some listeners. Still, When Will I See You Again is the ideal starting point for anyone interested in the Three Degrees -- it boils down their best moments, from both singles and album, to one disc. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide