Billy Paul Feelin Good at the Cadillac Club Uploaded
| Feelin' Expert at the Cadillac Guild | ||||
|---|---|---|---|---|
 | ||||
| Studio album by Billy Paul | ||||
| Released | 1968 | |||
| Recorded | 1968 Virtue Recording Studios, Philadelphia, Pennsylvania | |||
| Genre | Soul, Philadelphia soul | |||
| Characterization | Gamble Records | |||
| Producer | Billy Paul | |||
| Billy Paul chronology | ||||
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| Alternative cover | ||||
 Album cover used for 1973 re-release by Philadelphia International Records KZ 32119. | ||||
Feelin' Practiced at the Cadillac Guild is the debut album past soul vocalizer Billy Paul. The album was produced by Billy Paul and released past Kenny Hazard and Leon Huff's Gamble Records in 1968. The Toots Thielemans vocal "Bluesette" was released as a single but failed to chart equally did the album. The LP was re-released with new cover art in 1973 on Philadelphia International Records but once again failed to chart. Big Break Records remastered the anthology for re-release on CD in 2014 with new liner notes and an interview with Baton Paul.
Release and critical reaction [edit]
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [1] |
Aretha Franklin was one of the many entertainers who played at Benjamin and Ruth Bynum'southward Cadillac Club in North Philadelphia. Baton Paul's debut anthology is named after the venue.
Despite its title, the album is not a alive recording but a studio creation based on Paul'due south live deed, which he regularly performed at Philadelphia'south Cadillac and other clubs.[ii] Paul recalled: "[The Cadillac] was a famous, famous club. Aretha Franklin worked there. Me and George Benson used to piece of work there all the time."[2] Located at 3738 Germantown Ave. in North Philadelphia, the Cadillac opened in 1965 and was run by Benjamin and Ruth Bynum before becoming the Impulse Discothèque in 1977. Benjamin booked the entertainers, Ruth handled the finances, and their 2 young sons Robert and Benjamin Jr. worked at the club.[3] Benjamin Jr., who with his brother followed in their parents' footsteps and ran their own jazz club Zanzibar Blueish from 1990-2007 and collaborated with Chance & Huff on The Sound of Philadelphia (TSOP) nightclub and eatery, recalled how as a young male child he met entertainers like Gladys Knight & the Pips who regularly visited the family'southward house when they were in town to play at the Cadillac: "Almost times I was in bed. Mostly I look at pictures and think stories nigh how my mother pierced Aretha Franklin's ears for the evening. Just I don't honestly even recollect how old I was when that happened."[4]
Paul had been somewhat of a kid prodigy singing in jazz clubs and cutting a handful of singles in the 1950s. Toward the end of the 1960s, Paul and his wife and manager Blanche Williams had invested $365 of their own money toward recording a Billy Paul album.[2] I nighttime in 1967 at Philadelphia's Sahara social club on 15th and South Streets, Kenny Gamble caught Paul'south prove. Gamble recalled: "I got talking to Billy near coming to Gamble Records. Billy had gone and recorded a few things on himself and he wanted three more sides to make an album. Then we went in the studios and cut iii things and nosotros put them on the anthology Feelin' Good at the Cadillac Club. Paul recalled their meeting: "I was singing in a jazz social club called the Sahara. He had a tape store on Due south St & Philly - right round the corner and I was singing with a trio at the Sahara lodge on Friday, Sat and Lord's day. He came over and said 'I am starting a record company and I would similar to sign y'all.' Low [sic] and behold I took all the material I sung every weekend and I did an album in three and a half hours – a whole album. I had this album, and I produced it – me and my married woman. And we gave him this album called Feelin' Good at the Cadillac Club to assist start the record company and that was the album that helped start it up."[v] The finished work was the second anthology on Gamble & Huff's new label (the first was The Intruders debut LP).[2]
The LP'due south original liner notes were an early on attempt to market place Paul as more than than simply a one-dimensional jazz vocalist:
"'Soul' is a word that has probably taken more than of a beating in the by 5 years than most of the words in the English language language take taken during the by one-hundred years. And still, no one has come with a generally accepted definition of the term. Billy Paul says, 'Soul is just existence me,' and I call up that'south the ane definition I tin can accept without reservation.
In trying to analyze the electrifying way of Baton Paul, the closest 1 tin can come to breaking it down is to say that the style is but him - emotional, urgent, compelling and the audio of the times with a definite intertexture of the gospel mode.
From the very kickoff, Billy was ever fascinated by the phrasings and seemingly limitless range of horns. Information technology makes a lot of sense, because one of the outset things that strikes a listener hearing him for the first time is the horn-like quality of his voice, specially in the way he phrases the lyric. This is undoubtedly why musician Cecil Payne said that Baton Paul sounds 'just like a flute.'
From the frenetic pace of Toots Thielemans' jazz standard, "Bluesette," to the haunting approach of "Somewhere," Billy Paul runs the gamut of versatility. "Feeling Good," a big production number, is notable for the dominating figure created past the pianoforte, drums and bass which makes for an almost hymnal upshot.
"Simply in Time," which starts off with Baton accompanied only by bassist Bill Collick, gives the whole grouping an opportunity to have a ball, as practice "That'due south Life," "Billy Male child," "Don't Retrieve Twice," and "Missing Y'all."
Merely easily, the top number on this album has got to be "On a Clear Day." Arranged by pianist Stanley Johnson (as are all the numbers) "Articulate Day" has been given an unusual Latin background, and so startling is the effect that 1 cannot assist wondering why it was never done earlier.All in all, an auspicious introduction to a new and exciting talent, Billy Paul - a boyfriend who will probably be making fine albums, like this i, forever.
Joe Hunter
WHAT-FM RADIO
Philadelphia, Penna.
"Bluesette" is a jazz standard past Toots Thielemans where he used whistling and guitar in unison with lyrics added past Norman Gimbel to produce a major worldwide hitting in 1962.
In its February x, 1968 result, Billboard listed the anthology as 1 of its "New Action LP'southward".[6] Yet neither the album, nor its single "Bluesette" / "Somewhere" (Hazard Grand-232), drew much attention. Author John A. Jackson suggested that the trouble was less with the music than with the inherent difficulty contained labels faced in promoting their artists: "Gamble and Huff fared no meliorate marketing Baton Paul's calorie-free jazz vocals than they did with their underachieving soul artists. His debut album went virtually unnoticed."[7]
As they did with Ebony Woman Adventure & Huff decided to reissue this album after the success of "Me and Mrs. Jones" and the 360 Degrees of Baton Paul album. The LP's new liner notes were written by music journalist Jean-Charles Costa:
With his brilliant striking single, "Me and Mrs. Jones," soaring across the national airwaves, Billy Paul is finally getting the kind of national acceptance that he then rightfully deserves. Fellow artists like Nancy Wilson take been aware of Baton'due south talents for quite a while, and information technology'south to everybody'due south benefit that his boom single and best-selling album, 360 Degrees of Billy Paul, accept thrust his vocal gifts into the national spotlight. His perfectly defined and totally supple singing style, a unique constructing of jazz, pop, and R&B influences, embodies a potential that transcends even his biggest hits.
Unlike other artists, records are only part of the Billy Paul story. His warm and intense personal appearances are highlighted past an improvisational brilliance that matches his innovative sense of phrasing. Feelin' Good at the Cadillac Club is an exciting studio-"live club date" recording combination, produced by Billy Paul, that conveys the total free energy flow that he generates every time he steps out onto a phase. When yous sing contemporary material with the kind of honesty and commitment that Baton Paul does, you lot have to be able to behave information technology off "live." This breakthrough LP typifies his ability to do only that...and more.
Allmusic's Ron Wynn gave the album three out of five stars and said: "Paul might have been successful in jazz; if he emerged in the '80s or '90s doing this kind of supper-club/cabaret fare, he would immediately be routed into the adult gimmicky and Quiet Storm market and probably be a huge hit.[1]
On the album's 2014 reissue, Joe Marchese of The 2nd Disc noted: "Though it's far from a typical 'soul' album, one listen reveals just how much soul always resided inside Baton Paul."[2]
Track listing [edit]
Side 1
- "Billy Boy" - (Traditional) ii:43
- "Missing Yous" - (Kenny Chance) ii:45
- "Bluesette" - (Norman Gimbel, Jean Thielmans) iii:05
- "On a Articulate Day (You Tin Run into Forever)" - (Alan Jay Lerner, Burton Lane) 4:39
- "Just in Fourth dimension" - (Betty Comden, Adolph Dark-green, Jule Styne) 3:56
Side 2
- "That's Life" - (Dean Kay, Kelly Gordon) iv:05
- "Don't Remember Twice, It's All Right" - (Bob Dylan) two:03
- "Feeling Good" - (Leslie Bricusse, Anthony Newley) viii:30
- "Somewhere" - (Leonard Bernstein, Stephen Sondheim) 3:37
Personnel [edit]
- Baton Paul - Vocals, Producer
- Stanley Johnson - Piano, Arranger
- Norman Fearrington - Drums
- Beak Collick - Bass
- Recorded at Virtue Recording Studios
- Nick Robbins - Remastering from 1st generation tapes at Audio Mastering, London for BBR 2012 reissue
References [edit]
- ^ a b Wynn, Ron. Billy Paul: Feelin' Good at the Cadillac Club Review at AllMusic. Retrieved 4 June 2015.
- ^ a b c d e Marchese, Joe (20 January 2014). ""Billy Paul Is "Feelin' Proficient" On BBR Reissue Of His Showtime Studio Album"". theseconddisc.com. Retrieved four June 2015.
- ^ Ronan Sims, Gayle (6 July 2005). "Ruth Bynum, 80, club owner". The Philadelphia Inquirer . Retrieved six June 2015.
- ^ Etter, Gerald (iii November 1991). "Not Out Of The Blue In Family Tradition, The Bynum Brothers' Unique Restaurant-jazz Buffet Speaks For Itself". The Philadelphia Inquirer . Retrieved half-dozen June 2015.
- ^ "Billy Paul: Soul Searching". bluesandsoul.com. Retrieved 5 June 2015.
- ^ "Action Records". Billboard. ten February 1968. p. 58. Retrieved 4 June 2015.
- ^ Jackson, John A. (2004). A House on Fire: The Ascent and Fall of Philadelphia Soul. Oxford University Press. p. 85. ISBN9780190287658 . Retrieved 6 June 2015.
External links [edit]
- Billy Paul-Feelin' Good at the Cadillac Club at Allmusic
- Baton Paul-Feelin' Good at the Cadillac Guild at Discogs
- Billy Paul-Feelin' Expert at the Cadillac Lodge at The 2d Disc
Source: https://en.wikipedia.org/wiki/Feelin%27_Good_at_the_Cadillac_Club
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