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- 1Won't You Come Dance With Me03:43
- 2Slippery When Wet03:03
- 3Come Inside03:21
- 4Just To Be Close To You07:20
- 5Funny Feelings05:20
- 6Fancy Dancer05:00
- 7Sweet Love08:42
- 10I Feel Sanctified02:55
- 11Brick House10:23
- 12Too Hot Ta Trot05:39
Info for Live!
„Hot on the heels of their 1977 self-titled LP -- which included studio versions of the classics 'Brick House' and 'Easy' -- Commodores Live! was issued as a seasonal offering the same year. The band wisely included extended readings of not only its most recent hits, but also a healthy sampling from its previous four studio albums, as well as the track 'Too Hot ta Trot,' which had been featured in the motion picture Thank God It's Friday. The six-man original Commodores were a powerful and self-contained unit that could effortlessly alternate between turning over mean and serious funk jams or a slow, sexy power ballad. Heralded as the Black Beatles, the Commodores were able to fuse a more traditional pop music headlong into the funk stylings of their contemporaries: Parliament, the Ohio Players, and Earth, Wind & Fire.
However, instead of being propelled by seemingly endless -- and often aimless -- jams, William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter 'Clyde' Orange (drums), Lionel Richie (alto saxophone), and Milan Williams (keyboards) were able to tighten up their arrangements and make them more potent in the process. From right out of the gate, the opening trio of 'Won't You Come Dance With Me,' 'Slippery When Wet,' and 'Come Inside' pounce and bounce around with undeniably hardcore funk grooves -- replete with distorted and screaming electric lead guitar lines, emphatic accents from the horns, and an authoritative rhythm section that James Brown would have been proud of. The mellower side of the band is equally represented by several key Lionel Richie ballads. 'Just to Be Close to You' shimmers and is notable for Richie's extended vocal interlude. 'Easy' -- an audible audience favorite -- swings with an urgency and passion conspicuously lacking in the more familiar studio version. Milan Williams' tasty keyboards are also a highlight as they lightly soar above the rest of the band. Without a doubt it is the ten-plus-minute version of 'Brick House' that allows the band to reach a funkified critical mass. Ronald LaPread's rubbery basslines adhere themselves around 'Clyde' Orange's Latin-tinged percussion inflections. The searing Richie and William King sound more akin to a full-fledged horn section than the hard-workin' duo behind their wall of solid brass. Commodores Live! is overall one of the finest R&B concert albums of the '70s -- of which there are far too few.“ (Lindsay Planer, AMG)
Lionel Richie, vocals
Milan Williams, vocals, guitar, keyboards
Thomas McClary, vocals, guitar
David Cochrane, saxophone, keyboards
Harold Hudson, trumpet, keyboards
William King, vocals, trumpet
The Mean Machine, horns
Ronald LaPread, vocals, bass
Walter Orange, vocals, drums
Darrell Jones, guitar, drums
Recorded live in 1977 at The Omni, Atlanta, Georgia and Capital Center, Washington, D.C.
Engineered by Cal ' ECM-50' Harris, Jane Clark
Produced by James Anthony Carmichael, The Commodores
Renowned for the R&B hits "Just to Be Close to You," "Easy," and "Brickhouse," to name but a few, Commodores were one of the top bands during their long tenure at Motown. The group is credited with seven number one songs and a host of other Top Ten hits on the Billboard charts, and their vast catalog includes more than 50 albums.
The members of Commodores, all of whom attended Tuskegee Institute in Alabama, came together as a result of two groups disbanding: the Mystics and the Jays. Initially formed to simply play music as a pastime and to meet girls, the lineup consisted of William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter "Clyde" Orange (drums), Lionel Richie (saxophone), and Milan Williams (keyboards). The members nearly went stir-crazy trying to pick a name for the group, but with no success. As a last resort, Orange gave King a dictionary and told him to pick a name — that name was the Commodores. With Clyde Orange the only learned musician in the group, Commodores began spreading their music throughout their base, which included Tuskegee, Montgomery, and Birmingham, AL.
After success securing dates in their own backyard, the band ventured to New York City for a gig at Smalls Paradise. Told, in so many words by the club owner, that their sound was not happening, the self-contained band was nevertheless called back to the club to fill in for a last-minute cancellation. That night the Tuskegee alumni performed before a standing-room-only crowd — most of which were friends and family of the band. Unaware of the planned crowd, the owner booked the band for two more weeks.
Commodores' long association with Motown began as a result of a tour opening for the Jackson 5. That opportunity occurred in 1971, when the group auditioned in New York City for an unknown yet high-profile gig. Two weeks later, they made their first appearance in the prized support slot, and didn't give it up for more than two years. Their excellent shows naturally led to a deal with Motown, and they debuted with the up-tempo instrumental dance cut "Machine Gun." Written by Milan Williams, its Top Ten outing gave the group immediate attention. It was followed by the Top 20 single "I Feel Sanctified," which led to their third single — and first number one record — in "Slippery When Wet." Inside of 17 weeks, the septet was rocking the airwaves with their brand of Southern funk, spiced with an animated vocal delivery courtesy of Lionel Richie and Clyde Orange.
In September of 1976, they released "Just to Be Close to You," their second number one single and a number seven pop hit. The Top Ten hit "Fancy Dancer" followed, and then came "Easy." Different from their other tunes, "Easy" was very serene and not nearly as soulful or funky as the band's other tunes. Nonetheless, it claimed the number one spot on the charts, and it paved the way for the style of ballads the group became known for. One exception to the ballad-heavy approach was "Brickhouse," the song that soon became the group's anthem. The arrangement and candid vocal lead by Clyde Orange was complemented by the evenly saturated percussive and rhythmic attack, and it cracked the Top Ten at number four. Two consecutive number one singles would follow: the dance cut "Too Hot ta Trot" and the placid number "Three Times a Lady." And then there was "Still," the last number one for the group with Richie as a member. In 1981, Richie recorded "Endless Love" with Diana Ross. The song peaked at number one for seven and nine weeks, respectively, on the Billboard R&B and pop charts. Its success was a prelude to what Richie enjoyed upon his 1982 exit from the group.
In the absence of Richie, the group promptly courted tenor J.D. Nicholas (formerly of Heatwave) and ended up recording their biggest hit. Penned by Clyde Orange, "Nightshift" paid tribute to the late soul singers Marvin Gaye and Jackie Wilson. For four consecutive weeks it topped the charts, and it also won the group their only Grammy.
Commodores finally left Motown in 1985. Consequently, the group signed with Polydor the same year and had another swing at the Top Ten with "Goin' to the Bank." During the '90s, the band was reduced to a core of three: Orange, King, and Nicholas. The threesome were nearly as active as they'd ever been, performing around the world and managing their own label, Commodore Records.
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