Phyllis Hyman R.I.P.

[Karlos]

Perhaps not so much of a "Disco Diva" but it's 10 years to the day since Phyllis tragically took her own life. The world is certainly a much poorer place without her. I for one will always be grateful for her and her music.........

[RetroRuss]

Didn't know that.....as a mark of respect I will play one of her tracks at the weekend at one of my gigs.

[NickNack]

I remember a group of us coming to a stand still in total shock while at work that day. Someone had their radio on at their desk and heard the announcer say she was dead. Lousy day, believe me. My heart still breaks when I play her stuff. She could do it all... and more!

[Karlos]

Definately my favourite artist. Perhaps this is worth starting another thread but there's always been one song that she didn't sing that i wish she had recorded. Don't get me wrong I think Stephanie Mills did a good job on "Never New Love Like This Before" but just imagine if Phyllis had of sung it........

Anyone else have a favourite song that they wish someone else had recorded and if so which song/who...??

[buckaroo]

Compared to Odyssey's version, Phyllis Hyman's performance of "Don't Tell Me Tell Her." was sheer brilliance. I too was saddened to hear of her death at the time, as I had collected all her albums up to that point, and had become a little too obsessed with the woman :roll: Not such a bad thing really. I just count myself as very fortunate, because I was able to see her sing live in London at one of the few concerts she did here, back in the early '90s.



R.I.P. Phyllis.

[Karlos]

Buckaroo,

Thanks for the scan.

I too have all of Phyllis's albums and CD's and have collected all of the compilation CD's even though they only contain material that I already have. I saw Phyllis live at Hammersmith Odeon many years ago, late 1980's I think. I got there early and actually bumped into Phyllis in the foyer as she had come out to meet some friends. We had a brief chat and went our separate ways. I will never forget that. I played a lot of stuff yesterday, think my favourite is actually a ballad "The answer is you" does it for me but there are so many others...

[remicks]

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Of course her signature disco hit is probably "YOU KNOW HOW TO LOVE ME" , a smooth & classy disco record ( making it something of a rarity right there) that has withstood the test of time well . Love the featured piano in that tune . ....... But I recently replayed
"TONIGHT YOU AND ME " and I had forgotten how delightful it is as well .....

Phyllis Hyman's discography :

http://www.kolumbus.fi/soulexpr/hymandg.htm

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[remicks]

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Another word that just came to mind to describe "YOU KNOW HOW TO LOVE ME " is "gentle". What other disco songs fit this catagory? ????


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[tcbgent]

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Another word that just came to mind to describe "YOU KNOW HOW TO LOVE ME " is "gentle". What other disco songs fit this catagory? ????


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I would have to say'' UNDER MY SPELL '' In fact I enjoyed that song more then her signature song'' You Know how to Love me ''

[remicks]

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I'll have to seek out "UNDER MY SPELL " :D

I have to add one other thing .... decided "YOU KNOW HOW TO LOVE ME " was the perfect song to listen to on the way to work this morning . And because Karlos , you made a reference to Stephanie Mills ... I could hear some similarities .... and not to disrespect the talents of Stephanie .... I think Phyllis kicks it up a notch.

But I digress.... what I wanted to mention is that as I'm listening to this ongoing celebratory vocalization about the gloriousness of how the subject at hand knows so skillfully .... "how to love me" ..... there is one moment of humour snuck in there , I hadn't heard before . Four-fifths through the song Phyllis is again declaring "You know how to love me" ..and then she adds a little dig by growling ...." ...because you told me so....Ha, ho . " :P :P ". I like that this one line of playfullness found its way into this elegant song .... :D

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[SandraDee]

I remember in an interview in 1980 with Mtume & Lucas, the producers of 'You KNow How To Love Me' they said they didn't get on with Phyllis & they wouldn't be working together again. :(

My favourite Phyllis track is 'Gonna Make Changes', one she wrote herself. It's very melancholly.

[buckaroo]

I've read articles like that one too Sandy...She was a very hard person to get on with apparently. According to one journalist I won't name, she seemed to have become very bitter towards the end of her life, and was intimidated by the younger 'divas' on the scene during the mid and late '80s (Chaka, Whitney, etc.). She also thought that men were intimidated by '...strong black women like me...' When I saw her at the Hammersmith / Labatts Apollo in '91, you could tell she wasn't in the best of moods...But the concert was fabulous!! Just like listening to the records in fact...But despite many calls for an encore at the end, she didn't ablige us.

It's a shame she didn't work with Messers Lucas & Mtume again, because that 1979 LP was one her best in MHO.

[SandraDee]

It's a shame she didn't work with Messers Lucas & Mtume again, because that 1979 LP was one her best in MHO.

You're right Bucky, it was a corker. Don't you find that sometimes the best art happens when strange bedfellows work together? That's probably why good stuff rarely happens. I've heard that Phyllis was a highly depressive person so that would explain her reluctance to face the public (look at the wihdrawal of Agnetha from Abba who also suffers from depression).

[buckaroo]

I understand what you mean. Phil Collins, who is totally un-disco :lol: produced his best work while going through a very nasty divorce: "In The Air Tonight", "If Leaving Me is Easy", "You Missed Again." to name but a few.

[remicks]

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just thought I'd link these related threads about the great Miss Hyman ......

http://www.discomusic.com/forums/viewtopic.php?t=461

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[buckaroo]

Interesting read that topic. And so true about Alicia Keys - good though she is. How can 5 Grammies for your first LP be justified, when there are other female singers around struggling to get noticed?

[Karlos]

I finally got to see "The Kill Reflex" over the weekend a film Pyllis starred in with Fred Williamson. The film is nothing special but Phyllis does sing a song in the film so it's worth viewing for that alone. She does look beautiful in the film and I can understand why her early days were spent as a fashion model.

As for her death again it's all rumours but understand she sufferred from bouts of depression (she feared she was unloved and was exasperated with the way her career was going and her eternal battle with record label executives etc) and that mixed with booze and pills was not a good concoction.

I play some Phyllis stuff at home practically every day and even now, 10 years after her death, there's certain tracks that cause me to weep for such a tragic waste of a wonderful talent :x :x

[buckaroo]

She appeared in a number of films: I think she had a small part in the well known :roll: The Fish That Saved Pitsburgh (1979) and cut a song with Thom Bell for the soundtrack. Also back in the '80s she sang during a part of Spike Lee's School Daze (1988)

[remicks]

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Interesting :

Nick Martinelli: Producer to the Divas


By Carter Burnette

Nick Martinelli grew up in Philadelphia listening to the Motown sound. Nick attended the all male Archbishop Neuman High School where he sang in the glee club. After high school he completed course work in medical technology, but took a job in the warehouse of CHIPS, an independent record distributor. "I decided I didn't want to be around bedpans and ****," recalled Martinelli.
Nick worked for CHIPS 10 years, and became it's warehouse manager. While there he developed an understanding for distribution and retail sales. In the early 70s Nick started DJing at clubs. CHIPS allowed him access to popular dance music.

His combined experience at CHIPS as well as his DJ work paid off. In 1976, while still working for CHIPS, Motown asked him to handle dance music promotions for Philadelphia, New York, Washington and Baltimore.


In 1978 TEC Records hired Nick as National Director of Sales. In only one year he made the transition to Director of A&R (Artist and Repetoire). "Being a small boutique label, there were only a few people working there and I demanded to do A&R." His first production credit was for a track called "Everybody Here Tonight Must Party", by a local group called Direct Current, which achieved moderate success. While Nick made the transition into A&R, TEC bought the WMOT label, (formerly We Men Of Talent). From that point forward, recordings were released under the WMOT banner. Nick's duties included signing and developing talent. Some of the artists he signed included: Brandi Wells, Frankie Smith, Barbara Mason, Cecil Parker, Fat Larry's Band and Captain Skyy.

In 1982 seeing "the writing on the wall at WMOT", Nick formed Watch Out Productions. He co-produced "Zoom" for Fat Larry's Band, which rose to the top of the British charts. This success enabled him to get remix work, first in the UK, then stateside. Along with David Todd, he developed a signature style in dance music and for two years he remixed hits for various artists, most notably the Ray Parker, Jr. hit "Ghostbusters".

In 1983 Nick recorded his first solo production for the English group Loose Ends. In 1984 he recorded Loose End's successful club hit, "Hanging On a String". The song was on their second album, but the single was released on the group's first American lp.

He also recorded songs for Five Starr and a variety of other artists, most of which were released only in the UK. The most successful was a track called "52nd Street". In 1986 he recorded an album project for Sheena Easton with Narada Michael Walden and Prince which was never released in the US.

In the late 80s, Nick decided to change his production style from dance to R&B. Anita Baker's recent releases inspired him to go back to his roots. "What I wanted to make was a different record. I wanted to work more with live musicians and bands", says Martinelli. The first project in his new style was for Regina Belle. He also recorded two #1 singles for Stephanie Mills, ("I Feel Good All Over" and "Home"), a gold album for Gladys Knight and the Pips (All Our Love), a gold #1 album for Teddy Pendegrass (Joy) and a #1 single for Mikki Howard ("Love Under New Management" and "Baby Be Mine").

When asked about his secret to capturing great performances, Martinelli replied, "I think the main thing that I've always done is to treat the artist with respect and as an equal. A lot of producers want to be bossy and [overemphasize] the bottom line. They try to misuse their authority. I don't think that works with most artists."

"As a producer, I've got the knack for finding great songs", he offers. "A big part of my success is that I pick the right songs for these artists".

During this period he was also developing projects for Phyllis Hyman and Dee Dee Sharp. In 1988, Nick recieved the Philadelphia Music Foundation Award for creating the most Top 10 singles in one year. He was honored by them two years later as Best Urban Producer. Additionally, Martinelli was constantly in Britain's Blues and Soul Top 10 producer list.

However, Martinelli was not without his share of misfortune. In 1989, Nick went to jail on drug conspiracy charges. The principals of WMOT Records were accused of laundering money. During his incarceration, he lost not only his best friend from a stroke, but also an ex-lover from AIDS. "The one thing that hurt me during the late 80s was being in jail those two years" Nick reminisced. I had five hits while in prison and couldn't capitalize on them".

While in prison he penned "When You Get Right Down To It" and "I Can't Take It Anymore" with fellow inmate Reggie Hines. Both songs went on Phyllis Hyman's album, "Prime of My Life".

"[Jail] had a positive effect because it gave me time to devote to myself. I found it to be restful, and less stressful. I even lost 100 pounds. In that sense it was very good and I turned it into a positive experience".

One of the first projects he did when he got out was "Don't Wanna Change" for Phyllis Hyman. This was Phyllis' only #1 single. Nick started the 90s hot with Regina Belle; this time earning two #1 hit singles and a Grammy nomination for "Make It Like It Was".

In 1991 he moved to Miami because he felt he needed a change. "Philly is my home and all of my relatives are there", he laments, but he hates cold weather. He moved to Miami to further develop his songwriting skills and focus on the Latin market. He acknowledges that the industry was going through a big change. "The hip hop culture was developing and it was something that I was not involved in".

Black music was going through a metamorphosis and so did the mentality of the record companies. Previously A&R was artist development based. "Now it was becoming more like a fast food business and producers were becoming the focus." He feels this trend is almost over.

In 1993 Nick moved to Los Angeles and started the M&M Music Group. He recorded and produced songs for Regina Belle, Robin S., Howard Hewett, Gerald Alston, Lulu, Ru Paul, Chaka Kahn and his idol, Diana Ross. Since they've met, Nick has produced a total of four projects for Ms. Ross including her her quadruple platinum "One Woman Collection" and her latest "Voices of Love" (UK release).

Upon his return to Miami, he formed Paradiso Sound. In 1994 he worked on "I Refuse To Be Lonely" for Phyllis Hyman. He remembers those sessions very vividly. "The day we wrote that song, she had cried for about five hours. We worked really hard to send a more positive message". Ironically, a few years later she would commmit suicide.

In 1995, he produced RuPaul, a big Diana Ross fan who engaged Nicky because of his success with Diana.

He also worked with French artist Ophelia Winter. This project was more difficult than usual because he wasn't supplied with the translations.

Currently he is developing Miami dance artist Alexis as well as Tammy Hert. He's dabbling in Latin music and continues to produce. He is known in the industry as an experienced producer who specializes in DIVAs, one of the highest rankings for independent producers.

He feels that the HIP HOP culture's ignorance of musical conventions helped forge today's sound. Although, dissonance may be present, it has become an accepted element of this genre.

Nick has expanded into real estate. He also is developing a movie project. He continually develops new talent and not only those behind the microphone. While at WMOT he was instrumental in giving two "green" promoters their start in the business (including yours truly). He also has a stable of writers and continually refines their craft. When asked about this trait he replied, "If you think someone has talent and capabilities you just have to try to help them out."

He is an advocate for safer sex campaigns. To the current generation of club kids he warns, "Be careful. People in my age bracket all have lost friends and are more aware." He adds, "The children are becoming more complacent. The kids that are coming up today have not witnessed what we have. Experience is still the best teacher." He feels it goes hand in hand with the misconception of youth and invicibility. "It's a shame", he continues.

He advises future artists: "Make sure that you have a great lawyer and a great manager. AND - make sure that you stay on top of everything because it's very easy to loose it all in this business.


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Courtesy of Au Courant's GayPhilly Website

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[keefelc]

Thanks for posting the great article, Remicks! Is this article relatively new?

[remicks]

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Hi Keefelc! ......isn't the Nick Martinelli story fascinating
..... another book : another movie .... just waiting ....

I'd like to learn more about his relationship with Phyllis Hyman .......

here's a link to the story with a photo of Nick :

http://gaytoday.badpuppy.com/garchiv...n/020998en.htm

written in 1998 .... at least a couple of great chapters in his life since then I bet ....

:D

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[keefelc]

Hi Remicks!
What I want to know is why haven't we seen a biography written about Phyllis yet? After reading Nick's story and David Nathan's comments about Phyllis in "The Soulful Divas," I want to know more.

Nick Martinelli has been one of my favorite producers for my favorite r&b female vocalists. Something about his productions seems to showcase their vocals in a classy setting. So, I was delighted when I first saw he was working with Phyllis.

BTW, received your Email and I fully understand (I felt the same way at the beginning). I'll write more to you later!

[keefelc]

Had the day off from work today because I was waiting for some repair work to my phone line. Gave me a chance to skim through some chapters of the brand new Phyllis Hyman biography, "Strength Of A Woman - The Phyllis Hyman Story," by Jason Michael. Finally, some answers as to what happened to one of my absolute favorite performers and what a sad tale! She had so many dashed dreams because of her problems. One chapter mentioned that Phyllis hoped to work with Quincy Jones. Can you imagine if that had came true???

But mental problems along with major substance abuse proved to be her undoing. So so sad. :icon_sad: