EVERY GENRE PROJECT - February 28 - Philly Soul
Genre of the Day - Philly Soul
Album of the Day - The Stylistics by The Stylistics (1971)
Philadelphia is not really one of those major cities that’s on the map for me even as an American. I am genuinely sorry to say it. Perhaps one of you is from Philly and I should tread lighter. It has the liberty bell, which to me is maybe the most underwhelming attraction on earth, and I even enjoy revolutionary history. Still, that can’t redeem it in my eyes. I just looked at a forum that demanded to know the reasons why residents loved Philly. Damningly, the top comment—without a trace of irony—said the cost of living combined with the proximity to NYC and DC. Excellent cheesesteaks, to its credit. By far, though, I feel that its best export is Philly soul.
While soul was popular all across the United States, interestingly enough northern cities were much more apt to commercialize it. This is obviously most evident with Motown hailing from Detroit, whose genius pop formulas jetted its peppy soul to the top of the charts again and again throughout the ‘60s and ‘70s. A couple of states over, Philadelphia caught on and would reshape the sound of soul with its own imprint. Just like Motown, Philly soul’s success is the remarkable testament to the talent and vision of just a handful of songwriters and producers. Kenneth Gamble and Leon Huff founded Philadelphia International Records in 1971, essentially the Motown of Philly soul that would harness the sound being developed by producers like Thom Bell and the forerunner label Philly Groove Records and turn the genre into a commercially explosive success.
The Stylistics weren’t actually part of Philadelphia International Records, but they surely influenced it as their debut that we’re examining today came out the same year as the label was founded. The success lay in the marriage between the Stylistics’ silky harmonies, headed by Russell Thompkins Jr’s mind-blowing, crystal clear falsetto, and Thom Bell’s distinctive production style. Bell wasn’t afraid to bring strange elements into soul and incorporate the internationally-facing musical zeitgeist of the late ‘60s to the genre. He used sitars, bassoons, and often hypnotic melodies to create an arrestingly lush sound that melded well with both sentimental, characteristically soulful ballads as well as more innovative, forward thinking records. And of course, the strong danceability of Philly soul would lay the groundwork for disco later in the decade with Earl Young’s simple but inventive four-on-the-floor beat.
The Stylistics’ debut shows the potential of the marriage of Bell’s sounds and traditional soul elements at its fullest. Philly soul is perhaps best remembered for its lush indulgence and emphasis on love; however, here Bell balances musical smoothness with intriguing melodies so the tracks never get too syrupy even when the lyrics sometimes do. Opener “Stop, Look, Listen (To Your Heart)” combines epic, cinematic strings, mesmerizing flute, and of course the trademark harmonies of the Stylistics to rapturous effect. While most songs feature themes of sentimental love, the record gets more pointed as it sees fit. “People Make The World Go Round” refuses to mince words about corporate greed and the importance of the working class, and “Country Living” features some good old ‘70s environmentalism with an insistent staccato chorus. So just as today I attempt to widen my view of Philadelphia (the art museum looks cool!), I hope to widen my readers’ view of Philly soul as a movement that was more than just upbeat orchestral love ballads, as it captured the zeitgeist of its era sleekly overlaid over beautiful symphonics.