Blues and Soul Music Magazine

Issue 998

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Feature

PHIL HURTT: PHILLY CREAM

Phil Hurtt Phil Hurtt

A hit maker in his own right, Phil Hurtt is also a prolific writer and producer. He’s worked on many hits including classics from Sister Sledge, the Spinners and even Village People! He gives us a unique insight into Philly soul and the wonderful new album….

B&S: Most B&S readers will be familiar with at least some of your background, writing 'I’ll Be Around' for instance. But can you tell us a little bit about that background and your career to date?

PH: Like most of the R&B artists, writers and producers of my generation, I started out in the church singing gospel. In the congregation to which I belonged, musical instruments weren’t permitted. All of the music was performed, acapella, and in multiple parts. Let me tell you, this was a great education for a young boy growing up in the Doo-wop era. Harmony was the key and the ability to sing, not only your part but all of them, was crucial.
The Flamingos came out of a sister-church, based in Chicago. When they were in town for their appearances at the Uptown, they would always attend services at our church. Those guys were known for their great harmony and, when I was a boy, I would tell all the kids in my neighbourhood that (brothers) Jake & Zeke Carey were my cousins. Fortunately for me, they went along with my story.
At age 10, I started singing with my oldest brother, Al, in various street corner groups. He would find me out playing “Cowboys and Indians” with my friends and grab me to come help him to teach the members of his various groups their parts.
By the time I was 12 years old, my brother and I had formed a group which included our cousin Sarah. We were known as Sarah & the Dreams. Our steady gig was on the weekends, performing in the Gold Room of the Theresa Hotel in Harlem. A lot of the big names of the time would come and sit in the audience; people like Sam Cooke, Little Willie John, the Cadillacs, the Chantels, Frankie Lymon and The Platters.
In 1957, Sarah left the group and we changed the name to The Swinging Phillies, courtesy of a Philadelphia DJ named Jocko Henderson. That year, the group signed a recording contract with Deluxe Records. The single, 'Frankenstein’s Party' b/w 'L-O-V-E', was released & I was 15 years old. Both tunes were written by Al, though I wrote the lyrics for 'L-O-V-E'.
I continued performing throughout my youth, all the time honing my skills as a songwriter. I found myself in demand for background vocals in the sessions taking place in Philly and New York, which was great, but songwriting was where it was at for me. It was during that time that I began working with a lot of the writers, producers and musicians associated with the movement, if you will, that everyone calls ’The Sound of Philadelphia’.
I did a lot of work with Thom Bell, Linda Creed, Gamble and Huff, Bunny Sigler, Bobby Eli, Vinnie Barrett, Carey (Hippie) Gilbert, Norman Harris, Richie Rome, and a host of others. I was at the center of it and it was an exciting time!
All through the '70s, I worked as an independent writer/producer with Philadelphia International Records and as a staff producer with Atlantic Records in NYC, writing for the O’Jays, the Spinners, Sister Sledge (for whom I co-wrote their first hit record 'Mama Never Told Me') and so many others. Then around 1976, I got the call to do some writing for a new concept group called The Village People. I had no idea how huge those guys would become.
I also released 2 solo albums, with Fantasy Records, in ’78 and ’79 – 'Giving It Back' and 'Ph Factor Boogie'.

B&S: In that career what do you consider your biggest achievement and biggest disappointment?

PH: I’ve got platinum albums and gold records and awards, etc, and it’s all great. I’ve been fortunate. But, considering where I began, I believe my biggest achievement is just surviving; adapting to this ever-changing industry.
My first recording experience was during the Doo-wop era in 1957, and I began to seriously write and produce in the 1960’s. I had great success with R&B, Jazz and Disco throughout the 70’s into the 80’s. By the time the 90’s rolled around, I had added gospel production to the mix and here I am, in the new millennium, with 'A Soulful Tale of Two Cities' - which I consider the greatest project of my lifetime.
As far as my biggest disappointment, I would have to say it is the continuing lack of respect I see for the artists on which whose shoulders the music industry still stands. They behave as if these pioneers no longer exist and only acknowledge them when, either someone has passed away, or someone feels the need to add legitimacy to an awards show. These great people are not recognized for their achievements or contributions and there is little or no opportunity, at any level, for these Masters to continue working in their crafts.
Sure, they’re tossed an occasional bone but, by-and-large, they are shut out at every level. Why? In my humble opinion, it’s because record labels have a long history of chasing what’s “hot” – going after clones of what is currently successful on the airwaves - and thereby killing the creative process by forcing everyone to sound the same; to go after the same thing, creating nothing new. In the process, they have all but pushed aside the collective fan base of those old-school, master artists, and offer them nothing in the marketplace. It’s a sad, sorry state of affairs.

B&S: What was it like working with Thom Bell – how did he work?

PH: I’ve known Tommy since we were kids in the same neighbourhood. We attended high school together and anytime I get to work with him (which, we both agree, isn’t nearly enough) it is like the icing on top of your favourite dessert. His musicality stirs one’s creativity, and good things happen.
Thom is the consummate professional; very serious about his music and doesn’t like to waste time or money (to him they are one in the same, we agree on that) and yet he has this great, weird sense of humour…he can keep everyone in stitches and still maintain focus. He has a nickname for everyone: mine is PH Factor. He comes into a session totally prepared and he knows exactly want he want. And he gets it.

BB: Who was the best person you worked with and why?

PH: Wow! Now that’s a dangerous question. I’ve worked with so many extraordinarily talented and gifted individuals - from Tommy and Tony Bell to Bunny Sigler, Jacque Morali, Henri Belolo, Kenny Gamble, Leon Huff , Bobby Eli, Richie Rome and most recently Lamont Dozier and Clay McMurray…so many more.
The late LeBaron Taylor, former Senior Vice President of Special Markets at Sony Entertainment, was both a mentor and a dear friend. It was he that put together the production team he dubbed “The Young Professionals” - which included me, Tony Bell and Bunny Sigler - and showed his confidence in me by taking me with him when he accepted the position as A&R Director at Atlantic Records. I was signed as a staff producer and that, essentially, gave me an open door to other great things.
LeBaron was like a big brother to me. I admired his integrity, his work ethic and his loyalty. I remember going to him during a very difficult time in my life, and he admonished me, refusing to join my little “pity party”, and told me “it doesn’t matter that you’ve been knocked down, what does matter is how long it takes you to get up”.
He was a rarity in the industry and I wish he were alive today to witness the completion of 'A Soulful Tale of Two Cities'. I can almost hear him say, in that great baritone voice of his, ”great job, mon!” It was always ”mon” not “man”.

B&S: What was it like working in Philly during its golden age?

PH: During the mid-60s, there was a sense that something had to happen, there was just so much talent around. The success of Motown had given all of us the confidence that we could do the same thing in Philly.
Everyone here was writing songs, singing in clubs and trying to get a song recorded, or a record out. Little by little, a group of us began to come together in one place. There was always someone recording somebody somewhere, and we would stop by and check things out. I guess we were “networking” even back then.
It was a magical time. Writers began to collaborate and to find a style; a niche. There was a lot of sharing of ideas and concepts, and any competition was always friendly. In the late 1960s, Gamble and Huff, along with Thom Bell emerged, as the team that would lead that young and very gifted, pool of writers, producers, singers and musicians to international success. And as record companies sent their artists into the Gamble & Huff offices, we all had our shot at writing or recording those artists.
During that time, my main writing partner was Bunny Sigler. We were set up in room 305 of the old Shubert Building on Broad Street. There was a sign on our door that read “The Mad House”, and it really was. We had a parachute hanging from the ceiling and it was kind of a strange but creative atmosphere.
Down the hall from our room was Gamble & Huff (in the biggest room, of course), and further down was T.Life, T.Conway, Dexter Wansel, Roland Chambers and, later, McFadden & Whitehead. Around the next corner, in their own little world, were Thom Bell & Linda Creed. Man, imagine the sounds that one would hear echoing through those hallways. Magical!
It was a time when everyone had begun to evolve. Writers became producers, musicians became arrangers and so on. As writers, Bunny and I were soon joined by others like the late Norman Harris, Al Felder, Carey Gilbert. Later, Bobby Eli and Vinnie Barrett, McFadden & Whitehead, whom Bunny and I had previously produced as “Talk of the Town” early in their careers, and then Cynthia Biggs, Dexter Wansel and of course Bruce Hawes, Charles (Charlie boy) Simmons and Joe Jefferson came into the fold. I am sure I’ve forgotten some.
The pivotal point in the solidification of “the Philly sound”, in my opinion, was the album 'Backstabbers'. I vividly recall Huff pausing the session while he, percussionist Larry Washington and drummer Earl Young went over the intro to the title track at least 15-20 times until he found the “lock”. Huff is a master craftsman.
I recall as we listened to the playback of that track after, Tommy had added the “sweetening” (horns and strings), we all knew that was it. We’d done it; created a monster sound. I’ll never forget that feeling and I was blessed to be a part of it.

B&S: Tell us about the latest project, how did it come about & how did you choose the line-up?

PH: 'A Soulful Tale of Two Cities' was born of my own frustration concerning the lack of opportunities in the music industry for the pioneers of the industry. I found that I was not alone in my feelings. Apparently, there are millions of fans disenchanted with what the industry is serving up as R&B music or music period. As a man of faith, I actually began to pray for a solution to what I felt was a shameful disservice the lovers of true R&B music.
I received what I can only describe as a vision in May 2004 and it was complete and very clear. This is what your listening to today.
It was a very simple process, choosing the participants. I asked myself who, of the remaining pioneers of Motown and Philly, was available and still working. I made a list and we went after them. Sad to say that during that process we lost Lou Rawls, and Mc Fadden & Whitehead, all of whom we had targeted for this project. More recently we lost the original Funk Brother, “Papa” Joe Hunter.
We were supposed to cut 20 to 25 tracks, and we actually cut 47. I’m glad we did … this group will never be together in the studio again.
B&S: Who selected the songs?

PH: I had a list of 50 hit songs for each camp, 100 all together, along with my suggestions for who I thought could record which song. I told the producers and the artists to think outside of the box, in terms of the song treatments. I was not looking to do a cover album, but rather a different interpretation of this classical music; what someone called the American Pop Songbook.
The greatest surprise came when George Clinton asked to do 'Love Won’t Let Me Wait', a great love ballad, which I was hoping he would do. Talk about being outside of the box!

B&S: Why do you think the artists and songs of Detroit and Philadelphia are so special?

PH: I think the music of both Motown and Philly spoke and reflected the needs of their time.
Firstly, you have to keep in mind that Motown was a black-owned company that had to operate in an industry that wasn’t conducive to the success of traditional black (soul) music. Motown was also aware that they could not alienate its home base: the black community.
I believe that Berry Gordy was able to satisfy both issues by releasing a number of artists whose material was to be pop-oriented alongside others that were much more soulful. Once the door to mainstream radio was open, he then took advantage of the access that the pop successes had afforded him, releasing product that changed the direction of music forever. That opened the doors for what we were able to accomplish in the next generation.
While the music Motown spoke to the issues of civil rights and the war in the 60’s; Philly picked up the mantle of putting a “message in the music” from Freda Payne’s 'Bring the Boys Home' and Edwin Starr’s 'War (What Is It Good For)' to the O’Jays 'Love Train' and 'When the World’s At Peace'.
Though the door was left ajar by Berry Gordy and Motown, it was still a difficult journey for the Philly crew. The socio/political obstacles in the business still existed, but opportunity soon arrived and the music grew and evolved into a more soulful, sensual and gritty in-your-face sound.
To this day, the “sound of Philadelphia” is taking it to a new level. The rhythms we call Disco are actually taken from the “TSOP” sound of Philly. And I strongly believe that, Harold Melvin & the Bluenotes 'Bad Luck' and 'Don’t Leave Me This Way' led directly to the heart of Disco, which has now morphed into Dance.

B&S: How well has the album been received?

PH: Extremely well. Of course we are only a small, independent label and do not have the deep pockets and marketing $'s wielded by the majors. We are going directly to the consumer, and to music journalists, with a project that we are sure they want and deserve to hear. Our strategy has been to build a grassroots army, using the support of the millions of lovers of soul music around the world, and to find tastemakers in the genre that will take up the mantle and champion the cause for real music. This first project is an out of the box concept. In fact our unofficial company motto is: “don’t get caught in anyone else’s box.”
The response outside the US, and particularly in the UK, has been much warmer and more welcoming than over here in the States. But then, the UK has always been a fantastic supporter of American Soul and Northern Soul music. Without you guys, many of us would have faded into history long ago. We’re hoping that you will embrace us again and breathe new life into a genre that we fear is quickly dying. R&B is on life-support at the moment. We aim to bring it back.

B&S: What are your plans for the future?

PH: There is a great amount of talent out there, and there is still a tremendously deep well of untapped ability left in the souls of each one of the Masters of Funk, Soul and Blues.
We do have plans for several projects that would be tantalizing to the lovers of this genre and to lovers of music in general. But we have poured all of our energy and resources into 'A Soulful Tale of Two Cities'. If it succeeds, we can proceed with more great music. If this is the quality of music that we believe the public has been longing for, then the best way to ensure its continued production is by supporting independent labels, like Soul Renaissance Records, and projects like 'A Soulful Tale of Two Cities'.
If we don’t nourish and support that which we claim to love, then it will die. And what a shame that would be.
Words Bill Buckley

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