If you’re in a certain age bracket, you’ll peep the scenario and fall right in line. Life between the period of grade school was pretty regimented. School dominated the week, and year-round Saturdays, we put in the same work around the crib. We’d awaken to the scent of a home-cooked breakfast (grits/eggs/bacon or pancakes), a welcome respite to the five days of cereal and milk. Competing with our sense of smell were the aromas of Pine Sol, Ajax and bleach to remind us of the elbow grease that would soon come.
If that was a part of your childhood memories from the years 1976, 1977 and 1978, and you had a thing called a record player, there’s a good chance the following song titles mean something to you: “Me for You,” “Special Part,” “How Can You Stop Loving Someone.” How about “Key to My Heart,” “A Long Way to Go” or “Rejoice?” Or maybe “Love Is Right on Time,” “Walking the Line” or “My Everything?”—three album cuts, from three consecutive albums, “Flowers,” “Rejoice” and “Sunbeam,” respectively, from a group that was in the midst of their undeniable commercial and arguably artistic peak.
That was my introduction to the music of The Emotions. Over time I discovered that they had more to offer musically before and after that stretch. The hits might not have been chart toppers or gold/platinum sellers, measures that are usually the benchmark of what defines a super group, but their influence on the those that have reached those heights have to account for something. A strong case can be made that they were one of the most, if not the most, harmonious group in the annals of soul/R&B. Although their blueprint was laid out, consumed and studied, it took years of work for them to become the measuring stick.
Growing up in the musically rich city of Chicago, influences were plentiful—think Gene Chandler, Donny Hathaway, The Impressions featuring Jerry Butler and Curtis Mayfield. But it was one particular group that can take a direct responsibility in the forming of the harmony—the Hutchinson Sisters. Lead singer of quite a few of those timeless hits, Wanda Hutchinson Vaughn shared, “There was a group that only people in Chicago knows about called the Wings of Heaven. We were 3, 4 and 5 years old, and they used to rehearse at our house. When they were done, as parrots, we would to mimic whatever they would do.”
Having their father as a member of the group of course helped with them gaining such access. He later used his daughters as reference vocalist for upcoming compositions. “That was when we started singing,” said Vaughn.
After spotting the talent, their father went on to foster the talent. “We began as a gospel group called the Hutchinson Sunbeams, and our dad would take us to sing at Mahalia Jackson’s church, or we’d go to see and perform with the likes of The Caravans, The Blindboys, Albertina Walker and The Staple Singers. In fact, Roebuck ‘Pop’ Staples, along with our father, was our first manager, and it led to our first deal at Stax Records,” said Vaughn.
Although the tenure there didn’t yield a big record—the Isaac Hayes produced “So I Can Love You,” has since been considered a classic—the experience proved invaluable. The label folded in 1975 and the ladies, although still young, were seasoned and ready. Enter Maurice White!
In a Black history moment Vaughn recalled: “We were sent over to a gentlemen named Charles Stephany’s house because Maurice was considering signing us to a production deal, and he wanted to know if we had any songs written and if they were good. Charles at the time was conducting the Philharmonic at Chicago Opera House, and we heard this beautiful music coming through the walls, including this angelic high-pitched voice. That’s when we met Minnie Riperton. We get to meet Charles and we end up playing for him ‘I Don’t Want to Lose Your Love,’ ‘How Can You Stop Loving Someone’ ‘You Got the Right to Know’ and ‘We Go Through Changes.’ Charles called Maurice and told him, ‘I don’t need none of your songs. The girls have all we need.’ All those songs ended up on the ‘Flowers’ album.”
The rest was indeed history. We know about the legend of The Emotions. In fact, it’s a story that still being written. They still have the urge to record and in fact have someone in mind that they’d like to create with. Vaughn said, “Pharrell Williams reminds me so much of Maurice. He has that kind of vision and that kind of melodic structure. I would love to do some ‘ooohhs and ahhs’ on a track that he’s doing.”
After some prodding, the prospect of a collaboration became a little more ambitious. “In fact I think I have a perfect song already written,” said Vaughn.
Actually that might not be such a far-fetched idea. Hip-hop and its R&B derivatives have dipped into the catalogue of The Emotions quite a bit. We’re talking heavyweights: Mariah Carey, Mary J Blige, LL Cool J, Big Daddy Kane, De La Soul, Biz Markie and Dave Hollister. Why not bridge that gap?
If that particular collaboration doesn’t occur, the group is still at work in the studio, and on tour and this weekend they touch down in the Empire State, in a city that brings back fond memories.
“New Yorkers have a detector for the real thing,” said Vaughn. “I’ve seen they have passion and compassion for the real thing, and I’ve seen they have something else when it wasn’t.”
Their assessment comes from a firsthand experience, on the stage where legends are born. “It was our first time at the Apollo, and we were with Isaac Hayes,” said Vaughn. “We had a fan club, and they asked us to wear these huge Afro wigs. In the middle of a song, Shelia threw her head back, and that wig flew off. Without hesitation she picked it up and kept right on singing. We were a little nervous at first, but the audience loved it. Proof positive that despite what the image makers lead you believe, it’s not about perfection, it’s about connection.”
The Emotions co-headline the 70s Soul Jam Valentines Concert featuring The Bluenotes, Peaches and Herb, Bloodstone and The Stylistics at the Beacon Theatre (2124 Broadway, between 74th and 75th streets). Show times are 3 p.m. and 8 p.m., leaving enough time to see a matinee or late showing of “Black Panther.” Just saying!
Over and out. Holla next week. Til then, enjoy the nightlife.
