Skip to main content

There Was A Balm In Philadelphia To Make The Wounded Whole: “You Make Me Feel Brand New” by The Stylistics



It was the group’s last Thom Bell collaboration, their last American top ten hit and probably their most famous record. Bell then concentrated on working with The Spinners, leaving The Stylistics in the merciless candyflossed hands of Hugo and Luigi, under whose direction they went on to score most of their biggest hits in Britain (because of Britain being Britain). Originally appearing in its full length on their third album, 1973’s Rockin’ Roll Baby, a slightly edited version was deposited in the middle of their fourth album, 1974’s otherwise Hugo and Luigi-dominant Let’s Put It All Together, and promptly put all else on that record to shame.

I have really nothing more to say about the record except to note in passing that here we have two very carefully-enunciating voices which sing different parts of the same song but never connect – hence, the voice is both ego and id, Cupid and Psyche – and that a somewhat clunky lyric sung with serene but truthful conviction will always trump devious lyrical couplets whose accompanying tune you forget while it’s still playing. This could so easily be a Hallmark greetings card, but with the subtlest of touches Bell and the singers turn it into a morning in the life of Monet’s Rouen Cathedral series.


Date Record Made Number Two: 15 June 1974
Number Of Weeks At Number Two: 2
Record At Number One: “Billy, Don’t Be A Hero” by Bo Donaldson and The Heywoods
UK Chart Position: 2

Comments

  1. In the UK this came out as the b-side to "Only for the children" and they appeared on TOTP with that one first - but it got nowhere. Someone flipped it, it took off, and I guess that's why it got added to the forthcoming album even though it had already appeared on the previous one. It used to happen a lot, using a previous album as b-side sources - see also Kraftwerk and "The Model"

    ReplyDelete

Post a Comment

Popular posts from this blog

Threads Of Alligator Lizards In The Air: “Purple Rain” by Prince and The Revolution

The original idea was for a country-style collaboration with Stevie Nicks, to whom Prince sent a ten-minute instrumental backing track, asking her to come up with some lyrics. However, Nicks was overwhelmed by what she heard and feared that the task was too much for her to take on, so the song was reworked in rehearsal with The Revolution, utilising Wendy Melvoin’s guitar phrasing as a new guideline. The song appears to have existed before the film; Purple Rain the movie is best described as lucid hokum, but its soundtrack changed the atoms which constituted “pop,” far more so than much ostensibly radical music of the period. For many of that decade’s generation, Purple Rain the soundtrack was “our” Ziggy Stardust – better conceived, performed and produced in every way – and the title song, which closes the album, was “our” “Rock ‘N’ Roll Suicide.” It is such a patient epic, the song, and about a lot of things, and people – each of the verses addresses a different su...

“I Would Have Thought In The Middle Of The Atlantic In The Middle Of The Night That Rockets Must Mean Trouble”: “I’m Not In Love” by 10cc

"watching for night, with absinthe eye cocked on the lone, late, passer-by." (Sylvia Plath, "Prospect," 1956) This story begins in 1954, before most people had really recognised anything called rock, and a pop record which is half-perfect. That record, which stayed at number one in our charts for ten weeks, was “Cara Mia” by David Whitfield with Mantovani and his Orchestra and Chorus. Now, Whitfield was never the most subtle of singers and his in-your-face bellowing is somewhat distracting – it is significant that he was the first British reality media star (not from television, because at that time Opportunity Knocks was only broadcast on Radio Luxembourg) since his climactic high C at the end of “Cara Mia” is like a display of gymnastics, or an athletic field event; can he do that triple loop or throw that javelin beyond the stadium? It proves that technical prowess can often render itself unlistenable. But the magic here lies in the extraordinary ...

A Pre-Emptive, Though Hopefully Temporary, Bowing Out: “Don’t Let The Sun Go Down On Me” by Elton John

This isn’t quite the last piece of music I’ll be writing about before taking a long break from writing this blog (and most other things) – there’s one more song tomorrow that I’ve been persuaded to write up before I disappear – but the situation is this; I am imminently due to go into hospital for major surgery to treat a long-standing and hugely-annoying hernia. This should have been sorted out years ago but for reasons too tedious to document it’s only being sorted out now. It is going to be a long, fairly complex and in places possibly pioneering procedure. I am being operated on by world-class surgeons whom I trust implicitly and there has been much liaison between my local hospital (where I’ll be going) and the hospital where I myself work to enable this to happen. However, I have to warn you that the procedure carries a fairly high risk of what medical people call “morbidities,” mainly to do with breathing and cardiac issues, for which I will be closely monitored in I...