Philadelphia International Records at 50

PHILADELPHIA INTERNATIONAL RECORDS- 5O YEARS ON

One of the most influential black music labels in history, has been in existence for half a century and though in recent years, it has become nothing more than a heritage logo for re-issues and compilations, it signified the direction that R &B music was swiftly taking, giving centre stage to artists that stood for a decade or so on the periphery of commercial breakthrough, newcomers that had something to say and making music fans fall in love with its trademarked smoothy, creamy yet soulful sounds.

Prior to the creation of Philadelphia International Records (PIR), Philadelphian R & B maestro’s Kenny Gamble & Leon Huff worked closely with the big hometown label Cameo-Parkway and their roster of artists, learning from this experience Gamble & Huff set up their first label named Excel Records later renamed ‘Gamble’ which was distributed by the Chicago-based Chess label, future PIR signings The Intruders proved to be that label’s biggest sellers – soon after Gamble became Neptune but the new incarnation a prototype for the even bigger PIR label suffered distribution problems, though all was not at loss, G&H were luckily in demand from numerous record companies to do production/writing work for artists as diverse as blue eyed soul divas like Dusty Springfield  & Laura Nyro to Southern soul kings like Wilson Pickett, Jerry Butler & Joe Simon with commercial success.

After a series of meetings, some fruitful, some not, CBS/Columbia Records then headed by the somewhat maverick figure of Clive Davis , signed up Gamble & Huff for the creation of their own imprint, in which they’ll be in charge plus the incentive dangled by CBS of a guaranteed $105,000 advance for the production of singles & albums.

With the ink dried, CBS/Columbia made an official announcement of the formation of Philadelphia International Records (PIR) as well as it’s music publishing counterpart (in conjuction with another Philadelphian writer/producer Thom Bell) Mighty Three/Associated Music.

Subsidiary labels were set up in tandem including TSOP, Golden Fleece & Thunder.

The cultural template for PIR was to create a ‘Motown for the 70s’ – PIR was largely black owned but eyebrows were raised and looks of bemusement occurred when Gideon Smith, a white country/folk-rocker was the label’s first release artist , but his "Arkansas Wife" ditty quickly evaporated, whilst Dick Jensen, a classy lounge crooner in the Wayne Newton/Tom Jones/Engelbert Humpherdink mold was another unlikely PIR signing in its early days.

However more reflective of the ‘70s Motown’ ambitions, that the new label desired was the mixed gender Leon Huff discoveries The Ebony’s- their "You’re The Reason Why "(issued on CBS in the UK) was PIR’s chart breakthrough.

CBS was not wanting to be totally left out, hired Gamble & Huff to produce two of their signings – the blue eyed soul/gospel artist Laura Nyro ( the classic "Gonna Take A Miracle" album) and Hendrix/James Brown soundalikes The Chambers Brothers (on the largely forgotten "Oh My God" album).

Philadelphia International’s hometown HQ was the old Cameo-Parkway HQ, with the Sigma Sound Studios close by , the go to studios that artists whatever genre were sent to , to get that authentic ‘Philadelphian soul sound’

In the meantime for PIR, it seemed like as a label that they were to sink into obscurity, with the likelihood that CBS could drop the label, though the fortunes were reversed by a number of signings that were strugglers from the previous decade-providing them with a serious round of hit singles.

Ohio soul trio The O’ Jays gave PIR its first major international hit single with the grandiose yet hard edged "Backstabbers"- this was swiftly followed by global hits by the Teddy Pendergrass fronted Harold Melvin & The Blue Notes & ex-jazz singer Billy Paul.

Philadelphia International was on the official musical landscape , gaining international recognition and demand, no doubt delighting the bank balance of CBS/Columbia too!.

With PIR on the rise, CBS understandably not wanting to feel totally isolated from the picture started toying with the idea of sending some of its global range of roster to work with the  ‘Sigma Sound Faithfuls’ –MOR superstars such as Andy Williams & Barbra Streisand were considered, Johnny Mathis however was despatched to Philadelphia to record in the ‘Philly Soul’ mould – the "I’m Coming Home" album seriously introduced  the legendary crooner into the soul market, others signings like the Texan reggae/pop singer Johnny Nash did record some Philly Soul tracks with the Philly soul faithful for his genre defying "Tears On My Pillow" album.

CBS soul/ R & B roster including The Manhattans and the newly signed The Jacksons were despatched to the ‘City Of Brotherly Love’ with positive levels of success.

Soulful rock band Badger, whom were signed to CBS/Sony subsidiary logo Epic - and formed around one-time Beatles protege Jackie Lomax....CBS drafted plans to send Badger to Sigma Sounds in Philadelphia and to work with the Gamble & Huff team, but for reasons unknown it didn't happen so instead the cult 'White Lady' LP was produced by Southern soul specialist Allen Toussaint instead – but just imagine the LP with a Philly soul groove!

The influence of Philadelphian soul music was widespread, as CBS Records especially had the power as distributors of PIR to despatch any signing they saw fit that could do with the distinctive Philly soul beat,however non CBS signings  like David Bowie & Elton John were quickly dispatched over to Philadelphia to record with the greatest soul musicians/producers from the city for their albums and singles.

British MOR king Engelbert Humpherdink also recorded with reputable Philadelphian soul alumni

Even ‘rival’ labels like Motown & Atlantic were sending their artists out to record in Philadelphia, with the best and reputed soul musicians that label budgets and recording/release deadlines could meet

The power of soul music or was it?

For the record the Philly soul faithful (though not strictly consigned to Philadelphia International Records) aside from Gamble & Huff & Thom Bell, included MFSB backing musicians (hit makers in their own right), Bobby Eli, Bunny Sigler, Norman Harris, McFadden  & Whitehead, Vince Montana, Stan Watson, Linda Creed, Joe Tarsia, Bobby Martin, Earl Young and Ronnie Baker

Back to PIR , the label’s biggest selling oversees act were, Three Degrees, a photogenic trio of Nubian lovelies that joined the PIR roster during the Summer of 1973, some sources suggested them as the ‘female O’ Jays’, others claim (rightly or wrongly) as PIR’s version of rival label Philly Groove’s First Choice, whilst perhaps more accurately as that label’s Supremes-whatever the sources they gave the label it’s biggest UK hit single a year later with ‘When Will I See You Again’, - a great marketing ploy by the media powers that be who considered Three Degrees-the ‘70s equivalent of Motown’s 60s superstar female trio The Supremes’,  quite fitting as The Supremes dominated the UK singles chart a decade earlier, cementing the comparisons of  PIR’s quest for being the Motown for the 70s.

Three Degrees were America's representatives of the Philly Soul genre for British pop culture , TOTP regulars as well as being on the guestlist of light entertainment showcases and not forgetting being the headliners for Prince Charles 30th Birthday celebrations.

Whilst The Three Degrees represented glamour, class and elegance, other established signings like The O’ Jays followed suit and recorded more sophisticated ballads instead of the social conscious material that the music fan expected from them.

The O’ Jays were incidentally the label’s biggest US chart act

Breaking from Harold Melvin & The Blue Notes, Teddy Pendegrass became a superstar in the soul market as he mutated  into the ‘black Tom Jones’ and a serious rival to Barry White – Pendergrass was re-invented as PIR’s ‘loverman’ artist.

As with the greatest of things, mould sets in, PIR did fulfil its ambition as the ‘Motown for the 70s’, - there were glimpses of hopes with latter signings including, Jean Carne, The Jones Girls, Frantique as well as established artists such as, Archie Bell & The Drells, crooner Lou Rawls, The Stylistics, the late Phylis Hyman, Patti LaBelle and The Dells.

As the mid 1980s was greeted, CBS’s manufacturing and distribution agreement with PIR expired, in stepped rivals EMI Records who eventually acquired the rights to the label mainstay’s The O’Jays recording contract and the distinctive pink/apple green Philadelphia International label was shuttered into retirement, besides the odd repackage/re-issue and compilation retrospective.

Brief revival flurries in the 90s resulted in nothing , long term except a subsidiary called Uncensored, which concentrated on the rising hip-hop market.

Philadelphia International Records, found itself back in the news in 2010, though through unfortunate circumstances when its HQ was a random target by a drunken arsonist, who was later charged with the crime.

Memorabilia associated with the label were severely damaged or destroyed completely.

Nothing though will ever destroy the music that the label has brought to the lives of several music fans especially those that love classic soul and dance music.

PIR lived up to its mantle as being the ‘Motown for the 70s’- it defined the soul music of the 70s.

Philly Soul=Smooth, soulful, creamy and cool.

After the EMI agreement expired , the rights to the PIR brand reverted 'home' back to Sony Music lock and stock who now the masters once again of the PIR back catalogue.

Expect a brace and barrage of re-issues from PIR.