Platinum Record [Level 8]
Elton wrote the song chiefly as a tribute to Billie Jean King, the
legendary tennis player. Back in the 70s, she had a tennis team called
the Philadelphia Freedoms. Elton and Billie Jean became excellent friends
in 1973 and, in '74, he decided he wanted to write a song in tribute to
her. He asked his lyricist, Bernie Taupin, to come up with lyrics based on
the title of "Philadelphia Freedom", and Elton later put music to the
lyrics (this is the way they've almost always worked). In view of the
song title, Elton wrote music with a "Philly Soul" sound and ultimately
dedicated the song to both "Billie Jean and the music of Philadelphia".
The dedication is visible on the label of the 45 (seven-inch vinyl
single).
As you may know, the song went to number one in the U.S. in the spring of
1975.
Elizabeth J. Rosenthal
Author, "His Song: The Musical Journey Of Elton John"
From Billboard Books
♪♪♪ The music is higher/ I don't want to stop
♪♪♪ (Cerrone's Paradise)
Platinum Record [Level 8]
Another trivia note is that Elton would eventually go to Philadelphia and work with Thom Bell on the sessions that would see such cuts as Are You Ready For Love and Mama Can't Buy You Love.
As a huge fan of the Philly sound, I'm not too crazy about this Elton John project. I just don't think his voice suited the music.
Disco Funk
Gold Record [Level 7]
I graduated high school in 1976 and wanted Philadelphia Freedom to be our class song, due to the bi-centennial.:icon_lol:
They chose Theme From Mahogany(Do You Know Where You're Going To) by Diana Ross.
Chart Hit [Level 6]
I agree to some extent, but at the same time I've always admired Elton for experimenting with different types of music. When I think of Phlly soul music I usually think of Teddy Pendergrass, the O'Jays, Billy Paul and others. Also, I once saw an entire album that Thom Bell produced for Elton John (not the 3 song EP), but I only saw it once...now I wish I'd bought it. And I personally thought that Elton's sessions with Thom Bell were at least more musically compatible than his work with Pete Bellotte.Originally Written by Disco Funk
Triple Platinum Record [Level 10]
I became a converted FAN of the Thom Bell/ Elton John sessions a couple years ago when Elton re-recorded the "Are You Ready For Love" tune and was performing it on TV gigs--I went back to the original EP and listened again and I think that track in particular is BRILLIANT--especially with the added vocals of THE SPINNERS on the original...sounds wonderful to me!!!I like all the tracks now...MAMA CAN"T BUY YOU LOVE sounds great also...this was a pop hit---but sounded sorta old-fashioned in 1979---sounds like a little slice of heaven now, in retrospect.
THOM BELL RULES!!!!!
There is a CD of the Elton John/ Thom Bell sessions: THE COMPLETE THOM BELL SESSIONS
from AMG
Review by Lindsay Planer
After dismissing his recently re-formed backing band and breaking off professional ties with longtime lyricist Bernie Taupin, Elton John sought Philly soul maestro Thom Bell in search of a fresh direction. However, John's brief foray into soul isn't as surprising or unusual as it might initially sound. In fact, two of John's biggest hits -- "Bennie and the Jets" as well the breezy four-on-the floor backbeat on "Philadelphia Freedom" -- also became crossover R&B smashes. Initially, John was not entirely pleased with the results and sat on the tapes for over a year before remixing the six completed songs in early 1979 for a summertime release. Ultimately, John chose half of the material that he and Bell had cut to be included on a three-song EP, which was led by the midtempo and ultimately danceable "Mama Can't Buy You Love." The two other sides -- "Are You Ready for Love" and "Three Way Love Affair" (which were issued on that June 1979 extended-play single) -- were likewise Bell creations and were augmented significantly by some of Philly's finest. Among them were Casey James (guitar), Leroy M. Bell (guitar), and Charles Collins (drums), strings and horns courtesy of none other than MFSB, and backing vocals from the one and only Spinners. When the CD version of that EP was issued, the other three previously unissued tunes documented during those sessions were released. Notable among them are a Taupin/John leftover titled "Nice and Slow" -- which Thom Bell also rearranged -- as well as a John ballad co-written with Gary Osborne titled "Shine On Through." This track would resurface as the leadoff track on John's A Single Man in a much more stark and moody musical setting.
Tracks
1Nice and Slow [#] Bell, John, Taupin 4:38 2
3
"Lost inside adorable illusion...."
Platinum Record [Level 8]
I find that Thom Bell's productions seemed to stagnate around 1974 onward. I know that may sound silly considering that the Philly sound pretty much had a standard feel all across the board, from Vince Montana to Gamble & Huff. But Thom Bell's sound was just so plain and uninspiring in the late 70s. So perhaps it wasn't Elton's fault that I haven't been able to totally warm up to the sessions. :)
Disco Funk
Double Platinum Record [Level 9]
I've got to agree with you on this one Disco Funk and the charts of those days reflect this too.
It doesn't surprise me though .... Elton being slow to use Thom Bell . The British were typically behind the curve a bit when it came to American soul music ....:icon_confused:
*****
Baby, take me
high upon a hillside
high up where the stallion
meets the sun
Double Platinum Record [Level 9]
And given some thought, I too agree DF. Bell's stuff that I really liked early seemed tired and old towards the latter 70's.
Find them and destroy them!
Triple Platinum Record [Level 10]
Oh you lata-Thom Bell hatas---have you not heard the Thom Bell produced second side of Phyllis Hyman's "Goddess Of Love" (especially "Falling Star" & "Just 25 Miles To Anywhere") & all of Deniece Williams' "My Melody" & "Niecey"????!!!
FROM AMG:
"GODDESS OF LOVE":
Goddess of Love does go out with a bang. The sparsely arranged "Just Twenty Miles to Anywhere" has Hyman finally getting lyrics of a substantive nature so she could soar. It displays all of the greatness Hyman had to offer;
"MY MELODY"
Deniece's heavenly soprano is as impressive as ever under the guidance of producer Thom Bell. The sweet Philly sound architect keeps Williams' expressive, high-range vocals under wraps, transforming her into a bel canto singer on eight delightful selections. Highlights include the R&B hit "Silly," "Strangers," and the lovely Stylistics-inflected "You're All That Matters." Bell departs from signature sound on the reggae-drenched "Suspicious," but Williams handles the jerk groove as well as she does the ethereal "Sweet Surrender."
...scoring the smash hit "Silly." Written by Williams and produced by famed producer Thom Bell, she sang this song from her own personal experience as well. The single became a Top Ten gem. In 1982 Bell returned the sweet songstress to number one with the single "It's Gonna Take a Miracle."
"NIECY":
Williams enlisted Philly soulmeister Thom Bell as her co-producer (and primary co-writer) a second time on this mellow 1982 release. Building upon the lush balladry of 1981's My Melody, this set inevitably bears a few similarities to its predecessor, but manages a more diverse soundscape. The rock-influenced "Love Notes"; the soft opening verse and subsequently alternating degrees of percussive intensity on "How Does It Feel"; the moody "Waiting"; and the marching rhythm and glorious melodic structure of "Now Is the Time for Love" almost defy classification. Vocally, Williams is in top shape here and seems completely in sync with the material and arrangements. Niecy also gave the songbird her second Top Ten pop hit in a cover of the Royalettes' 1962 hit "It's Gonna Take a Miracle," which she delivers capably, but not as intuitively as the original selections (all of which she co-wrote). Niecy is an essential addition to any Deniece Williams collection.
"Lost inside adorable illusion...."
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