Cherry Red, SoulMusic Revive Philly Disco Sounds of Anglo-Saxon Brown

Item: Cherry Red, SoulMusic Revive Philly Disco Sounds of Anglo-Saxon Brown
Author: Joe Marchese

The team of Joseph Jefferson and Charles Simmons is best remembered today for their string of memorable songs penned for The Spinners under the aegis of Philadelphia soul maestro Thom Bell: "Mighty Love," "Games People Play," "Love Don't Love Nobody." But like many of the talented artists orbiting the creatively fertile Philly scene of the period, Jefferson and Simmons were multi-faceted. In 1975, Jefferson became involved with Ujima, a Richmond, Virginia-founded band that had previously released some singles on the Epic label including one with a Philly imprimatur courtesy of Thom Bell's brother Tony and Phil Hurtt. Jefferson enlisted his fellow Mighty Three Music staff writer Simmons to begin shaping material for the band, a self-contained unit of musicians and vocalists. The fruits of their labor as songwriter-producers were released in 1976 on the Atlantic album Songs for Evolution under the new (and even more unorthodox) name of Anglo-Saxon Brown. The Philadelphia-recorded Evolution has recently been released in an expanded edition by SoulMusic Records in association with Cherry Red.

Charles Waring's excellent and copious new liner notes for SoulMusic's reissue quote bassist-singer Carlton Robinson in 1977 reflecting that Jefferson's desire for the group was to merge the sounds of "white pop and black R&B." (Indeed, Jefferson and Simmons' mentor Thom Bell had long been doing his own distinctive version of that blend.) To this lush end, ten musicians were credited in the band line-up for Evolution including Jefferson on Fender Rhodes and clavinet, and MFSB stalwart Larry Washington on his usual weapon of choice, congas, as well as Bell Tree and bongos. Furthering the familiar Philly soul sound, MFSB flautist and ace arranger Jack Faith provided rich orchestrations and Don Renaldo's strings added their usual luster. Bobby Eli, Thom Bell, Kenny Gamble and Leon Huff were all thanked in the credits. The resulting album features songs that compare favorably with those written by Jefferson and Simmons for The Spinners but rendered with a distinctive flavor.

Barely ten seconds have elapsed on Songs for Evolution when Don Renaldo's familiar string sound first graces the mid-tempo opener "Gonna Make You Mine." Lead vocalist Debra Henry rides the light, rhythmic groove with ease over Jack Faith's subtle, glistening arrangement. The nearly six-and-a-half-minute running time allows for ample instrumental showcases, as well, for the talented musicians of ASB (including Anthony Ingram on lead guitar, Dwight Smith and Joe Jefferson on keyboards, and Alvin Brown and Charles Manns on horns.) The drums and percussion of Tyrone Durham and Larry Washington, respectively, anchor the track.

It's no surprise that the co-writers of "Love Don't Love Nobody" and "Sadie" (the latter with Bruce Hawes) would turn out rich ballads for ASB. One such track, "Straighten It Out," was selected as the lead single. As soulfully sung by the band's guitarist Clemente Burnette supported by tightly-arranged background vocals, it would have fit right into the Spinners songbook, contrasting its languid verses with a percolating chorus. Henry took the lead on the beguiling "The Man I Love" and on the smooth and breezy "Call on Me." Henry and Burnette share a smoldering duet on "I'll Keep Lovin' You."

Elegant instrumental disco is the order of the day on the sinuous, jazz and funk-influenced "ASB Theme," co-written by Jefferson and Simmons with ASB bassist Carlton Robinson. Both "ASB Theme" and the aptly-titled, lyrically-simple "Disco Music" (the only track on the LP not written in whole or in part by Jefferson and Simmons) are bold invitations to the dancefloor, while the funk quotient is upped on the gritty yet brassy "The Grizzly."

Why did Anglo-Saxon Brown's debut fail to make an impression on the charts? "Gonna Make You Mine" might have made for a strong single, with some judicious editing; the eventual choice was the ballad "Straighten It Out" which is altogether wonderful but perhaps less distinctive in establishing the ASB sound than the former. Charles Waring, in his notes, accurately suggests that the band's offbeat name might have been a hindrance to success. Joe Jefferson recalls a lack of promotion from Atlantic, and indeed, the label might not have known how to best market the band's blend of Philly soul and disco. Whatever the reason, Songs for Evolution became the only release by Anglo-Saxon Brown. But the band still had one more moment in the sun. After having passed on the group years earlier, Philadelphia International signed ASB with the stipulation that its name be changed. Midnight Dancer, credited to the newly-minted and far more commercial name of Silk, emerged in 1979 on PIR with production from Jefferson and Simmons and a couple of line-up changes. After Midnight Dancer came and went, ASB/Silk disbanded, though many of its members still are active in music today.

Anglo-Saxon Brown's lost gem has been remastered in sparkling fashion by Donald Cleveland for SMR's reissue, and the thick 20-page booklet boasts 14 pages of liner notes drawing on new interviews with Joe Jefferson, Charles Simmons, and Bobby Eli. One bonus track has been included: the single edit of A-side "Straighten It Out." Songs for Evolution uncovers the band's fresh, shimmering and self-contained spin on The Philly Sound, and as such, you'll wanna make it yours.

Anglo-Saxon Brown, Songs for Evolution: Expanded Edition (Atlantic LP SD-18192, 1976 - reissued SoulMusic/Cherry Red WSMCR 5131, 2016) (Amazon U.S. / Amazon U.K. / Amazon Canada)