Getting some easy money
The so-called disco era was an interesting time for various reasons, some of which we have commented upon previously on these very pages. Not least of all was the sheer power and reach of the music itself, almost conquering the world before imploding in a mass of over-exposure, over-indulgence, over-elaboration and novelty. It is also an interesting period to study for the fact that it was in some ways something of a fertile renaissance for many an artist who may have been floundering in the waters of changing tastes and socio-cultural contexts throughout the late 1960s and early 1970s.
It provided a glittering lifebelt to cling to for many a talented soul, while for some it was a catalyst to a change of musical direction completely, kick-starting new phases of hitherto moribund careers, or even providing some with their first real break after years of playing second fiddle and yearning for mainstream success. On the flipside, for some it was a music that may have been exploited for momentary exposure, but which never provided a return to perceived former greatness, a group of artists for whom disco was just another phase in the forever undulating fortunes of a life in the music biz. But which also provided them with some absolute musical highlights, many of which may not have troubled the mainstream too greatly, but which provide rich pickings for nostalgic crate diggers.
And one such record is former teen idol and erstwhile husband of Philadelphia International’s own hit maker supreme Kenny Gamble, Dee Dee Sharp, who produced some absolutely storming tunes in the very dying days of the 1970s, but for whom this period remains something of an under-appreciated career point. Dee Dee Sharp was the first black teen idol, a veteran of the saccharine pop soul of the early 1960s seemingly forever pigeonholed as a teenybopper. But she was always much more than that label, and her late 1970s tenure at Philadelphia International proves why.
Un-credited on many hits from the label’s golden period, Sharp also released two variable but noteworthy albums, 1977’s “What Colour Is Love” and “Dee Dee” from 1980. And both of these sets showcase her huge talent, the maturity of her voice and range from her early 1960s pop days, and a versatility and funkiness that should not go unnoticed. The cut that brought these albums to my attention was from “Dee Dee”, the mercilessly funky “Easy Money”. This is simply a great tune, standing partly in contrast to the lushness of the Sound of Philadelphia, replacing lavish production with a tight, popping and fizzing track that just oozes its groove all over the platter.
Check the bass lick come in at 11 seconds, and revel in the soulful depth of Sharp’s voice. It is a diva performance deluxe without stepping into disco diva territory, classy at every turn. Thankfully these two albums, a showcase for Philly no doubt, but with a twist of something else, are now re-released and available to all to explore and enjoy. Disco may not have provided the commercial footnote to Sharp’s career, the route to easy money, but it sure paid off for us music fans in other ways. Quality.
It provided a glittering lifebelt to cling to for many a talented soul, while for some it was a catalyst to a change of musical direction completely, kick-starting new phases of hitherto moribund careers, or even providing some with their first real break after years of playing second fiddle and yearning for mainstream success. On the flipside, for some it was a music that may have been exploited for momentary exposure, but which never provided a return to perceived former greatness, a group of artists for whom disco was just another phase in the forever undulating fortunes of a life in the music biz. But which also provided them with some absolute musical highlights, many of which may not have troubled the mainstream too greatly, but which provide rich pickings for nostalgic crate diggers.
And one such record is former teen idol and erstwhile husband of Philadelphia International’s own hit maker supreme Kenny Gamble, Dee Dee Sharp, who produced some absolutely storming tunes in the very dying days of the 1970s, but for whom this period remains something of an under-appreciated career point. Dee Dee Sharp was the first black teen idol, a veteran of the saccharine pop soul of the early 1960s seemingly forever pigeonholed as a teenybopper. But she was always much more than that label, and her late 1970s tenure at Philadelphia International proves why.
Un-credited on many hits from the label’s golden period, Sharp also released two variable but noteworthy albums, 1977’s “What Colour Is Love” and “Dee Dee” from 1980. And both of these sets showcase her huge talent, the maturity of her voice and range from her early 1960s pop days, and a versatility and funkiness that should not go unnoticed. The cut that brought these albums to my attention was from “Dee Dee”, the mercilessly funky “Easy Money”. This is simply a great tune, standing partly in contrast to the lushness of the Sound of Philadelphia, replacing lavish production with a tight, popping and fizzing track that just oozes its groove all over the platter.
Check the bass lick come in at 11 seconds, and revel in the soulful depth of Sharp’s voice. It is a diva performance deluxe without stepping into disco diva territory, classy at every turn. Thankfully these two albums, a showcase for Philly no doubt, but with a twist of something else, are now re-released and available to all to explore and enjoy. Disco may not have provided the commercial footnote to Sharp’s career, the route to easy money, but it sure paid off for us music fans in other ways. Quality.
posted by Twelve Bar at 5:12 PM
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