Excellent write-up. Because of my newsletter, I’ve been digging much deeper into the early disco era and the lead-up to it, such a fascinating period. I’ve come across this album a few times, but after reading this insightful piece, I’m definitely giving it another listen!
WOW - You know me from my interest in Laura Nyro, but I have been a fan of the instrumental intro to Back Stabbers for many years, and often play just that part over and over. I also agree with comments below by Tom Lane. I’ve created my own playlist of many early-mid-70’s R&B gems, but am eternally fascinated that The Dells’ Stay in My Corner is not featured in film soundtracks or playlists, as it contains one of the most thrilling solos ever recorded. I believe the solo is by baritone Marvin Junior, but there is little information available about this extraordinary singer, who seems to hold a note forever. But back to your article - I will definitely give the full Back Stabbers album a listen. Thanks!
Classic 70’s R&B vocal group albums rarely show up on those best albums of the 70’s lists. But this one as well as ones by the Spinners, Chi-Lites, Stylistics, Harold Melvin and others deserve to be ranked.
The O'Jays were arguably the premier group in the Gamble & Huff stable. Many only Harold Melvin & the Blue Notes were close (and there, how much of it was the group and how much of it was Teddy Pendergrass).
A lovely tribute to a great album, and the conceptual unity of it is kind of a dry run for the even more ambitious Ship Ahoy. One more sign that Philly soul was going head to head with the concept-driven rock at the time and producing classic after classic
Thanks so much. I'll have to re-listen to 'Ship Ahoy' - been a very long time. As much as it's dominated by 'For the Love of Money,' the title track is an experience.
It's funny — the first time I heard this album, I had the exact opposite reaction. I'd always loved hearing "Love Train" when it popped up on the radio, but to me it felt like an abrupt/awkward tone shift at the end of an album filled with paranoia, pessimism and shit-talk, even if "Sunshine" was a gorgeous buffer between that stuff and the closing track. Fantastic album (and production), though!
Oh wow! Different strokes for different folks. I've always found it an exhilarating, hard-earned conclusion that overflows with joy, especially the "let it ride" interlude. As I say in the essay, it's only after hearing 'Love Train' on 'Backstabbers,' that I got the song.
This album is unquestionably one of the finest soul albums of the 1970s, and it firmly established and consolidated the sterling reputations of everyone involved in its production.
Excellent write-up. Because of my newsletter, I’ve been digging much deeper into the early disco era and the lead-up to it, such a fascinating period. I’ve come across this album a few times, but after reading this insightful piece, I’m definitely giving it another listen!
Thanks for the kind words. Gamble & Huff certainly made some records that were precursors to disco - some of 'Back Stabbers' certainly fits the bill.
WOW - You know me from my interest in Laura Nyro, but I have been a fan of the instrumental intro to Back Stabbers for many years, and often play just that part over and over. I also agree with comments below by Tom Lane. I’ve created my own playlist of many early-mid-70’s R&B gems, but am eternally fascinated that The Dells’ Stay in My Corner is not featured in film soundtracks or playlists, as it contains one of the most thrilling solos ever recorded. I believe the solo is by baritone Marvin Junior, but there is little information available about this extraordinary singer, who seems to hold a note forever. But back to your article - I will definitely give the full Back Stabbers album a listen. Thanks!
Thank you, John, for the note. I will have to give that song by the Dells a close listen.
So much soul here. Thanks
You're welcome - was fun to finally tackle this album.
Classic 70’s R&B vocal group albums rarely show up on those best albums of the 70’s lists. But this one as well as ones by the Spinners, Chi-Lites, Stylistics, Harold Melvin and others deserve to be ranked.
The O'Jays were arguably the premier group in the Gamble & Huff stable. Many only Harold Melvin & the Blue Notes were close (and there, how much of it was the group and how much of it was Teddy Pendergrass).
Backstabbers is an indisputable masterpiece
Agree - both song and album!
A lovely tribute to a great album, and the conceptual unity of it is kind of a dry run for the even more ambitious Ship Ahoy. One more sign that Philly soul was going head to head with the concept-driven rock at the time and producing classic after classic
Thanks so much. I'll have to re-listen to 'Ship Ahoy' - been a very long time. As much as it's dominated by 'For the Love of Money,' the title track is an experience.
Very nice analysis and appreciation of a great, underrated vocal group. Great job!
Thank you, Peter - appreciate the kind words.
I really need to listen to this album again. It's probably been fifteen years. Great piece, Robert!
Thanks, Mark - enjoy the listen!
It's funny — the first time I heard this album, I had the exact opposite reaction. I'd always loved hearing "Love Train" when it popped up on the radio, but to me it felt like an abrupt/awkward tone shift at the end of an album filled with paranoia, pessimism and shit-talk, even if "Sunshine" was a gorgeous buffer between that stuff and the closing track. Fantastic album (and production), though!
Oh wow! Different strokes for different folks. I've always found it an exhilarating, hard-earned conclusion that overflows with joy, especially the "let it ride" interlude. As I say in the essay, it's only after hearing 'Love Train' on 'Backstabbers,' that I got the song.
These days, I do appreciate the song in its closing position more — but at the time, I was like, "I wanna hear these guys talk more shit!"
They sure talk it well!!!!
This album is unquestionably one of the finest soul albums of the 1970s, and it firmly established and consolidated the sterling reputations of everyone involved in its production.
Very well said, David!