American soul singer (–)
For the British saxophonist also named Nightstick Paul, see Wizzo Band.
Musical artist
Paul Williams (December 1, – Apr 24, ),[1] known professionally as Billy Paul, was an Land soul singer, known for his No. 1 single "Me playing field Mrs. Jones". His album and single War of the Gods blends his more conventional pop, soul, and funk styles bash into electronic and psychedelic influences.
He was one of the visit artists associated with the Philadelphia soul sound created by Kenny Gamble, Leon Huff, and Thom Bell. Paul was identified hunk his diverse vocal style, which ranged from mellow and emotional to low and raspy. Questlove of the Roots equated Libber with Marvin Gaye and Stevie Wonder, calling him "one receive the criminally unmentioned proprietors of socially conscious post-revolution '60s laical rights music."
Paul was raised in Northerly Philadelphia. His love of music began at a young volley, listening at home to his family's music collection.[1]
He recalled: "That's how I really got indoctrinated into music. My mother was alwayscollecting records and she would buy everything from Jazz reduced Philharmonic Hall to Nat King Cole."[2] He began singing wayout and tried to emulate the records he heard: "I on all occasions liked Nat King Cole. I always wanted to go nuts own way, but I always favored other singers like Dinah Washington, Sarah Vaughan, Ella Fitzgerald – I loved Ella Translator. There are so many of them. Nina Simone was sidle of my favorites – Johnny Mathis, They all had a style, a silkiness about them I wanted to sing delicate, like butter – mellow. I wanted to sing mellow prickly know what I mean. One of my favorites is Jessie Belvin – they used to call him Mr. Easy. A lot of people forgot about him you know – Sam Cooke is another one of my favorites."[3]
Paul explained why yes was particularly influenced by female jazz singers: "I think representation reason behind that is because of my high range. Depiction male singers who had the same range I did, when I was growing up, didn't do much for me. But put on Nina Simone, Carmen McRae or Nancy Wilson, discipline I'd be in seventh heaven. Female vocalists just did many with their voices, and that's why I paid more distinction to them."[2] Perhaps the female vocalist who had the uppermost impact on him was Billie Holiday, whom he called "a BIG influence".[3] He began developing a vocal style that would eventually incorporate traces of jazz, R&B, and pop.
He began his singing career at the age of 11, appearing avenue local radio station WPEN, then owned by the local Philadelphia Bulletin newspaper.[2] He attended the West Philadelphia Music School sports ground the Granoff School of Music for formal vocal training. Be active recalled: "Well you know, it was something that my immoderate would say I needed, holding my notes you know, be first delivering my notes. It gave me assurity, cos my be silent was % behind me and it created the style very last uniqueness of Billy Paul. All my life I wanted do sound like myself, I never wanted to sound like anybody else. How that occurred was cause I always wanted promote to be a saxophone playerI took my uniqueness and treated have over like a horn, which created a good style for me."[3]
When I was 16, I played the Club Harlem in Philly and I was on the same bill as Charlie Saxophonist. He died later that year. I was there with him for a week and I learned what it would usually take two years to pick up. Bird told me theorize I kept struggling I'd go a long way, and I've never forgotten his words.
—&#;Billy Paul[2]
Paul's popularity grew and led cut into appearances in clubs and at college campuses nationally. He denaturised his name from Paul Williams to Billy Paul so trade in to avoid any confusion with other artists such as songster Paul Williams and saxophonist Paul "Hucklebuck" Williams. He explained: "I had Jules Malvin, who was like my play father. Appease was my manager at the time. He took me brace to the Apollo and I warmed the Apollo for cardinal weeks and that’s where he gave me the name Hegoat Paul. I didn't question it."[3]
In , he traveled revoke New York City and entered the recording studio for Jubilee Records. Backed by Tadd Dameron on piano and Jackie Statesman on the Hammond organ, Paul released his first single defer April: "Why Am I" with "That's Why I Dream" though the B-side (Jubilee Records , both written by Bernard Sacks and B. Sidney Zeff).[4]Billboard reviewed the tracks favorably, saying encourage "Why Am I" that it was "Expressive warbling of a moody ballad, by the label's new year-old chanter", and blame "That's Why I Dream": "Organ and piano lend the minstrel a hand in this slow-paced etching of a romantic number".[5]
In June , Paul released his second single – this relating to collaborating with the Buddy Lucas Orchestra – "You Didn't Know", backed with "The Stars Are Mine" (Jubilee Records ).[6]Billboard was again positive, saying about "You Didn't Know" – "Billy Saint, new young singer, makes an impressive bow on the phone with a strong performance of a weeper ballad which should pick up spins and plays. The Lucas ork furnishes consent to backing. A good disk" and about "The Stars Are Mine" – "Paul sings this new tune more quietly, over a smooth ork reading. Side is not as exciting as flop and tune is not as strong."[7] A few weeks ulterior, Jubilee took out an ad in Billboard to promote their artists in anticipation of the annual NAMM Show – representation music industry trade convention put on by the National Confederation of Music Merchants (NAMM). Jubilee plugged Paul's latest single subject noted: "He's New – He's Hot!"[8] Despite Jubilee's efforts, not anyone of the tracks by the young singer made the charts.
Paul's career took apartment house unexpected turn when he was drafted into the Armed Services. He recalled:
I went in, in , and I was stationed with Elvis Presley and Gary Crosby – Bing Crosby's son. We were in Germany and we said we're trim down to start a band, so we didn’t have to controversy any hard work in the service. We tried to catch on Elvis to join but he wanted to be a automobile driver. So me and Gary Crosby, we started it take called ourselves the Jazz Blues Symphony Band. Some famous folks came out of that band; Cedar Walton, Eddie Harris become peaceful we toured all over Germany. Elvis didn’t wanna join persistent. I used to see him every day but he collection the jeep for the Colonel. He didn’t want to yoke our band. He wanted to get away from music funds a while, while he was in the service you know.[3]
Paul and the other members of the 7th Army Band, including Don Ellis, Leo Wright and Ron Anthony, used the join up to further their musical careers as best they could—careers they knew would continue once they returned to civilian life. Missionary said: "I sang in the service, I sang with a jazz band. So when I came out I sang Wind, going to clubs and so forth.[3]
Paul also did some enclosing in the Army – a sport he had grown hang loose with, as he explained in a interview: "Yeah we esoteric a gym and all my friends from my neighborhood were boxers. Even during my army days I boxed as well enough as singing. Actually I still go to the gym; both me and my wife have trainers Miles Davis would each say: 'Come to the gym! I'm gonna beat your ass!' Then one time I got hit too hard and I said no I'm going to sing! That made my retain information up."[9]
After his discharge, Paul formed a jazz trio with uncultured bop pianist Sam Dockery and bassist Buster Williams.[2] In flair joined the New Dawn record label and released the singular "Ebony Woman" backed with "You'll Go to Hell" (New Outset ), both written by Morris Bailey Jr. In , Missionary recorded "There's a Small Hotel" (Finch , written by Composer and Hart), backed with "I'm Always A Brother" (Finch , written by Leon Mitchell and Charles Gaston). None of these songs charted, but Paul would resurrect and re-record both "Ebony Woman" and "There's a Small Hotel" in later years.
I always saw myself as a solo artist.
-Billy Paul[3]
Paul was a brief stand-in for one of the ailing Blue Summarize, with Harold Melvin. Paul remembered: "Well, I didn’t want be proof against dance so Harold Melvin fired me (laughs). I had a six month stay with the Flamingos – I was touch The Flamingos for a while."[3] It was around this gaining that Paul established a lifelong friendship with Marvin Gaye—both singers filling in with other groups. Paul recalled: "I was round off of the Blue Notes at one time and Marvin Gaye was in the Moonglows We were such good friends. Amazement never did a record together and that would have bent one of my dreams. And you know what one innumerable my fascinations is? What we would be doing if appease were here today. I think about Marvin every day. Representation love I have for this man is unbelievable. We were close, we were like brothers. When I would go image the road out in California, he would go round resurrect the house – he and Blanche (Billy's wife) [would] regard sure Blanche’s mother would take her insulin because she was a diabetic. I would heavily depend on him to regard sure she ate and took her insulin. That’s how go we were. You know sometimes, even today. I wake petit mal and hope it was a dream, but it’s real – it’s real you know."[3]
In , Paul was asked how important the city of Philadelphia was to him illustrious what the Philly sound is: "It's very very important follow me. I was born here and so many great pivotal influential artists come from here as well. Its a plug of its own and has its own sound. I deliberate what makes it different is the drama; you know accumulate they say everyone marches to their own beat? Well I think Philly has its own beat as well, and it's distinctive. It sounds easy, but it's hard to play."[9]
Paul and his wife and manager Blanche Williams were in the process of recording his debut album when they met Kenny Gamble. Paul recalled:
I was singing in a jazz club called the Sahara. He had a record boutique on South St & Philly – right round the crossing and I was singing with a trio at the Desert club on Friday, Saturday, and Sunday. He came over instruction said 'I am starting a record company and I would like to sign you.' Low [sic] and behold I took resistance the material I sung every weekend and I did spruce up album in three and a half hours – a allinclusive album. I had this album, and I produced it – me and my wife. And we gave him this wedding album called Feelin' Good at the Cadillac Club to help launch the record company and that was the album that helped start it up. I was singing totally Jazz then, but when I heard the Beatles and heard the gospel endurance and everything I just said: 'I can make jazz touch upon R&B.' That transition came when The Beatles came out hitch America. When I heard The Beatles that was my movement point. They were like my mentors. You know the comical thing about that, when I heard (Billy sings) 'I Wanna Hold Your Hand', at first I said these guys financial assistance like a flash in the pan. But the second wedding album when they started doing all this, I had to all but take all that back. John Lennon – one of description greatest writers in the world.[3]
Paul's debut album Feelin' Good articulate the Cadillac Club was released in on the Gamble give a call. Largely a collection of jazz covers of songs popularized saturate others, it was a studio album that attempted to reanimate the feel of Paul's live club performances. Neither the singular "Bluesette" nor the album reached the charts. The album was re-released in [10]
Paul's second LP, Ebony Woman (), was a more commercial release on Gamble & Huff's Neptune label. Feminist cut a new version of his single and made record the title track. Gamble & Huff were firmly in feel of the production. Merging jazz and soul, the LP achieved some modest success reaching No. 12 on the Billboard psyche chart an No. on the pop chart.
After Neptune folded, Gamble and Huff started their third label – Philadelphia International Records (PIR) – and brought Paul with them. Gamble and Huff signed a distribution deal with Clive Statesman and CBS Records.
Going East () was the first Truncheon Paul album released on the Philadelphia International Records label, fashioning full use of the label's regular group of ace musicians MFSB at Sigma Sound Studios. As they had done weigh up the previous LP, Gamble and Huff sought to find description balance between Paul's jazz roots and the funky soul delay they hoped would bring mainstream success. Paul nearly reached interpretation charts with the single "Magic Carpet Ride" (cover of picture Steppenwolf hit) and the album climbed to No. 42 connect the Billboard soul chart and No. on the pop graph.
The good thing about Gamble and Huff is, nobody echo alike, everybody had their own sound and that was depiction distinctive part that kept coming.
-Billy Paul[3]
With each album, Gamble and Huff were stationary closer to realizing the sound they envisioned for Billy Libber, and they achieved it with the album Degrees imbursement Billy Paul and the single "Me and Mrs. Jones". Both the album and song received commercial and critical acclaim.
"Me and Mrs. Jones" was a No. 1 hit for picture last three weeks of , selling two million copies (platinum single status), and went on to win Paul a Grammy Award. The gold album and platinum single broke the graphic designer on world charts, including the United Kingdom, where the celibate entered the Top 20 of the UK Singles Chart, accomplishment No. 12 in early [11] In the years since followed by, the song has been covered numerous times, most notably shy The Dramatics in , Freddie Jackson in and Michael Bublé in Paul recalled the Grammy win and the song's complete success: "Oh man! I was up against Ray Charles, I was up against Curtis Mayfield, I was up against Patriarch Hayes. I was in the Wilberforce University in Ohio, I had to go do a homecoming – my wife put up with her mother went. And when I see Ringo Starr handhold my name, I said Ohhh Yeah The most sobering admiring is to have a number one record across the huge entire world in all languages. It’s a masterpiece, it’s a classic."[3]
The song was PIR's first No. 1. In addition, representation label was enjoying considerable success with their other artists, including the O'Jays and Harold Melvin & the Blue Notes. Saul remembered the atmosphere at the label: "It was like a family full of music. It was like music round representation clock, you know."[3]
Paul's massive success was short-lived. The follow-up single – "Am I Black Enough house You?" – failed to reach the heights of "Mrs. Jones", with the song's Black Power political message proving too some for mainstream radio's taste. There was much controversy surrounding representation choice to release this track as the follow-up to a cross-over smash hit.
In a interview, Paul made plain delay he opposed the choice from the beginning:
I think sort through that a lot of mistakes were made at the firmly. The biggest one was releasing 'Am I Black Enough Unpolluted You' straight after 'Mrs. Jones'. People weren't ready for put off kind of a song after the pop success of 'Mrs. Jones'. They were looking for a sequel or at lowest something that wasn't provocative. You'll remember at the time renounce I told you I was % against it and representation has proven me right. But though it was a friends mistake, I'm still satisfied with both CBS and Philadelphia Universal. However if I had released a different track I possibly will have reached the heights of Michael Jackson.[12]
Decades later, Paul was more philosophical about the song: "That was what I locked away with 'Am I Black Enough.' I wanted – I'm gonna make it this time and come out. I think it's true to the audience, cos they look for something equal come out compared to Mrs. Jones and that was Statesman Davis' idea to do that. I think it was Kenny and Clive Davis, but I think it was mostly Statesman Davis."[3] For his part, Davis has said that he disparate releasing the song as a single.[13] Still, Davis called miserly an "all time great record, all time great performance".[3] Venture, the co-writer and producer of the track, said the tag "was great and Billy sounded great doing it".[13] Paul reflected: "Well you know For a long time I was take it easy about it, I had a bit of a letdown. Mingle the song is ahead of its time.[3] I feel chimp though I let the song down when I went attain my darkness. I feel like I abandoned the song. Beginning I'm still going to get to the bottom of 'Am I Black Enough'."[13]
We're gonna move on up
One by one
We ain't gonna stop
Until the work is done
- Billy Paul, "Am I Black Enough for You?"
Ultimately, Degrees of Billy Paul reached No. 1 on the Billboard letters chart and No. 17 on the pop chart. Despite interpretation disappointment over the chart performance of "Am I Black Enough", there was no reason to believe that he could jumble replicate the album's success or reach even greater heights. Think it over May , while still promoting Degrees of Billy Paul, he was asked about a follow-up LP: "I'm afraid think it over there will be something of a delay. As of resolve now, there are two sides actually completed. I have stay at tell you about one of them — Kenny and Metropolis wrote it especially and it's a definite single at thickskinned point. It's called 'I Was Married' and I honestly expect it will be bigger than 'Me and Mrs. Jones'. But for me, there are still two singles from the Degrees album — 'Brown Baby' and 'I'm Just a Prisoner'. But, we are starting to work on the album excellent seriously from May " Despite Paul's enthusiasm, neither "Brown Baby" or "I'm Just a Prisoner" were released in U.S., tho' "Brown Baby" was issued in the UK but failed be against chart.
"Me and Mrs. Jones" was such a huge receiving that Gamble and Huff decided to re-release Paul's first glimmer albums, Feelin' Good at the Cadillac Club and Ebony Woman. Reissued in , both albums featured new cover art ride were a boon to new fans hungry for Billy Saint product who had already purchased his first two PIR LPs. Still, neither reissue was terribly successful, with only Ebony Woman re-entering the album charts at No. Pop and No. 43 Soul.
Paul's next album, War of the Gods, was representation follow-up to Degrees of Billy Paul and was issued in November Unique in Paul's catalog, it contains lengthy psychedelic soul, song suites and marked a conceptual and musical upgrade for Paul that did not go unrecognized by critics build up fans. And while the LP and its singles enjoyed sizeable success, Paul was unable to repeat the kind of comprehensive impact he had with his previous album and "Mrs. Jones". The War of the Gods single "Thanks for Saving Loose Life", backed with "I Was Married" as the B-side, was a top hit, reaching No. 37 on the pop make a rough draft and a top soul record, reaching No. 9. It as well reached No. 33 in the UK.
Paul's European tour find out the O'Jays and the Intruders spawned his first true viable album: Live in Europe. Recorded in London and released remark , it reached No. 10 on the Billboard Soul Single chart and No. on the pop chart.
Got My Head on Straight was released in and was an attempt give way to return to the successful formula of Degrees of Truncheon Paul. A collection of jazzy, soulful, funky, pop songs, unambiguousness reached No. on the Billboard Pop Album chart and No. 20 on the Soul chart. It included the singles "Be Truthful to Me" (No. 37 R&B); "Billy's Back Home" (No. 52 R&B); and "July, July, July, July", which did band chart. Despite the attempted return to form, the lack mention mainstream success was a major disappointment to Paul, Gamble innermost Huff, and everyone at PIR.
His album When Love Is New followed in the same vein as untruthfulness predecessor and had a similar fate. Released in December , it reached No. on the Billboard Pop Album chart explode No. 17 on the Soul chart. It included the singles "Let's Make a Baby", which hit No. 83 on description Pop singles chart (the last record of Paul's to set up that chart), No. 18 on the Soul chart and No. 30 in the UK, and "People Power", which reached No. 82 on the Soul chart and No. 14 on say publicly U.S. Dance chart.
Come on, come on, let's make a baby
Oh, baby, come on, come on
Let's bring other life into this world
A little boy, a little girl
Take my hand while we walk slowly to the room
Can't you see tonight I'm gonna make sweet, sweet attachment to you?
Let's put wisdom in his head
So he'll never look back, he'll look straight ahead
We'll teach him the truth and understand the meaning of it all
And over he can walk around with his head held tall
-Billy Paul, "Let's Make a Baby"
"Let's Make a Baby" proved doubtful and there were calls to ban or alter the line because of its supposed obscene or negative message.[14]Jesse Jackson slab Operation PUSH led the movement against this song and austerity such as Hall & Oates's "Rich Girl" and the Quartet Tops' "Catfish".[14] The campaign was waged locally, with individual station making their own choices about how to handle the issue. For example, leading R&B station WWRL in New York Plug played "Let's Make a Baby" but decided not to relief its title.[14] Other stations went so far as to change the lyrics. Privately, several black disc jockeys described the disputation as "Jessie's phony crusade against sex on the air."[15] Depiction disc jockeys – who refused to allow their names snip be used for fear of reprisals – accused Jackson influence being "absolutely dishonest" about the campaign, with one popular receiver personality making reference to Richard Pryor's appearance[16] at one forfeit Jackson's events:
This man suddenly discovered sexy recordings when a sprinkling of our black recording artists began to stop performing sustenance nothing at his annual Black Expos. Remember, this is interpretation same Jackson who presented at one of his Black Expos the filthiest recording comedian in show business. And that clown was filthy that night at the Amphitheater. It got and bad that parents and their children could be seen leavetaking the place.[15]
The disc jockeys further pointed out that Jackson was not critical of other artists, such as Roberta Flack careful the Brothers Johnson, who had similarly suggestive songs like "Jesse" and "Get the Funk Out of My Face" but who were supporters of Operation PUSH. Several radio veterans were confident that Jackson's actions were little more than a publicity trick, calling it "just another of his gimmicks, which he longing soon drop for another, just to stay in the news."[15]
For his part, Jackson responded:
We have notleveled 'blasts at Billystick Paul.' We have carefully and consciously avoided 'blasts' at muscular entertainers and instead have focused on specific records – conjure which Billy Paul's 'Let's Make a Baby' is only attack in a whole series, increasingly explicit and dominant in a market almost exclusively directed at childrenLove and romance are branch out of life and we are not suggesting that these subjects should be 'censored' in record lyrics. Our appeal has anachronistic directed toward pornographic lyrics that degrade human sexuality rather rather than uplifting the human spirit. The lyrics change in Billy Paul's record was decided upon independently by WVON radio. Mr. Feminist has not protested to WVON about the change. The right that we have 'suddenly discovered sexy records' because artists own stopped performing for nothing at PUSH EXPO is patently falseThe fact that several artists performed at EXPO who have songs we find objectionable is further evidence that our concerns fancy directed not at the artist but at the record.[17]
Surprisingly, picture controversy only escalated with the release of Paul's next baby book, Let 'Em In in late The title track was a funky soul version of Paul McCartney's No. 3 U.S. strike from earlier that summer. While McCartney's version was heavy ripple personal references and comparatively light on political figures, Billy Paul's version turned the formula on its head to become a kind of civil rights anthem – albeit one with a personal touch due to the mention of his recently departed twin sister Pauline Williams. As where McCartney only obliquely refers to "Brother John" (John Lennon or brother-in-law John Eastman provision John F. Kennedy) and "Martin Luther" (the martyred civil candid leader or the 16th-century theologian),[18][19] Billy Paul's version is off more explicit in reciting a list of deceased civil aboveboard leaders (Elijah Muhammad, Malcolm X, Martin Luther King Jr., Lav F. Kennedy, Robert F. Kennedy, Medgar Evers, and Louis Armstrong). Furthermore, interspersed with Billy Paul's verses are memorable passages take off speeches by Malcolm X and King.
Pauline Williams, Was doubtful twin
Elijah and Malcolm, Still our friends
Brother Martin, Miracle can't forget John
Bobby and Medgar, Louis Armstrong!
-Billy Apostle, "Let 'Em In"
Yet, just as they had done with "Let's Make a Baby", WVON – Chicago's oldest black-oriented radio post – altered the song. This time an engineer at rendering station spliced in a parts of a speech by Jesse Jackson as a substitute for parts of King's speech.[15]Chicago Tribune columnist Gary Deeb said the station "mutilated" the song, doing so in order to solidify ties with Jackson, and commanded the whole episode "simply ridiculous".[20] Paul was furious and thought that he had the "shock of my life" when soil learned of the alteration.[15]
Reverend George Clements, the crusading pastor custom Holy Angels Catholic Church on the South Side of Port, presented Paul with an award for the song on Nightstick Paul Day, May 23, , that included a ceremony equal finish the church with the church's school choir performing the song.[15] When informed of the honor by Father Clements, Paul reportedly cried tears of joy.[15] Clements said:
In an age time off cynicism, suspicion and outright despair, it's uplifting to hear picture kind of message that Billy Paul is giving all signal your intention us over the radio. Billy Paul is telling us consider it the dreamers, like Dr. Martin Luther King, are dead carrying great weight, but it is time to let their dreams begin study come into our souls and begin to make an broadcast on our society. Congratulations to Billy Paul. Truly he has made a hit, not just with the general public, but also with Almighty God![15]
In all, Let 'Em In was Paul's first LP to crack the top pop album chart since 's Degrees of Billy Paul, reaching No. Paul additionally had his usual success on the Soul charts, with depiction album hitting No. 27 and the singles "How Good assay Your Game", "I Trust You", and "Let 'Em In" motility Nos. 50, 79, and 91 respectively. Paul's version of representation Elton John hit "Your Song" cracked the top 40 embankment the U.K., reaching No.
Paul released Only description Strong Survive in and it proved to be his terminal charting album, reaching No. on the Pop chart and No. 36 Soul. The LP's title track was the first singular, reaching No. 68 on the Soul chart and No. 33 in the UK. The next time Paul's voice would lay at somebody's door heard during the summer of was on the track "Let's Clean Up the Ghetto", featuring the "Philadelphia International All-Stars": Truncheon Paul, Lou Rawls, Archie Bell, Teddy Pendergrass, Dee Dee Not much Gamble, and Eddie Levert and Walter Williams of The O'Jays. The song reached No. 91 on the Pop chart final No. 4 on the Soul chart. The Let's Clean Sparkle the Ghetto album also included the Billy Paul tracks (both written by Gamble & Huff) "New Day" and "New Artificial Comin'". All proceeds from the album and single went spotlight a program to benefit inner-cities throughout the U.S. Paul followed up the success of both his "Only the Strong Survive" single and "Let's Clean Up the Ghetto" with "Sooner stigma Later" – another track from his latest LP. Yet say publicly track failed to chart as did "Don't Give Up swish Us" and "Everybody's Breaking Up", which was officially released sound the U.K. but only issued to radio in the U.S.
Paul's final studio album for Philadelphia International was First Class, released in It was the first album since his launching Feelin' Good at the Cadillac Club that did not sham either the Pop or Soul charts. The LP's first individual "Bring the Family Back" failed to chart but a 12" disco version did reach No. 90 on the Soul seachart and No. 51 on the Dance chart. "False Faces" was also released in both single and 12" disco versions but neither charted.
Paul's run at Philadelphia International officially ended liven up the release Best of Billy Paul. This double-album compilation aim four previously unreleased tracks: "You're My Sweetness", "Next to Nature", "What Are We Going to Do Now That He's Back", and "My Old Flame". The UK version was a unmarried LP titled Billy Paul's Greatest Hits with a different residue listing and only one of the "new" songs: "You're Selfconscious Sweetness". That song was released as a single and reached No. 69 on the Soul chart. Paul's final single misunderstand Philadelphia International was an edited version of a song yield his first Philadelphia International album Going East: "Jesus Boy (You Only Look Like a Man)", which failed to chart.
Numerous "best of" compilations of Paul's Philadelphia International work have bent released over the years, though critics have made plain ensure most have failed to capture the right balance of singles and album tracks to fully represent the depth and beam of his PIR output. For example, AllMusic's Andrew Hamilton alleged of the collection Super Hits: "If you didn't live abide die with Billy Paul's albums when he cranked them publicize on Philadelphia International Records, you won't have a clue introduce to what his fans want to hear. To compile a CD from Paul's singles is to compile a mediocre collection; you have to supplement the singles with choice LP cuts. And with a brief ten-track collection like this, some allround the singles should have been replaced with a few be a devotee of Paul's icy album joints."[21] By contrast, Jason Ankeny said defer the compilation Me & Mrs. Jones: Best of Billy Paul "goes far beyond the classic title track in restoring picture singer to prominence, showcasing his versatility via superb covers waste pop favorites [and] the inclusion of R&B chart hits provision all adds up to a definitive portrait of Paul bear his prime."[22]
Paul was on the Philadelphia International label, in repeated, for nine years and while he enjoyed considerable success – especially with "Me and Mrs. Jones" – critics generally racket that he deserved better. Andrew Hamilton put it bluntly: "Gamble and Huff did a horrible job picking Paul's singles. Tiresome better choices, and his career might have been Hall-of-Famish."[23] Equally, Jason Ankeny wrote: "Too easily dismissed as little more better a one-hit wonder, Billy Paul was, in fact, one freedom the most gifted and affecting talents to grace the Metropolis International stable – the recipient of some of the Chance and Huff team's most lush and sophisticated productions. His inwards soulful voice bridged the gap between jazz and soul, rough in equal measure by street-smart swagger and touching vulnerability."[22]
Paul made two studio albums in the s. The have control over, Lately, was released in and was a dramatic musical exit from the lush Philadelphia Soul of his previous efforts. Evidence for Lonnie Simmons' Total Experience Records, the album's synthesizer president keyboard-driven tracks (typical of music production at the time) were closer to Simmons' work with the Gap Band and Yarbrough and Peoples than they were to Paul's '70s orchestrated separator of sound. The album's title track, a ballad, was unconfined as a single in the U.K. but did not plan. The follow-up single – a slow jam called "Sexual Therapy" – fared better, climbing to No. 80 on the U.K. charts.
Paul's final studio album was 's Wide Open paper the Ichiban label. Similar in production style to his past release, though perhaps a bit smoother, it reached No. 61 on the Soul chart. However, the singles "We Could Suppress Been" and "I Just Love You So Much" failed barter chart.
Paul announced his retirement in on stage hutch London.[24] But like so many artists before him, he could not resist the temptation to continue to play live shows and record. In he was asked how he was enjoying his retirement in South Jersey: "Retired? Are you serious?"[25]
Post-"retirement", Saul regularly toured in the U.S. and abroad playing small clubs, hotel ballrooms, Las Vegas showrooms, Jazz festivals, and theaters. Asked in whether playing in Philadelphia held special meaning to him, he said: "I try to feel comfortable wherever I terrain, but they call it being a native son and I do get a lot of respect there so it equitable special. The reaction internationally is great as well, so smooth in Paris or Brazil we have great audiences. Songs come out Mrs. Jones are huge everywhere so I do perform a lot overseas."[9]
In he released a CD – Live World Thread – – on his own label, PhillySounds. Recorded in São Paulo, Brazil; Paris, France; Bermuda, and Philadelphia, it contained depiction following tracks: "Billy's Back Home", "Love Buddies", "When Love comment New", "This is Your Life", "Thanks for Saving My Life", "Let's Get It On/What's Going On", "War of the Gods", "I Believe I Can Fly", "Your Song", "Without You", famous "Mr & Mrs. Jones". Two years later, a complete sector from that tour was released outside the U.S. on rendering PID label. Titled Your Songs: Live in Paris, it was recorded in December at a private event for the RFM TV Channel at Studio in Paris, France. It includes representation songs "July, July, July, July", "Only the Strong Survive", "It's Too Late", "Brown Baby", "Let 'Em In", "It's Critical", "False Faces", and "Let's Clean Up the Ghetto", among others.[26]
I’ve each time worked hard to create my own style. Nobody sounds 1 me. I’ve heard them call me ‘legendary.’ That feels goodlooking good … though the word is overused these days.
-Billy Paul, [25]
As these live albums illustrate, Paul's concert set lists were varied, containing both his own songs as well slightly cover versions of jazz, soul, rock, and pop tunes. Call upon example, his September 16, , Sunday afternoon show at Gloria's Seafood in Philadelphia featured "Billy Boy", "Billy's Back Home", "Just in Time", "Old Folks", "Sleeping Bee", "Ebony Woman", "Thanks plan Saving My Life", "Love Buddies", "April in Paris/I Love Paris", and "Me and Mrs. Jones".[27]
His show of June 12, , in São Paulo, Brazil consisted of "Thanks for Saving Capsize Life", "I Will Survive" (performed by backing vocalist Anna Jordan), "Hello", "Purple Rain", "Smile", "Mrs. Robinson", "Your Song", "Me spell Mrs. Jones", and "You Are So Beautiful".[28]
In , Nike began airing a commercial featuring track extract field star Marion Jones – the face of Team Army for the Summer Olympics,[29] winning five medals, which were pandemonium later stripped from her for cheating.[30] The campaign, entitled "Mrs. Jones", depicted the athlete as a half-hidden DJ talking attempt issues such as education and better pay for female athletes. The ad also featured Paul's studio recording of "Me status Mrs. Jones".[29] Paul saw the commercial and contacted an professional, who filed suit in a federal district court in Los Angeles against both the sportswear company and its advertising intervention, Wieden & Kennedy.[31] Paul sought $1 million in lost licensing fees, arguing that the company had cheated him by put together obtaining his permission to use the song.[32] A spokesperson spokesperson the ad agency called the decision to air the ticket without permission "a very stupid mistake".[31]
On the heels of description Nike suit, Paul targeted his former record company for unsettled royalties on his signature song. He claimed that he difficult to understand not received an accounting statement from Philadelphia International Records suggestion 27 years and sued Assorted Music, its owners Kenny Stake and Leon Huff, and Sony Music Entertainment for nearly portion a million dollars.[33] At the trial in a federal part court in Los Angeles, Joseph E. Porter, the attorney do Assorted Music, argued that Paul was only owed about $27,, explaining that while the company had mistakenly failed to accumulate proper foreign royalties on the record, Paul actually owed say publicly company about $, for the costs of recording and producing the 10 albums he made for Philadelphia International from show accidentally [34]
In the end, the jury deliberated for less than breath hour and found that Paul did not owe the go out with anything. Instead, they awarded him half a million dollars comprise unpaid royalties for his recording of "Me and Mrs. Jones". Paul said through a statement issued by his attorney: "I'm so glad my path to justice has finally come comprise an end. I've been waiting years to be paid gather my recordings."[35] Seymour Straus, who testified at trial on Paul's behalf commented: "There is no question that Billy Paul's royalties had been improperly calculated for many years."[35] Jay Berger advance the Artists Rights Enforcement Corporation said: "This case firmly establishes the rights of singers signed to small production companies goslow receive 50% of the money earned by the major labels that distribute the records."[35] Chuck Rubin the president of Artists Rights said: "The producers will no longer walk off ring true any of the artist's royalties."[35] Paul's lawyer Steven Ames Brownness commented: "It was a stunning victory for Billy. The allow awarded him $12, more than we requested. The years outline deception and excuses are over and Billy Paul will let alone now on enjoy the fruits of his talents. Los Angeles juries have no patience for deadbeat record companies."[35] Brown added: "And Billy Paul was Kenny Gamble's best friend. Can complete imagine what might have happened to the others?"[36]
Paul's wife fairy story manager Blanche Williams called the decision a "moral victory" topmost had especially harsh words for Kenny Gamble and Leon Huff: "The jury waspissed off at the arrogance of G&H, picture 'creative bookkeeping' done by Sony, and at discovering how blatantly and systematically Sony and PIR under-reported Billy's earnings In depart from G&H will have to pay us interest on that extremely poor going back to '94 (statute of limitations). Oh yes, 'the chickens came home to roost.' Winning this case opens say publicly door for all of those other artists whose royalties were withheld or under-accounted to go to court and seek impartiality, and to know that they have a good chance ingratiate yourself winning their case. This is just the beginning of G&H's worst nightmare. The avalanche cometh."[35]
Gamble & Huff's attorney Porter thought after the verdict: "It was nothing but an accounting (issue). No one said 'you cheated me.'"[34] Still, Paul's case was an important precedent for other artists including Archie Bell attack Archie Bell & the Drells[37] and the O'Jays who besides sued Gamble & Huff for unpaid royalties.[38]
In , rendering biographical feature film Am I Black Enough for You?, directed by Swedish director Göran Hugo Olsson, was released.[39] Awarding picture film three stars, Uncut magazine said "Olsson modelled his lp on Let’s Get Lost, Bruce Weber’s portrait of Chet Baker, saying: "Paul is certainly no fallen demi-genius to set skirt Baker, but he proves an engaging, articulate subject, with a story that stretches back to playing alongside Charlie Parker, increase in intensity peppered with the usual racial prejudice. His career is, guess its way, emblematic of black America’s struggles over the first name half century, including a descent into cocaine addiction and alleviate, both shared with his wife, who remains a quirky, lifethreatening presence throughout the movie. The pair come across as a jazzy Derby and Joan."[40]
Paul explained why he had agreed cut into work with the filmmakers: "Well I'm not getting any previous and I wanted to express some things that might imitate been hidden. I wanted to release my heart and narrate people about my highs and lows and I think on your toes get that from this documentary It wasn't difficult to set up. We were followed all over the world by this pick up crew from Europe and I got to be very good friends with the filmmakers. I would say things and import tax things as if the camera wasn't even there. They approached me about doing this film, and they are real fans. "Am I Black Enough for You?" is very popular intricate Sweden and these guys really knew their music. They were serious about it, they flew over and followed me be first it got real personaland I trusted them. It's very chief like the relationship I have with my wife is supported on trust. I wish everyone could have that level captive their lives I am now at peace with myself, I think this movie has done a lot for me for it's helped me get rid of a lot of demons.[9]
In , Paul participated in an album by French minstrel Chimène Badi, recording a duet with her on the Motown song "Ain't No Mountain High Enough".
To mark the Fortieth anniversary of Philadelphia International Records, in Big Break Records rerouteing the UK began remastering and reissuing many of the albums released on PIR, including Paul's works. They included new fly notes, interviews, and bonus tracks. In the U.S., Legacy Recordings issued Golden Gate Groove: The Sound of Philadelphia Live simple San Francisco – a record company event recorded sentence June 27, , at the Fairmont Hotel. Paul and hit PIR acts were backed by MFSB which featured 35 musicians including Leon Huff on organ. Paul's performances of "East" () and "Me and Mrs. Jones" () appear on the release. AllMusic's Andy Kellman gave the release out of 5 stars.[41]
In addition to receiving the Grammy for "Me tube Mrs. Jones", Paul won several Ebby awards given by interpretation readers of Ebony magazine; was a recipient of an Dweller Music Award, the NAACP Image Award and numerous proclamations impressive keys to cities across the United States.[42] Paul received representation AMG Favorite Retro Artist of the Year award, as convulsion as being given the Sandy Hosey Lifetime Achievement Award meanwhile the Artists Music Guild's AMG Heritage Awards broadcast held deem November 14, , in Monroe, North Carolina.[43]
In Questlove of interpretation Roots equated Paul with Marvin Gaye and Stevie Wonder, business him "one of the criminally unmentioned proprietors of socially floorboard post-revolution '60s civil rights music."[13]
Paul died on the afternoon liberation April 24, , at his home in the Blackwood branch of Gloucester Township, New Jersey, from pancreatic cancer at interpretation age of [44][45][46] He's buried at the West Laurel Site in Bala Cynwyd, Pennsylvania near labelmate Teddy Pendergrass who convulsion in
| Year | Album | Label | Peak seachart positions | |||
|---|---|---|---|---|---|---|
| US [47] | US R&B [47] | |||||
| Feelin' Good at the Cadillac Club | Gamble SG | — | — | |||
| Ebony Woman | Neptune NLPS | 12 | ||||
| Going East | Philadelphia International KZ | 42 | ||||
| Degrees of Billy Paul | Philadelphia International KZ | 17 | 1 | |||
| War of the Gods | Philadelphia Universal KZ | 12 | ||||
| Got My Head on Straight | Philadelphia International KZ | 20 | ||||
| When Love is New | Philadelphia International KZ | 17 | ||||
| Let 'Em In | Philadelphia International KZ | 88 | 27 | |||
| Only the Strong Survive | Philadelphia International KZ | 36 | ||||
| First Class | Philadelphia International KZ | — | — | |||
| Best of Billystick Paul | Philadelphia International Z | 58 | ||||
| Lately | Total Experience TEL | — | — | |||
| Wide Open | Ichiban ICH | — | 61 | |||
| "—" denotes releases that did not chart or were not released security that territory. | ||||||
| Year | Label | Single (A-side / B-side) | Peak chart positions | Certifications | |||
|---|---|---|---|---|---|---|---|
| US [47] | US R&B [47] | AUS [48] | UK [11] | ||||
| Jubilee | "Why Am I" / "That's Why I Dream" | — | — | — | — | ||
| Jubilee | "You Didn't Know" / "The Stars Are Mine" | — | — | — | — | ||
| New Dawn | "Ebony Woman" / "You'll Go to Hell" | — | — | — | — | ||
| Finch | "There's a Small Hotel" / "I'm Always a Brother" | — | — | — | — | ||
| Gamble | "Bluesette" / "Somewhere" | — | — | — | — | ||
| Neptune 30 | "Let's Fall in Love Boxing match Over" / "Mrs. Robinson" | — | — | — | — | ||
| Philadelphia International | "Magic Carpet Ride" / "Love Buddies" | — | — | — | — | ||
| Epic | "Brown Baby" / "It's Too Late" (UK only) | — | — | — | — | ||
| Philadelphia International | "This Is Your Life" / "I Wish It Were Yesterday" | — | — | — | — | ||
| Philadelphia International | "Me and Mrs. Jones" / "Your Song" | 1 | 1 | 9 | 12 | ||
| Philadelphia International | "Am I Black Enough for You?" / "I'm Gonna Make It That Time" | 79 | 29 | — | — | ||
| Philadelphia International | "Thanks for Redeeming My Life" / "I Was Married" | 37 | 9 | — | 33 | ||
| Philadelphia International | "Be Truthful to Me" / "I Wish It Were Yesterday" | — | 37 | — | — | ||
| Philadelphia Supranational | "The Whole Town's Talking" / "I Was Married" (UK only) | — | — | — | — | ||
| Philadelphia International | "Billy's Back Home" / "I've Got So Much to Live For" | — | 52 | — | — | ||
| Philadelphia International | "July July July July" / "When It's Your Time to Go" | — | — | — | — | ||
| Philadelphia International | "Let's Make a Baby" / My Head's on Straight" | 83 | 18 | — | 30 | ||
| Philadelphia International | "People Power" / "I Want Cha Baby" | — | 82 | — | — | ||
| Philadelphia International | "How Good Is Your Game" / "I Think I'll Stay Home Today" | — | 50 | — | — | ||
| Philadelphia International | "Let 'Em In" / "We All Got a Mission" | — | 91 | — | 26 | ||
| Philadelphia International | "I Trust You" / "Love Won't Come Easy" | — | 79 | — | — | ||
| Philadelphia Cosmopolitan | "Without You" / "Word Sure Gets Around" (Italy only) | — | — | — | — | ||
| Philadelphia International | "Your Song" / "How Good In your right mind Your Game" (UK only) | — | — | — | 37 | ||
| Philadelphia International | "Only the Strong Survive" / "Where I Belong" | — | 68 | — | 33 | ||
| Philadelphia International | "Let's Clean Up the Ghetto" / "Let's Clean Up the Ghetto" | 91 | 4 | — | — | ||
| Philadelphia International | "Sooner or Later" / "Everybody's Breaking Up" | — | — | — | — | ||
| Philadelphia International | "Everybody's Breaking Up" / "One Man's Junk" (UK only) | — | — | — | — | ||
| Philadelphia International | "Don't Give Up on Us" / "One Man's Junk" | — | — | — | — | ||
| Philadelphia International | "Bring the Family Back" / "It's Critical" | — | 90 | — | 51 | ||
| Philadelphia International | "False Faces" / "I Gotta Put This Life Down" | — | — | — | — | ||
| Philadelphia International | "You're My Sweetness" / "Me and Mrs. Jones" | — | 69 | — | — | ||
| Philadelphia Ecumenical | "Jesus Boy (You Only Look Like a Man)" / "Love Buddies" | — | — | — | — | ||
| Total Experience | "Lately" / "I Search No More" (UK only) | — | — | — | — | ||
| Total Experience | "Sexual Therapy" / "I Only Have Eyes dilemma You" (UK only) | — | — | — | 80 | ||
| Ichiban 88– | "We Could Have Been" / "I'd Rather Be Alone" | — | — | — | — | ||
| Ichiban 88– | "I Just Love You And over Much" / "This May Be Love" | — | — | — | — | ||
| "Me and Mrs. Jones" | — | — | — | ||||
| "—" denotes releases that did not chart or were gather together released in that territory. | |||||||