Review: This special Record Stay Day reissue gathers together two of Philadelphia soul legend Teddy Pendergrass' finest dancefloor moments. Both are essential, making this a must-buy for disco DJs who've yet to acquire them. On the A-side you'll find "You Can't Hide From Yourself", a sumptuously orchestrated affair whose killer groove is matched in quality by Pendergrass' impassioned vocal (check the rasping freestyle vocalizations towards the end for proof). Equally as impressive is "The More I Get, The More I Want", an insatiably sexually charged affair that builds in intensity throughout and not only contains one of the funkiest basslines in disco history, but also some seriously addictive female backing vocals.
Archie Bell & The Drells - "Where Will You Go When The Party's Over" (A Tom Moulton mix) (9:06)
People's Choice - "Jam Jam Jam (All Night Long)" (A Tom Moulton mix) (7:42)
Teddy Pendergrass - "I Don't Love You Anymore" (A Tom Moulton mix) (8:46)
Lou Rawls - "See You When I Git There" (A Tom Moulton mix) (9:39)
Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".
Review: Detroit sisters The Jones Girls consisted of sisters Brenda, Shirley and Valorie, and they were a hugely popular part of Philadelphia's PIR stable throughout the 1970's and 80's. They cut numerous sides for the label, aided by the incredible production and arrangements of the infamous Gamble and Huff hit machine, in addition to working with such legends as Teddy Pendergrass, Aretha Franklin and Diana Ross to name a few. You will immediately recognise that famous and often sampled hook on the low slung late night soul-funk of "Nights Over Egypt", which is followed on the B-side by the sensual and emotive vocal number "Love Don't Ever Say Goodbye"
TSOP (The Sound Of Philadelphia) (Special 12' version) (5:49)
Review: MFSB was an American studio band formed by producers of the Philadelphia International Records label. The label was founded in 1971 by Kenneth Gamble and Leon Huff in Philadelphia. This is an official 12 inch re-release of probably the most revered Paradise Garage anthem of all time. Originally released in 1973, "Love Is The Message" has sustained dancefloors across the world ever since and here Prime present the full original mix from the master himself: Tom Moulton, which is very rare, as any seasoned digger could attest to. On the flip is "T.S.O.P. (The Sound Of Philadelphia)" aka the official Soul Train theme, again using Moulton's original mix.
Review: ** REPRESS ALERT ** Originally released in 1976, this piping hot serving of funk from the legendary Philadelphia outfit People's Choice will satisfy many a deep digger out there. Comprised of a revolving cast of musicians but centered around Frankie Brunson, David Thompson, Darnell Jordan and Marc Reed, the band presented one of their true finest on the electric groove of "Here We Go Again" which bursts at the seams with its fervent soul power. All creamy Rhodes, sing-along vocals and conga drums galore. On the flip, they go for something more lo-slung on the James Brown influenced "Jam, Jam, Jam" (All Night Long) featuring some hot guitar licks and a truly roaring vocal delivery.
Review: Originally released in 1974, "For the Love of Money" is a soul/funk song that was recorded by Philadelphia soul group The O'Jays for the album Ship Ahoy. The lineup at the time comprised of Eddie Levert, William Powell and Walter Williams, It was written and composed by Anthony Jackson, Leon Huff & Kenneth Gamble, and produced on the latter's Philadelphia International Records. The original pressing was issued as a single in late 1973 with "People Keep Tellin' Me" as its B-side. The single peaked at number three on the U.S. Billboard R&B chart, and at No. 9 on Billboard's Pop Singles chart in spring 1974. "For the Love of Money" made the group Grammy Hall of Fame Inductees in 2016.
Review: Marking 40 years since the release of Edwin Birdsong's self-titled and fourth studio album, this Philly reissue couldn't have landed at a more poignant time as the LA funkateer sadly passed away on week of release. "Cola Bottle Baby" is known to absolutely everyone thanks to Daft Punk and that refreshing fizzy groove sounds even better, freer, looser, cooler in its natural state. The lesser spotted "Freaky Deaky Sities" kicks like a loose limbed mule, too. Perhaps a riposte to Roy Ayers "Freaky Deaky" hit the year before, or just another fine trope LA's funk continuum, once again it's the cult fusioneer at his most vibrant. Rest in peace.
Review: This release features two of Harold Melvin & The Blue Notes' recordings that typify the cream of Philadelphia International and Sigma Sound studios' dominance of the dancefloor - at the absolute height of their creativity and power. They were one of the most popular groups on Gamble & Huff's label, clocking up a number of hits in the mid 1970's. "Bad Luck" spent 11 weeks on the No.1 slot on Billboard's U.S. Dance chart in 1975 and has since become one of the biggest dancefloor staples ever recorded. It gets a remix by the master Tom Moulton for added club dynamics. On the flip, we have the original full version of the classic "Don't Leave Me This Way" which is also mixed to perfection by Moulton. Both are state of the art lessons in what exhilarating dance music is all about. Fully remastered on limited edition 180 gram heavyweight vinyl.