Tag Archives: Teddy Pendergrass

78 On The Longplay: ‘Life Is A Song Worth Singing’ by Teddy Pendergrass

Teddy Pendergrass, at least for his part, wasn’t keen on the notion that he’d be a contributor to the notion that there was a shortage of high quality music in 1978. Life Is A Song Worth Singing stands out as a strong example to the contrary. As potent as the Philly sound was in the 70’s, there were signs in the middle of the decade that there was a need to adapt the style in order to accommodate changes in the R&B/soul/funk world of music. Gamble & Huff already had been doing that as far back their second album with The Jacksons’ Goin’ Places.

Gamble & Huff were taking basic Philly orchestral soul/funk/disco sound, and swinging it just a bit harder driving. Where orchestration was a major part of the whole on Teddy’s debut, this album takes a different approach already with the first two cuts-including the title song and “Only You”. The strings take a strong backseat whereas the horns are upped in the mix. And the slower beats and rhythms are channeled into the same forward thinking musical approach. All with a strong use of rhythmic style electronics and keyboard textures while still being very recognizably the Philly Sound.

The title track not only showcases this production style to a strong degree, but has an excellent message about taking the time to find an inner strength (and hope in yourself) in times of crisis. It’s a message of self determination that Teddy is channeling directly from what James Brown,Sam Cooke and Curtis Mayfield did before him and extended into the disco/funk era pretty much uncut. And I also have to thank Gamble & Huff for keeping that going too. “Cold, Cold World” offers another message of hope on a great mid-tempo tune that looks to the same new direction as the faster tempo beginnings.

The new direction of “Cold, Cold World” is a modernistic sweet funk type of sound- given a toughness largely due to Teddy’s dynamics and that of the arrangement. The classic “Close The Door” and “When Somebody Loves You Back” offer up similar concepts right where one needs them. “Get Up,Get Down,Get Funky,Get Loose” is definitely a classic “Philly Jump” kind of tune and an example of the most positive direction disco was going at this time..  Now “It Don’t Hurt Now” is the slowest song here however it extends on the overall positively affirming and genuine good intentions of these songs messages.

As with its predecessor Life Is A Song Worth Singing makes you think, makes you happy and is romantically and creatively satisfying at the same time. And that makes it yet another example of an album that avoids the sophomore slump syndrome  It’s also a prime example of what made Teddy Pendergrass such a great voice and artist. And on this album, Teddy also represented what writer Rickey Vincent referred to as the black male soul singer as a symbol of strength and pride. This makes Life Is A Song Worth Singing one of Teddy’s definitive albums.

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Teddy Pendergrass’s Self Titled Debut Album Is About To Turn 40: A Blue Note Goes Solo

Image result for Teddy Pendergrass debut album

Teddy Pendergrass’s debut album will be 40 years old this coming June 12th. It was a huge part of the Philly soul renaissance that peaked during the late 70.s 1977 alone was also one of the red letter years,along with 1977,where funky and soulful album masterpieces seemed to dominate the music world in general. Since this coming Sunday would’ve Teddy’s 67th birthday,it seemed fitting to give his classic debut album upon leaving Harold Melvin & The Blue Notes an overview. And luckily I already wrote one via Amazon.com,shortly after his passing in early 2010,that can be presented here.


Well here I go copping out lol. Teddy Pendergrass has just passed and here I am reviewing him for the first time. Interesting how when someone isn’t with us anymore that sometimes our thoughts about their artistry really come to the surface. In this case it’s a good thing because this is Teddy’s debut solo album and it was and still is a joyous occasion all around. This is one of those albums that,among it’s eight tracks you’ll be hard pressed to find a dud in the bunch.

Between the writing,production and lyrics of Gamble & Huff and the unmistakable sound of MFSB there is a level of consistency and musical potency here that so many people making their solo debut outside a group setting can hope to achieve. It wasn’t as if Teddy hadn’t already achieved a brilliant level of quality with the Blue Notes but at the same time he only outdid himself here. With the varying rhythms,tasty orchestration weaving in and out of the songs and Teddy’s elastic shouts and gruff coos not only made him a huge star with this release but made huge creative strides as well.

The tempo is raised on “You Can’t Hide From Yourself” and again,there’s a message in the music: let what that message is be a surprise when you hear it. Not only that but the percussive groove and the instrumental rhythms within them cross the boundaries between soul,funk,Latin,pop and disco music with such an ease you may in fact forget that the very nature of the Philly Sound embraces all of those flavors into it’s own sound with the musicality of those involved running on all thrusters.

“Be Sure”,the hit “I Don’t Love You Anymore” and “The More I Get,The More I Want” are all equally shimmering jams all emphasizing the same type of idea and all with the same catchy and well arranged tunes as well. As with many albums of this era the the mid tempo tunes really give singer and musicians the opportunity to stretch out in different ways. The soulful “Somebody Told Me” and the Latin inflected groove of “Easy,Easy,Got To Take It Easy” both allow the heavy,easy and mid range of Teddy’s vocal instrument to announce the versatility he was capable of.

“And If I Had” and “The Whole Town’s Laughing At Me” of course give you two of those great Teddy ballads,building on the same foundation as the uptempo tunes he does here. On this album Teddy sings about the ins and outs of romance,the twists and turns of the sexual revolution and the social concerns of people at the time-all embodying the strengths of the Philly Sound and few solo performers pulled it off quite the way Teddy did. In the end you have as astonishing a debut as anyone could possibly ask for.


Teddy Pendergrass: 1950-2010

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Anatomy of THE Groove 5/2/14 Andre’s Pick: “I Will” by Kenny Thomas

One of those fascinating coincidences in the history of soul and funk music is the tendency of the British music scene to fill in significant gaps when the music is experiencing a low popularity and audience in the United States. Funk oriented new wave era groups such as Level 42,Heaven 17,Duran Duran and Spandau Ballet provided this during the US post disco radio freeze out. Some maintained this style through mid decade even. Sade,Simply Red,George Michael and Soul II Soul continued this tradition later in the decade. Aside from American adoration’s such as Prince and Talking Heads,the popularity of funky soul grooves seemed to be in a strange holding pattern on this end of the pond. In the mid 1990’s onward through the post 9/11 world? This pattern came back in play-with 2006-08 being the height of this ethic. Years after his debut in 1991,English soul/funk artist Kenny Thomas emerged in 2006 with a song that showcased this impulse entitled “I Will”.

Starting off with a fan faring drum roll and a plast of joyful,gospel inspired horns the song gets started with thickly grooving mix of high stepping drums,highly melodic electric piano chords and the fantastically vital horn section providing the life force that keeps the entire song alive. With a chunky bass/guitar interactive holding the keyboard riffs all together, Kenny himself sings lyrics with the same level of joy expressed in the horn parts and melody revolving around the most optimistic outlook on newfound romance that one could possibly ask. On the refrains,the melody changes to include a few minor chords but when going back into the main theme of the song,the melody rises up into the major chord as Kenny declares “I WILL” on the chorus. His voice-a passionate cross between Teddy Pendergrass,Michael McDonald and Heatwave’s Keith Wilder,provides an almost ideal reflection of the songs overall joyousness.

From my own personal observations, the era in which this song was recorded was not among the happiest or secure time for the planet Earth, A never ending war on terror was going on,people were divided even more than they were in the 1960’s and that 90’s era cynicism prevented a great deal of action from occurring to counter this. Music was in a great need for empathy over apathy,release instead of tension. And for those who followed the music of Kenny Thomas (which I unfortunately wasn’t at the time),this song in particular provided just what a proverbial Dr. Funkenstein might want. Its another one of those songs defined by a hybrid sound-in this case a mixture of the Chi-town funk of Earth Wind & Fire and the sleek West Coast style of late 70’s Doobie Brothers and Steely Dan. Also there’s a strong element of Phil Collins’ early 80’s Brit-funk approach as well. This song is a perfect example of,on a purely musical level of what Mick Jagger sang in 1969: you can’t always get what you want,but sometimes you just might find that you get what you need.

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