THE SWEET SOUL GENIUS OF THOM BELL!!

PART TWO!

YOU MADE IT … SO HERE’S A BRIEF SUMMARY OF PART ONE TO BRING YOU UP TO SPEED, DEEP BREATH …

THE BEGINNING … THOM PLAYING PIANO FOR GIRLS … “YOU SAW RIGHT THROUGH THAT IMMEDIATELY!” … KENNY GAMBLE & TOMMY BELL … ‘SOMEDAY’ SAID KENNY, ‘I’LL GET BY’ SAID TOMMY … THE DELFONICS ERA & BECOMING A PRODUCER … “WE DIDN’T HAVE MONEY TO GET AN ORCHESTHRA … SO I DID IT MYSELF” … THE SESSION PLAYERS – MFSB … “WE DIDN’T GET INTO BLACK, WHITE, PINK & GREEN - ONLY WHO COULD PLAY!” 1970 BELL THE ARRANGER … “YOU CAN’T MAKE CHICKEN SALAD FROM CHICKEN MANURE” … THE STYLISTICS … “CREED I GOT IT, LET’S GO”

PHEW! THAT WAS PART ONE. NOW ON TO PART 2, WHERE WERE WE? OH YES…

BUT IT WAS ANOTHER GROUP THAT BELL WAS REALLY AFTER…

THE SPINNERS ERA!
“I DID A SONG REAL QUICK CALLED ‘COULD IT BE I’M FALLING IN LOVE’”

THOM: “I NEEDED A HARDER GROUP. SO THAT’S WHEN I SENT THE WORD OUT TO DIFFERENT COMPANIES THAT I WAS LOOKING FOR AN ACT AND ATLANTIC PRESIDENT JERRY GREENBERG GOT IN TOUCH. I ALWAYS LIKED THOSE GUYS (ATLANTIC LEGENDS AHMET ERTGEN, ARIF MARDIN AND JERRY WEXLER) I LOVED THE WAY THEY PRODUCED & PROMOTED RECORDS, THEY WERE THE PREMIER OF THE COMPANIES THAT DID THE BLACK ACTS WITH ARTISTS LIKE ARETHA FRANKLIN & WILSON PICKETT.”

THOM WAS GIVEN A LIST OF POTENTIAL ARTISTS TO WORK WITH INCLUDING ARETHA, DONNY HATHAWAY & ROBERTA FLACK, BUT HE DIDN’T EVEN CONSIDER WORKING WITH THEM; “THE WAY I SAW IT WAS, THEY DIDN’T NEED ME. ROBERTA, ARETHA AND DONNY WERE ALREADY MAKING HIT RECORDS. THE ONLY TIME YOU SEE ME OR SOMEONE LIKE ME IS TO BE ABLE TO ENHANCE THE SITUATION. BUT WHY WOULD YOU GIVE ME ARETHA FRANKLIN WHEN HER PRODUCER WAS DOING A FANTASTIC JOB? WHY WOULD YOU GIVE ME ROBERTA FLACK WHEN JOEL DORN IS DOING FINE. BUT THEY WERE ALL ON THE LIST - IT MUST HAVE HAD 75 ARTISTS ON IT!” AND ON THE LAST PAGE, SCRIBBLED ON ALMOST AS AN AFTERTHOUGHT HE SAW THE WORD ‘SPIN’. HE EXPLAINS “I WONDERED IF THAT WAS THE SPINNERS? SO I GOT A HOLD OF GREENBERG AND ASKED HIM “ARE THESE THE SPINNERS FROM DETROIT?” HE SAID “I DON’T KNOW, I’LL SEE” SO HE CALLED ME BACK AND SAID “THEY’RE AVAILABLE BUT WE HAVE A PROBLEM, WE SIGNED THEM AND PUT $20,000 INTO THEM AND GOT A PRODUCER OUT OF DETROIT TO DO IT AND THE PRODUCT DIDN’T COME OUT LIKE WE WANTED IT TO COME OUT, SO WERE GETTING READY TO DROP THEM!” SO I SAID “WOH … DON’T DROP EM! I FEEL THEY CAN DO A GREAT JOB” I REMEMBERED WORKING WITH THEM AT THE UPTOWN THEATRE AND THEY HAD GREAT HARMONIES, THEY’RE SOUND WAS PHENOMENAL WHEREAS A LOT OF ARTIST WERE NOT IN TUNE. SO I SAID “LET ME TAKE A CRACK IT” AND JERRY SAID “WE’LL SEE” AND I SAID “SEND ME A TICKET AND I’LL GO TO DETROIT AND SIT WITH THEM AND SEE WHETHER THEY ARE OPEN TO WHAT I WANNA DO” AND THEY LOVED THE IDEA LIKE I DID . I WENT BACK TO ATLANTIC AND SAID “LISTEN I’D LOVE TO DO THIS” SO THEY SAID “OK WE’LL PICK UP THEIR OPTION” AND I TOLD THEM “I’D LOVE TO DO AN ALBUM” AND THEY SAID “NO YOU CAN’T DO AN ALBUM – WE’VE ALREADY SPENT $20,000” AND THAT’S THE WAY THEY’D DO BUSINESS THEY’D SPEND $5000 HERE, $10,000 THERE BUT 20 WAS A LOT OF MONEY AND THEY WENT WAY BEYOND THEIR BUDGET. I BEGGED THEM TO DO AN ALBUM BECAUSE I SAID “LATER ON YOU’LL BE SORRY BECAUSE AS SOON AS THEY GET A HIT YOU’RE GONNA WANT THEM TO DO AN ALBUM AND I MAY BE DOING SOMETHING ELSE AND ITS NOT THAT EASY TO BREAK THE SCHEDULE” – THEY STILL SAID NO SO I SAID “OKEY DOKEY!” (LAUGHS) ANYWAY IN THAT FIRST SESSION HOW COULD I LET YOU GET AWAY, I’LL BE AROUND & JUST YOU & ME BABY – THEY WANTED HOW COULD I LET YOU GET AWAY AS THE SINGLE AND I DISAGREED I SAID “NO, I’LL BE AROUND IS THE SONG”"

IT MADE SENSE FOR ATLANTIC TO BACK ‘GET AWAY’ BEING THAT IT SOUNDED LIKE A STYLISTICS STUNNER. BUT IT WAS EXACTLY THE KIND OF THING BELL WAS TRYING TO GET AWAY FROM ”I THOUGHT I COULD DO A JOB WITH A LITTLE FUNKIER THING. SO I GAVE THEM 1 UP (TEMPO) AND 2 DOWN + I NEEDED A B-SIDE FOR I’LL BE AROUND. IN FACT THAT WAS ONE OF MY FIRST EVER UPTEMPO SONGS WRITTEN BY PHIL HURTT (LINDA CREED WAS ON HER HONEYMOON, SO BELL GRABBED OLD SCHOOL CHUM PHIL HURTT – LATER TO FORM THE YOUNG PROFESSIONALS, A PRODUCTION TEAM FOR ATCO RECORDS) I DID IT AS EXPERIMENT IN JUST 3 CHORDS, I FIGURED IT CAN’T BE THAT HARD TO WRITE A SONG IN 3 LITTLE DINKY CHORDS! SO THEY SAID THEY’LL PUT I’LL BE AROUND ON THE B-SIDE AND SAID “YOU’RE MAKING A MISTAKE – I’LL TELL YOU WHAT WE’LL DO – IF I GIVE YOU 6 WEEKS PROMOTION ON “GET AWAY” YOU GIVE ME 6 WEEKS ON “I’LL BE AROUND” AND I SAID IS THAT FAIR TO DO” THEY SAID “YEP IT’S A DEAL”. WE WENT ON TOUR PROMOTING ‘HOW COULD I LET YOU GET AWAY’ AND IT DID VERY WELL ON THE (#14 ON THE R&B CHART) SO THEY SAID “OK WE NEED AN ALBUM” AND I SAID “WOH … BACK UP, WE MADE A DEAL LET ME SHOW YOU THE PAPERS WE SIGNED” I SAID WE CAN DO BETTER THAN THAT, AND WITHIN A WEEK OF PROMOTING ‘I’LL BE AROUND’ THE DISC JOCKEYS STARTED PLAYING IT – NEXT THING YOU KNOW ITS NUMBER ONE (#1 R&B & #3 POP HITS, A MILLION SELLER). BUT HERE’S THE PROBLEM, I WAS DOING JOHNNY MATHIS SO I COULDN’T DO THE ALBUM AND I SAID “MAN I TOLD YOU” & MAN OH MAN ATLANTIC WERENT HAPPY, SO IN BETWEEN DOING THE STYLISTICS I DID A SONG FOR THEM REAL QUICK CALLED COULD IT BE I’M FALLING IN LOVE!”

REAL QUICK?! ARGUABLY HIS ULTIMATE PRODUCTION, FROM THE BELL BEAT TO THE SHARED LEAD OF SMITH & WYNNE, THE BUTTERFLIES IN THE STOMACH-STRING DRENCHED CHORUS & RARE BREAK IN THE COOL COMPOSURE OF BOBBIE SMITH’S LEAD “WITCHA BABY!” TAKEN HOME BY PHILIPPE WYNNE ON THE VAMP, REAL QUICK HE SAYS; THOM LAUGHS “THERE’S AN OLD SAYING ‘NECCESSITY IS THE MOTHER OF INVENTION!’ I ONLY HAD LIKE 10 DAYS TO DO THAT SONG – I DIDN’T EVEN REHEARSE THEM I JUST GUESSED THE RIGHT KEY! SO WE GOT LUCKY.”

“C’MON MAN, LEAVE THOSE YOUNG CATS ALONE”

THE SPINNERS SELF TITLED DEBUT ATLANTIC ALBUM IS BELL’S EPOCHAL COMPLETE LONG PLAYER. LIKE A GREATEST HITS THE ALBUM BEGINS WITH JUST CAN’T GET YOU OUT OF MIND A KILLER THAT COULD HAVE EASILY BEEN A SINGLE TOO. SIDE 2 BEGINS WITH ONE OF A KIND (LOVE AFFAIR) , ANOTHER GOLD RECORD, THE TOUCHING BELL/CREED GHETTO CHILD TRACK IS MORE INNOVATIVE IN ITS SOUND DESIGN THAN IT GETS CREDIT FOR WITH AN OFF KILTER BELL BEAT DRIVING UNDER A ROUSING CHORUS. THE SONG SHOWCASED THE INTERPLAY OF THE 3 MAIN LEADS IN THE SPINNERS, BOBBIE SMITH’S UNDERATED LAID BACK SAM COOKE VOCAL, HENRY FAMBOROUGHS SWEET AND SOMBRE DELIVERY & THE TORNADO THAT WAS PHILLIPE WYNNE, HIS VOICE WOULD FLOAT LIKE A BUTTERFLY AND STING LIKE BEE, CLEVERLY BELL WOULD USE WYNNE SPARINGLY TO BEGIN WITH (AS HE DOES ON ‘COULD IT BE I’M FALLING IN LOVE’) LIKE KEEPING A ROTTWEILER ON A LEASH. THE NEXT ALBUM MIGHTY LOVE CONTINUED THE GOLD RECORD RUSH WITHOUT SKIPPING A BEAT. INCLUDING 3 MORE HITS & THE SPINNERS SIGNATURE TUNE LOVE DON’T LOVE NOBODY. LIVE PHILLIPE WYNEE WOULD RIP IT TO PIECES, DELIVERED LIKE A GOSPEL SERMON THE PENNY DROPS ON THE SECULAR LYRIC, LOVE IS A CRUEL UNFORGIVING THING … YOU JUST GOTTA GET ON WITH IT. THE ALMOST WHISPERED FEMALE BACKING VOCAL ON THE CHORUS SUGGESTS THAT HIS PAIN IS BEING PLAYED OUT PITIFULLY IN PUBLIC… EVERYBODY HAS AN OPINION ON “THE FOOL”. GENIUS. IF YOU’VE NEVER HEARD THE SONG YOU’LL RECOGNIZE THE INTRO IMMEDIATELY IT SOUNDS UNCANNILY LIKE ONE OF THE MOST SUCCESSFUL CHART SONGS OF THE 90’S FOR BOYZ II MEN END OF THE ROAD …. THOM COMMENTS ON THE COINCIDENCE “YEAH (LAUGHS) THEY DECIDED TO DO A LITTLE BORROWING. ACTUALLY THE PUBLISHING COMPANY WANTED TO SUE THEM AND I SAID “HEY MAN, C’MON LEAVE THOSE YOUNG CATS ALONE, SO THEY BORROWED, WE ALL BORROW SOMEWHERE ALONG THE LINE” IT REALLY BUGGED THE GUYS AT THE COMPANY, THEY WOULD CALL AND SAY “THOSE GUYS STOLE THAT SONG!” BUT THEY REALLY DIDN’T STEAL WHAT THEY DID WAS THEY BORROWED. BUT LIKE I TELL ANYONE I DONT MIND YOU BORROWING AS LONG AS YOU GIVE IT BACK WHEN I ASK YOU TOO!” (LAUGHS)

LOVE DON'T LOVE NOBODY WAS WRITTEN BY CHARLES SIMMONS & JOSEPH JEFFERSON, BOTH PART OF A TEAM OF WRITERS (WHICH INCLUDED BRUCE HAWES) PUT TOGETHER SPECIFICALLY WITH THE SPINNERS IN MIND.  THOM EXPLAINS: "I TOLD THEM “THE SPINNERS ARE YOUR JOB 24 HOURS A DAY, WHEN YOU SLEEP THINK ABOUT THE SPINNERS, WHEN YOU EAT THINK ABOUT THE SPINNERS. DON’T WRITE FOR NOBODY ELSE.” I WOULD ASSIGN PEOPLE TO ARTISTS. BECAUSE I COULDN’T WRITE EM ALL, THAT’S WHY WHEN YOU LISTEN TO THE SPINNERS THERE ARE VERY FEW SONGS THAT CREED AND I WROTE BECAUSE THAT WASN’T OUR FORTE. THAT’S NOT WHAT WE DID BEST. IN THE END MY JOB IS TO GIVE THE BEST TO FOR THE ARTIST. IF I WRITE BETTER THEN THAT’S FINE – BUT LINDA CREED WAS ONLY ON A HANDFUL OF SPINNERS SONGS, GHETTO CHILD, RUBBERBAND MAN, I DON’T WANT TO LOSE YOU AND A FEW OTHERS.” BELL, OUT OF NECESSITY (PHILLY'S MUSICIANS WERE IN HIGH DEMAND BY 1974), PUT TOGETHER A NEW RHYTHM SECTION FOR THEIR 3RD SET NEW & IMPROVED, REPLACING BAKER, HARRIS & YOUNG WITH BOB BABBIT, ANDREW SMITH (DRUMS) & HIS BROTHER, GUITARIST TONY BELL (A FANTASTIC PRODUCER IN HIS OWN RIGHT AS PART OF THE YOUNG PROFESSIONALS WITH PHIL HURRT - TONY DID THE TIMELESS SAVE YOUR LOVE FOR ME BY VIVIAN REED ... WHAT A FAMILY!) STILL RETAINING FELLOW AXE MAN BOBBY ELI FOR HIS STRING PLUCKING MAGIC. WITH THE NEW PERSONNEL BELL WAS ABLE TO DOUBLE UP THE SESSIONS – RECORDING TWO ALBUMS IN ONE HIT. A THEME THAT KEPT RECURRING IN THESE SESSIONS WAS THE SPINNERS (& LITTLE ANTHONY'S) REFERENCE TO A MYSTERY GIRL CALLED SUSAN (LAZY SUSAN & WAKE UP SUSAN), WHAT WAS THAT ABOUT? THOM CONFESSES “SUSAN SOUNDED LIKE A COOL LINE. THE RHYTHM OF IT SOUNDED REALLY COOL. (LAUGHS) LIKE I SAID EVERYTHING YOU WRITE IS NOT GOING TO BE GREAT! BUT I DON’T WANT TO LOSE YOU THAT WAS A DECENT SONG TOO.” AN UNDERSTATEMENT, BY THE SPINNERS 4TH SET PICK OF THE LITTER (ANOTHER MILLION SELLER) THEY WERE EFFORTLESSLY CHURNING OUT QUALITY. ‘I DON’T WANT TO LOSE YOU FEATURES A RARE LEAD BY HENRY FAMBOROUGH, WHO’S PLAINTIVE YET TOUCHING VOCALS BEG THE QUESTION, WHY DIDN’T HE DO MORE LEAD’S?

THOM: “HE WAS ALWAYS A GUY THAT WAS SCARED TO SING LEAD AND I ALWAYS USED TO SAY TO HIM YOU HAVE A FANTASTIC LEAD VOICE. HE WAS VERY SENSITIVE, HE WOULD LOOK AT A LYRIC AND TEARS WOULD WELL UP IN HIS EYES. I PUT HIM WITH DIONNE WARWICK ON JUST AS LONG AS WE HAVE LOVE” AT ONE POINT THE SPINNERS WERE MOOTED TO DO A WHOLE ALBUM WITH WARWICK HAVING ACHIEVED THEIR BIGGEST POP SUCCESS ON THE FEEL GOOD 1# DUET WITH HER THEN CAME YOU, BUT THE IDEA WAS CANNED. BELL WOULD PRODUCED WARWICK’S ’75 SET TRACK OF THE CAT WHICH INCLUDED A BEAUTIFUL BELL/CREED BALLAD HIS HOUSE & ME BUT MAYBE THE ALBUM WASN’T AS SUCCESSFUL AS EVERYONE HOPED.

LINDA CREED!

BUT BACK TO OCCASIONAL LEAD FAMBOROUGH; THERE’S A PART ON THE SPINNERS HIT GAMES PEOPLE PLAY WHICH IS PERFECT FOR HENRY’S VOICE … THE LINE ‘NOWHERE TO GO’ BUT BELL GAVE IT TO A WOMAN, HOW COME?  “NO THAT’S HENRY! MOST PEOPLE WERE NOT USED TO HIS VOICE. THAT IS HENRY! I’M TELLING YOU” WAIT A MINUTE THOM IT SOUNDS LIKE A WOMAN. BELL ADMITS MISCHIEVIOUSLY “WHAT I DID WAS SPEED THE TAPE UP A LITTLE BIT – ALTERING THE VERBAL PITCH. THAT’S NOT THE ONLY TIME I DID IT. HENRY DIDN’T CARE THAT HE SOUNDED LIKE A WOMAN WE WERE MAKING HIT RECORDS!  AS LONG AS HE DIDN’T HAVE TO DRESS UP IN WOMANS CLOTHING THAT’S ALL THAT MATTERS TO HIM (LAUGHS).” BELL WOULD GO ON TO PRODUCE 9 ALBUMS ON THE SPINNERS & MANY (SJP INCLUDED) BELIEVE PICK OF THE LITTER TO BE THE PINNACLE OF THE MUSIC THEY MADE TOGETHER.

JOHNNY MATHIS!
“I DIDN’T WANT TO MAKE HIM FUNKY”

BELL BEGGED CBS SUPREMO CLIVE DAVIS TO LET HIM PRODUCE JOHNNY MATHIS. “HE TOLD ME I COULDN’T DO THAT ALBUM AND I WAS LIKE “WHAT YOU TALKING ABOUT?” HE SAID “BECAUSE YOU’RE A BLACK PRODUCER” HE DIDN’T THINK IT WOULD FIT JOHNNY MATHIS’S CROONER SOUND & WHITE MAINSTREAM BUYING CROWD. BELL KEPT ON AT HIM AND FINALLY MR. DAVIS RELENTED, THE RESULTING ALBUM I'M COMING HOME IS A BELL MASTERCLASS, INCLUDING 2 SONGS THAT WOULDN’T HAVE BEEN OUT OF PLACE ON A STYLISTICS RECORD, THE MELANCHOLY I’D RATHER BE HERE WITH YOU & THE FINE BELL/CREED LAMENT FOOLISH BUT IT’S THE TITLE TRACK THAT STEALS THE SHOW. WHERE THE SPINNERS VERSION OF I'M COMING HOME IS A RETURN HOME IN CELEBRATION – THE PRODUCTION ON MATHIS PERFECTLY CAPTURES THE NEED TO BE WITH FAMILY WHEN TIMES ARE HARD HAVING BEEN AWAY FROM THEM SO LONG, THE TEMPO RUNNING ALONG LIKE A STEAM TRAIN THROUGH THE COUNTRYSIDE. BUT THE ALBUM WAS STILL A DEPARTURE THAT THOM VIEWS AS A SUCCESS (HE WOULD MAKE ANOTHER WITH MATHIS). THOM: “CLIVE IS A VERY TALENTED GUY AND HE’S HARD HEADED BUT THAT IS WHAT HAS MADE HIM WHAT HE IS. THINK OF ALL THE ACTS HE’S HEARD AND SEEN FROM SANTANA TO WHITNEY HOUSTON BUT SOMETIMES YOU CAN MAKE MISTAKES TOO NOW, HE GAVE IN FINALLY. WHENEVER I SEE HIM HE SAYS “OH BOY – HERE COME'S THAT THOM BELL! I’M THE ONE HELPED CHANGE YOUR IMAGE MY BOY!” (LAUGHS) I HAVE TO REMIND HIM HOW IT REALLY WAS.” BELL EXPLAINS THE ATTRACTION OF PRODUCING JOHNNY MATHIS “HE HAS A LIFETIME GUARANTEE WITH COLUMBIA! LIFETIME, NO OTHER ARTIST HAS THAT. HE’S DONE 130 ALBUMS WHEREAS MOST ACTS ARE LUCKY TO DO 20. WE DIDN’T STRETCH OUT TOO FAR BECAUSE I DIDN’T WANT TO TAKE HIM AWAY FROM THE WHITE AREA, BECAUSE BLACK FOLKS WERE NEVER INTO JOHNNY MATHIS. I DIDN’T WANT TO MAKE HIM FUNKY … HE’S THE ALTERNATE OF THE STYLISTICS. I WROTE LIFE IS A SONG WORTH SINGING ESPECIALLY FOR HIM AND HE STILL USES IT AS HIS ACT OPENER TODAY. HE COULDN’T BELIEVE THAT I WROTE A MOTION PICTURE TYPE INTRO SETTING FOR HIM, AND THAT WAS ALWAYS SOMETHING I WANTED TO DO.”

THE QUALITY OF BELL’S CLASSICAL ARRANGEMENTS WERE BEGINNING TO GET NOTICED BY MORE THAN JUST THE POP CONSUMER, MAESTRO’S AS FAR AS ITALY WANTED TO WORK WITH BELL.

“IN 1973 I MET ENNIO MORRICONE (‘THE UNTOUCHABLES’ & SPAGHETTI WESTERN SCORES) IN MILANO ALONG WITH THE GODFATHER COMPOSER NINO ROTA. THEY ASKED ME TO WORK WITH THEM AND MAN, THEY HAD A FANTASTIC STUDIO … BUT MY WIFE DIDN’T WANT TO MOVE … SHE WAS THE SAME ONE THAT TOLD ME I WASN’T GONNA BE ANYTHING (LAUGHS)!”

HIS WIFE ON THIS OCCASION WAS CORRECT … IMAGINE ALL THE GREAT SONGS WE WOULD HAVE MISSED HAD BELL MOVED TO ITALY IN HIS PHILLY SOUL PRIME.

THE 1ST GRAMMY WINNING PRODUCER 1974!

LITTLE ANTHONY & THE IMPERIALS & RONNIE DYSON!

JUST PRIOR TO WORKING WITH THE STYLISTICS BELL PRODUCED 3 SIDES ON ANTHONY GOURDINE AND CO. FOR THE UNITED ARTISTS LABEL. THE SINGLE CHOSEN WAS HELP ME FIND A WAY (TO SAY I LOVE YOU) WITH THE SUPERIOR ORIGINAL VERSION OF IF I LOVE YOU ON THE FLIP. ANOTHER SONG GIVE IN TO LOVE (LATER RECORDED BY RONNIE DYSON) REMAINS IN THE VAULTS. 5 MORE GEMS FOLLOWED LATER ON THE AVCO ALBUM ON A NEW STREET. SIDE A, THE THOM BELL SIDE HAD THE FANTASTIC CASCADING I'M FALLING IN LOVE WITH YOU, LIL ANTHONY DOES THE DELFONICS LIKE THEY DID A LIL’ ANTHONY STYLE SONG LA LA AT THE END, THE JAUNTY IT DON’T HAVE TO WORRY, IT ALSO HAD THE LONELIEST HOUSE ON THE BLOCK A FELDER/HARRIS ORIGINAL & THE BELL BEAT STOMPER LAZY SUSAN. UNFORTUNATELY DESPITE THE QUALITY OF THE WORK, NOT EVERY ACT COULD ENJOY METEORIC SUCCESS. “I REALLY WANTED A HIT ON LITTLE ANTHONY & THE IMPERIALS, IM SORRY TO SAY IT NEVER HAPPED BUT I REALLY LOVED THEM & RONNIE DYSON”

DYSON CAME TO PROMINENCE IN THE LATE 60’S WITH A STARRING ROLE IN THE BROADWAY MUSICAL ‘HAIR’, BUT SUCCESS WITH THE BELL FORMULA WOULD ELUDE HIM TOO. NOT FOR LACK OF TRYING, AS ONE MAN BAND & GIVE IN TO LOVE ARE 2 MORE PHILLY SOUL MASTERPIECES FROM THE PEN OF BELL/CREED. “THE PROMOTION PEOPLE DIDN’T SEE RONNIE DYSON LIKE WE DID. IT DID ALRIGHT AND BUT I ALWAYS FELT HE HAD THE TALENT TO REALLY SUCCEED”

LENNY WELCH/JACKIE MOORE!

ONE OF THE TALENTS OF THOM BELL & INDEED GAMBLE & HUFF WAS REVIVING THE CAREERS OF ACTS THAT MANY HAD GIVEN UP ON (THE O’JAYS, THE SPINNERS, HAROLD MELVIN & THE BLUENOTES, THE VIBRATIONS ETC.). ONE SUCH ACT WAS LENNY WELCH ON ATCO. LENNY WAS A CROONER WHO ENJOYED SUCCESS WITH ‘YOU DON’T KNOW ME’ BUT BY THE EARLY 70’S THE HITS HAD DRIED UP. AT FIRST BELL ARRANGED A SUNDAY KIND OF LOVE PRODUCED BY THE TOKENS BUT LATER IN 1972 HE TOOK THE REIGNS HIMSELF ON THE UNDERATED GEM FANCY MEETING YOU HERE BABY. THOM RECALLS “OLD LENNY WELCH, HE WAS SO NICE AND I LOVED THE SONG (STARTS TO SING) “YOU DON’T KNOW MEEEE.” CONTRARY TO POPULAR BELIEF BELL DID NOT PRODUCE JACKIE MOORE, HE PLAYED KEYS ON THE SWEET CHARLIE BABE SESSIONS & BEHIND CLOSED DOORS BUT THAT PROJECT WAS HIS BROTHERS BABY “JACKIE MOORE WAS SO NICE AND SHE WAS A BIG OL FAT GIRL 400 POUNDS, BUT THEN ALL OF SUDDEN SHE TURNED UP AT THE STUDIO HAVING DIETED DOWN TO 130 … A QUARTER OF HER WEIGHT … SHE WALKED IN A NO-ONE KNEW WHO SHE WAS!”

THE TOMMY LABEL!

IN 1974 CBS LAUNCHED THE SHORT LIVED “TOMMY” IMPRINT. FORCE OF NATURE (SIMBA) WERE THE FIRST ACTS SIGNED BUT A LEGAL ISSUE MEANT BELL COULDN’T PRODUCE ANYONE ON HIS LABEL. “I REALLY DIDN’T WANT TO BE BOTHERED WITH THAT BUT GAMBLE & CBS THOUGHT IT MADE SENSE TO BRANCH OUT BUT THAT WASN’T FUN. I ONLY GOT INVOLVED IN PUBLISHING BECAUSE IT WAS INTEGRAL TO PRODUCTION, BUT WHEN YOU START GETTING INTO OTHER AREAS OF MANUFACTURING AND PRESSING, PROMOTION AND MARKETING IT’S TOO MUCH WORK.” BELL CHOSE THE ARTISTS TO BE SIGNED TO THE LABEL BOBBY TAYLOR WAS SIGNED AS PART OF THE DUO BT & TB, WHO RELEASED ONE INSTRUMENTAL VERSION OF THE FOUR TOPS I CANT QUIT YOUR LOVE (IT SOUNDS LIKE A BLINDING 70’S TV COP SHOW THEME) BUT IN TRUTH THE MAESTRO’S INVOLVEMENT WAS MINIMAL. “WHAT I DID WAS I OK’D EVERYTHING. BUT OTHER THAN THAT I LEFT BOBBY TAYLOR ALONE BECAUSE IF PEOPLE KNOW WHAT THEY ARE DOING I JUST LEAVE THEM BE” THE OTHER ACT BELL WAS EXCITED ABOUT, INTENDED FOR TOMMY WAS BROTHER & SISTER DEREK & CYNDI, WHO WERE PHILLY SOUL’S ANSWER TO THE CARPENTERS. THE LEGAL SITUATION MEANT THE BELL PRODUCTIONS WERE LICENSED TO THUNDER & PIR BUT 4 SIDES CUT IN TOTAL (THE 2 EXCELLENT BELL/CREED NUMBERS DADDY HAD TO GO & CATCHY YOU BRING OUT THE BEST ME ALONG WITH FLOYD COMPOSITIONS I’LL DO FOR YOU THE IMPOSSIBLE & ON THE LADDER UP TO LOVE). TRAGEDY CUT SHORT A PROMISING CAREER, AS BELL EXPLAINS “CYNDI DIED IN A CAR ACCIDENT. DEREK DIDN’T WANT TO SING POP SONGS ANYMORE & WENT INTO GOSPEL, WORKING FOR AN EVANGELICAL TV STATION, I KNEW THEM FOR ABOUT 5 YEARS AND THEY WERE A REALLY TALENTED ACT AND I THINK THE CARPENTERS WERE A STEPPING STONE FOR THEM.”

AWARDED PRODUCER OF THE YEAR AT THE 1974 GRAMMY AWARDS (THE FIRST YEAR THAT HONOUR WAS ISSUED OUT) BELL WAS ABLE TO ATTRACT A-LIST CELEB ARTISTS. HE PRODUCED AN ALBUM ON THE TEMPTATIONS, INCLUDED THE FOUR TOPS ON HIS DISCO SOUNDTRACK THE FISH THAT SAVED PITTSBURGH (THE INSPIRATION BEHIND THE WILL FARRELL TAKE OFF ‘SEMI PRO’ & MUSICALLY ALSO NOTABLE FOR TRACKS ON THE SYLVERS & A TOUCHING WILLIAM HART BALLAD FOLLOW EVERY DREAM) & EVEN GAMBLE & HUFF’S O’JAYS (THE SPINNERS-LIKE BRANDY PROVIDES WALTER WILLIAMS WITH HIS BEST VOCAL VEHICLE) BUT IN 1977 BELL REALLY SCORED BIG WORKING WITH WATFORD FC CHAIRMAN ELTON JOHN!

WORKING WITH SUPERSTARS (AND THEIR WIVES)!

ELTON JOHN!
“I WANT YOU TO DO EVERYTHING!”

THOM: “WHEN I FIRST MET ELTON HE SAID “LOOK MAN, IM TIRED. I WANT YOU TO DO EVERYTHING … I WANT YOU TO WRITE, I WANT YOU TO PLAY. YOU JUST TELL ME WHEN TO SING.” I SAID “NOW ARE YOU SURE ABOUT THIS?” HE SAID “YES” I WAS LIKE OKAY THEN BECAUSE I FIGURED IT MUST BE HARD FOR A BRILLIANT GUY TO TURN HIMSELF OVER LIKE THAT. LATER ON IT WAS JOHN REID (ELTON’S MANAGER) & THE LABEL MCA WHO REJECTED THE SESSIONS, BUT ELTON WAS A GREAT CAT HE AND I WERE BOTH ATHLETIC AND WE PLAYED TABLE TENNIS FOR HOURS & HOURS. CAUSE WE ARE BOTH VERY GOOD PLAYERS. WE DIDN’T DO THE SAME THINGS THAT MOST GUYS DO, BLOW AND NEEDLES AND ALL THAT CRAP WE JUST PLAYED TABLE TENNIS.”  ACCORDING TO THOM: “THEY WERE SO SHOOK THAT IT WAS THIS YOUNG BLACK GUY PRODUCING THAT THEY DECIDED TO HEDGE THEIR BETS THAT’S WHY THEY CALLED IT THE THOM BELL SESSIONS WHEN THEY PUT IT OUT - JUST IN CASE IT DID NOT DO WELL. THEN I WOULD LOOK BAD AND NOT ELTON BUT THEY GOT FOOLED IT DID WELL.” THE MOVE BACKFIRED WHEN RON ALEXENBERG TOOK THE HELM AT MCA. THOM EXPLAINS “RON SAID ‘LET ME HEAR THE STUFF THAT IS IN THE CAN’ AND WHEN HE HEARD IT HE TURNED AROUND AND SAID “GET THIS PRODUCT OUT IMMEDIATELY!” SO 2 YEARS LATER MAMA CAN’T BUY YOU LOVE WAS A TOP 5.” AND 26 YEARS LATER ARE YOU READY FOR LOVE WAS A UK NUMBER ONE.

BOB MARLEY!

BEING FROM JAMAICA THERE WAS A RUMOUR THAT BOB MARLEY AND THOM WERE FRIENDS. BELL CONFIRMS THAT “I KNEW BOB FROM THE TIME WE WERE LITTLE KIDS TOGETHER AND WE WOULD BOTH JUST LAUGH. WE NEVER WORKED TOGETHER BUT WE WOULD LAUGH. WHEN HE CAME TO PHILADELPHIA WE USED TO GO TO THE WEST INDIAN CLUBS AND HE USED TO SAY TO ME ‘YOU’LL NEVER MAKE IT BECAUSE YOU MAKE TOO MUCH NOISE’ AND I USE SAY BACK “YOU WON’T MAKE IT BECAUSE YOU CAN’T PUT THINGS ON THE BEAT!” (LAUGHS) OF COURSE WE WERE BOTH WRONG … HE WAS A FUNNY GUY. BUT I NEVER WORKED WITH HIM, I DID PRODUCE THE ITHREES WHICH INCLUDED HIS WIFE IN THE LINE UP (FOR THE TOUGH GONG LABEL). THE ITHREES HOOK UP CAME THROUGH JOHN BLACKWELL (THE ISLAND RECORDS CHIEF) AND I USED TO STAY WITH HIM AT HIS NICE PLACE IN JAMAICA, BLACKWELL WAS THE GUY THAT BELIEVED IN BOB ALL THOSE YEARS.” THE ITHREES ALBUM THE BEGINNING FEATURES THE TRADEMARK 80'S BALLAD NOW THAT WERE STANDING & A SPIRITED COVER OF MAMA CAN'T BUY YOU LOVE, THE ALBUM OVERALL TYPICAL OF BELL’S LATER WORK WITH THE LIKES OF LOU RAWLS & DENIECE WILLIAMS - THE RELEASE OF WILLIAMS NIECY SET IN '82 SAW THE INCLUSION OF THE SPINNERS-LIKE WAITING BY THE HOTLINE. DR. PHIL WOULD HAVE BEEN PROUD OF THE COMFORTING HOW DOES IT FEEL & BELL'S FINEST EIGHTIES BALLAD PRODUCTION WAITING, THE DEBUT SET MY MELODY FROM A YEAR EARLIER IS MUCH MORE REMINISCENT OF TB IN TIMELESS 70'S OUTPUT. 

BETTE MIDLER & JOSS STONE!

BELL’S ARRANGEMENTS HAVE ALSO ENHANCED THE WORK OF BETTE MIDLER (ON DO YOU WANT TO DANCE – BELLS STRINGS & HORNS ARE SIMPLY STUNNING. THE SONG IS PRIMED FOR THE MOMENT THE MUSIC SWELLS & HIS ARRANGEMENT FIRST COMES IN. A PRIME EXAMPLE OF PURE SOUL MUSIC) & DEVON’S JOSS STONE (A GEM CALLED SPOILED). BELL SAID OF STONE “I WOULD LOVE TO PRODUCE HER” BUT HAD A DIFFERENT RECOLLECTION OF WORKING WITH MIDLER. “THAT WAS WHEN I FIRST STARTED ARRANGING AND JOEL DORN THE ATLANTIC PRODUCER USED TO LIVE JUST AROUND THE CORNER FROM ME, HE WAS AN FM DISC JOCKEY LONG BEFORE HE GOT INTO PRODUCING RECORDS. HE WORKED FOR A BIG STATION ON THE EAST COAST AND ATLANTIC RECORDS GAVE HIM A CHANCE. HE BROUGHT ROBERTA FLACK & HATHAWAY TO THE COMPANY AND OF COURSE BETTE MIDLER. BUT BETTE WAS NOT ONE OF THE EASIEST ARTISTS TO WORK WITH I HAVE TO SAY – I FELT SORRY FOR HIM MAN! CERTAIN PEOPLE ARE MEANT TO TAKE A LOT OF CRAP FROM ARTISTS BUT IM NOT DESIGNED FOR THAT BUT THEN I DON’T EXPECT ARTISTS TO TAKE CRAP FROM ME, OH NO, BUT WE HAVE TO BE NICE TO EACH OTHER TO GET THE JOB DONE. BARRY MANILOW WAS HER PIANO PLAYER AND THEY WERE TRYING TO GET ME TO TAKE A LISTEN TO HER SO THAT I COULD WRITE THE ARRANGEMENT. BUT SHE DIDN’T LIKE ONE STUDIO BECAUSE IT WAS TOO COLD, ANOTHER DIDN’T FEEL RIGHT … WENT TO ANOTHER STUDIO IT DIDN’T SOUND RIGHT, ANOTHER ONE WAS TOO HOT SO I SAID LISTEN I DON’T CARE IF YOU SING IT IN THE STREET, SING IT ON THE SUBWAY OR SOMETHING, JUST SING IT ON THIS TAPE SO I CAN GO HOME! (LAUGHS) SHE WAS … WOOO EEE!”  

THE FUTURE FOR THOM BELL!

TONI BRAXTON!

TO THIS DAY THOM GETS WORK OFFERS. HE HAD JUST RECEIVED A PHONE CALL ENQUIRING WHETHER HE’D LIKE TO WORK WITH TONI BRAXTON. “EVERY PERSON I WORKED WITH, IF I FEEL I CAN’T GET ALONG WITH THEM THEN IT WON’T WORK. ATLANTIC ARE GETTING READY TO DO THE DEAL TO SIGN TONI BRAXTON (NOW CONFIRMED - THIS INTERVIEW TOOK PLACE ON BANK HOLIDAY MONDAY AUGUST 2008) AND THEY ASKED ME IF I WOULD BE INTERESTED IN PRODUCING HER. I THOUGHT IT WOULD BE A WONDERFUL & A  FUN THING TO DO BUT FIRST I SAID “GIVE ME A TICKET AND I’LL SIT WITH HER” LIKE I DID WITH THE SPINNERS, STYLITICS & EVERYBODY. BECAUSE THEN YOU CAN SEE IF THEY ARE ON THE SAME LANE, SAME TRAIN, THE SAME WAY ON THE SAME DAY. BUT YOU HEAR A LOT OF THINGS ABOUT ARTISTS, I KNOW TONI HAS BEEN CAUGHT UP IN THAT (GOSSIP, POSSIBLY OVER SUING HER LAST EMPLOYERS) SO YOU NEED TO SIT DOWN WITH THEM AND SEE WHY THEY HAVE A REPUTATION. IF AN ARTIST ISN’T GETTING HITS IT’S USUALLY DOWN TO EITHER THE COMPANY/PROMOTERS, IT COULD BE THE PRODUCTION, THE SONG THEY RECORD OR IT’S THEM. IF IT’S THEM AND THE ARTIST DOESN’T WANT TO SING, IT HAPPENS, YOU’VE TRAVELLED OUT TO WORK WITH THEM, YOU’VE BOOKED THE STUDIO AND ALL THAT KIND OF THING. SO I HAVE TO ASSESS IF I WANT TO WORK WITH THE ARTIST. WE ARE IN BUSINESS TOGETHER, IF I GO TO THE STUDIO AND I SPEND $800,000, $400,000 IS MY DEBT. AND UNTIL WE REACH A LEVEL OF SALES NEITHER OF US WILL SEE A DIME. SO WE ARE IN BUSINESS TOGETHER HERE. SO IF I SEE A PROBLEM FOR THE SAKE OF A PLANE TICKET IT WILL SAVE A LOT OF TIME, REHEARSALS, STUDIO TIME AND YOU DON’T WANT TO FIND LATER THAT THE ARTIST IS A PROBLEM.” IN SJP’S OPINION WE HOPE THOM WORKS WITH HER. BELL HOPES SO TOO. “SHE REMINDS ME MICHAEL MCDONALD, ANITA BAKER & PHYLLIS HYMAN. LET ME TELL YOU ABOUT PHYLLIS…” BELL’S LESS LAVISH 80’S PRODUCIONS SEEMED TO SUIT FEMALE VOCALISTS BETTER, ALONG WITH DENIECE WILLIAMS THE SIDES CUT WITH PHYLLIS ARE OF A TYPICALLY HIGH STANDARD AND INCLUDE THE CREED PENNED STUNNER OLD FRIENDS FROM LIVING ALONE. BELL RECALLS “PHYLLIS HYMAN WAS SOMETHING ELSE TO WORK WITH, SHE WAS ABOUT 6’2, BUT YOU HAD TO WATCH HER, SHE KEPT BREAKING UP WITH HER LADIES, BUT EXTREMELY TALENTED.” BELL HAS ALSO BEEN APPROACHED TO WRITE A SYMPHONY; “IN PHILADELPHIA THEY WANT TO COMMISION ME TO DO THE ORCHESTHRA. THEY WANT ME TO WRITE THE MUSIC AND I WOULD LOVE TO DO IT – BUT IT WOULD TAKE A GOOD YEAR FOR ME TO GO BACK AND BE AS SHARPE AS I WAS BEFORE. BUT THAT IS THE ULTIMATE AND IT’S HARD WORK. IT WOULDN’T BE A PROBLEM BUT I WOULD HAVE TO BE SHARP BECAUSE YOU ARE WORKING WITH 126 OF SOME OF THE WORLDS BEST MUSICIANS. THERE’S NO PLAYING GAMES MY MAN! (LAUGHS) I COULD DO IT I’VE WORKED WITH THE BEST MUSICIANS. IN FACT 40 YEARS AGO I WAS GOING TO GO OUT ON TOUR WITH HERBIE HANCOCK & WEBSTER LEWIS AND WE WERE GOING TO CALL OURSELVES ‘FINGERS’. BUT YOU CAN’T PLAY AT THIS. YOU HAVE TO WORK AT IT. THIS IS SERIOUS BUSINESS!”

IT IS … I WONDER IF WE CAN GET THOM BELL TO COME OVER TO THE UK AND CONDUCT THE LONDON PHILHARMONIC AT THE ROYAL ALBERT HALL? IT’S ABOUT TIME THIS GENIUS WAS RECOGNIZED BY THE BRITISH PUBLIC THE WAY HIS MUSIC IS.

THE SWEET SOUL GENIUS OF THOM BELL!

*THANKS TO THOM FOR GIVING UP A MONDAY MORNING, MICHAEL FOR ARRANGING THE INTERVIEW, NELSON FOR THE PHOTO OF “THE TURQUOISE PIANO” & RALPH TEE FOR INTRODUCING SJB TO A HELLUVA LOT OF TB PRODUCTIONS VIA HIS BOOK ‘WHO’S WHO IN SOUL MUSIC’ AND TO BOBBY ELI FOR KEEPING ME ON THE STRAIGHT & FACTUAL. OUT NOW LOVE TRAIN – THE SOUND OF PHILADELPHIA A COMPILATION GROUNDBREAKING IN THAT IT INCLUDES MUSIC BY PIR’S GREATS AND OUTSIDE BELL PRODUCTIONS … CLICK HERE TO COP