Linda Clifford

Linda Clifford , born with Brooklyn in 1944, is a singer of Disco.

She follows courses of ballet, jazz and clappers as of the four years age. She occurs on television at 10 years then becomes “State Miss of New York”. She will belong to the Jericho Jazz Singers before having her own trio in 1967, Linda and the Trade Winds .

Noticed by Marv Stuart, copresident of Curtom, it signs at Paramount/Gemigo. Its first individual is (It' S gonna Be) has long length winter , written and carried out by Curtis Mayfield (1973), song where it shows a powerful voice to the particular stamp, modulating in manner very drunk. The face B, March across the Land , Co-is written, carried out and arranged by Leroy Hutson: it is a song rythmée with a side parades drawing towards the jazz. This first 45 turns had a certain success (n°75 classification R&B) and it is followed of Turn the key softly , also published by Gemigo (1975). The face B, Can' T get enough is a pleasant title proto-disco music.

It will leave its first album at Curtom, label of Curtis Mayfield and Leroy Hutson, in 1977, at the moment when the disco music leaves its underground and starts to nibble the negro music. Clifford will be then rather typical of these singers of drunk person who tried to marry drunk and disco music. A third influence, and not of least, is the world of Broadway, recurring on all its discs, particularly those arranged or carried out by Gil Askey. Another constant in its career is the fact of speaking in its songs. Following the example Millie Jackson, but with a least degree, it could belong to the “street talkers”. Part of its public sometimes considered it regrettable besides that it does not do it more systematically.

Its first album, Linda (1977) makes only effleurer the disco music, in the style of Philadelphia, and remains in a tonality mainly R&B. It is especially a disc of recoveries (Al Green, Stevie Wonder but also Bee Gees and Rod Stewart), recorded in Chicago and carried out by Gil Askey - except “Fooling myself” by Leroy Hutson. The 45 turns is a resumption of Lou Rawls written by Bunny Sigler (1976), “From now one”, available in a lengthened version. It is the best title of the album, superbly carried out: on an involving rate/rhythm of orchestrated disco music but which can authentically remain raspy, Clifford sings or speaks with sensuality and expressivity, relayed by its chorus-singers, Jones Girls. Face 2 of simple is made a success of by it “the You edge C it” with the beautiful vocal harmonies drunk person - lengthened on the 12". Another success is “One thing one my mind”, sung the same year by Phyllis Hyman. The expressivity of Clifford has however only few common points with the reserve of Hyman. Lastly, “I' m still in coils with you”, taken again Al Green success, is to be put at the numbers of the successes in spite of its not very innovative side. “From now on/You edge C it” are classified n°28 Club play in their remixée version and “From now one” is classified n° 94 R &B.

The following album is If my friends could see me now , luxurious realization of Gil Askey and Curtis Mayfield of 1978. The team is the same one as for the preceding album but this time the artistic realizers more particularly aim the market of the discotheques and make of Clifford the diva disco music. Launched in May, the LP will be classified n° pop 9 R &B and n°22 on July 1st, 1978; there will remain 5 weeks in this place, over 22 weeks of classification in all. The first simple one, “Yew my friends could see now” is masterly for me. This recovery “campy” of the musical comedy Sweet Charity (an adaptation broadwayienne of the Nights of Cabiria of Fellini left in 1966), is in this respect one of the most beautiful pieces of drunk person-disco music where on an involving rate/rhythm (128 bpm) framed by the violins and coppers and underlined synthetic effects, the singer deploys all the nuances of her voice in crescendo. “Yew my friends could see me now” becomes a n°1 deserved lists disco music on April 29th during five weeks (pop n°54 and n° 68 R ' B). This époustouflant piece occults the remainder of the LP, which remains nevertheless of quality. The second simple one is a song written and realized by Askey, traditional “the Runaway coils”, classified n° pop 3 R &B and n°76 It establishes the link between Clifford singer of drunk person and the diva disco music which is profiled, without disavowing the “street talk”, present in the intro. Face 2 of this simple is “Broadway gypsy lady”, title sympathetic nerve written and carried out by Mayfield. “Runaway coils” and “Yew my friends…” knew long versions of promotional use, just like a third title, “Gypsy lady” (face 2 of the 12" “Yew my friends…”). Each one of these versions turns around the ten minutes and these are the three titles which had jointly the n°1 disco music. In England the two simple ones in long version are on same the 12" and one 45 turns additional left, “You are you are” with opposite 2 a version “Yew my friends could see me now” of 4:50.

The following album is Let me Be your woman (April 1979), a realization even more luxurious. The first simple one is the song which opens the album, an accelerated resumption of “Bridge over troubled toilets” the most succeeded of (pop n°41, n° 49 R &B and n°28 in England). The second simple one is “Don' T give it up”, a song which, without being rap, is almost only spoken, in the kind “street talk” that affectionate Clifford (n° 15 R &B). Face 2 of the 12" is “Sweet melodies”. Another effective piece is face 2 of the 45 turns “Bridge over troubled toilets”, “Hold me closed”, a piece written by entire Mayfield based on the low one. Lastly, two other long songs are available: excellent “the One off those songs” and finally “Sweet melodies” (shortened for one 45 turns, with opposite 2 the simple “I can' T let this good thing get away”). This title includes also a part spoken completely in the style of Clifford.

“One off those songs” is built like “Bridge over…” but in fact the direct successor of “Yew my friends is…”. This song is in the beginning a song composed by the French Gerard Calvi on his album the Ball of Mrs. de Mortemouille . In 1958 it is translated into English and becomes a title broadwayien. The resumption nearest chronologically to Clifford is that which the sextet English The King' S Singers had done in 1976 in a style swing. While singing it in a close way its predecessors, Clifford completely alters the song to make a scathing attack disco music of it. Even the words are rehabilitated in a tonality disco music with inter alia additions like “What is the name off that song that keeps me dance hall, what is the name off that song that makes me wanna get down, what is the name off that song that makes me wanna get off my seat, get up one my feet, what is the name off that song that makes me boogy down down down”. The public concerned is very clear there.

In the album Let me Be your woman , it makes watch of a powerful voice on a basic raspy bottom and battery. The disc is mixed by usual the Roger Anfinsen and Fred Breitberg but as by Jim Burgess and Jimmy Simpson, mixeurs more with the mode as the two sound engineers of Curtom. The album puts besides before the names of the mixeurs on the back of the small pocket, which is unusual at the time. Launched on April 7th, the LP will be classified pop n°26 on April 21st, 1979 and will remain in the classification album 17 weeks. It is classified also n°11 disco music and n° 19 R &B.

This album is available in two configurations: a simple disc in Europe and a disc double in the United States. Four songs are available in versions shortened in Europe: 4:20 for “Don' T give it up”, 7:30 for “Bridge over…”, 6:30 for “One off those songs” and 5:20 for “Sweet melodies”. These versions are however not the versions 45 turns, turning all around the 4 minutes - with the exception of “One off those songs” not published in 45 turns. The North-American double album is different, already in the order of the pieces, since it opens on “Hold me closed”, accompanied on give face 1 of “Don' T it up” in version 9:20 while on face 2 one finds “Sweet melodies” in version 7:50. Lastly, faces 3 and 4 are respectively occupied by “One off those songs” (11: 40) and “Bridge over…” (10: 20). There exists also a promotional version of “Don' T give it up” of 10:15 with a intro senza voce lengthened one minute.

First of all, it is rather astonishing to see a label as drunk as Curtom to launch out at this point in the disco music. But Clifford is not only and the two albums of Mayfield of 1978 and 1979 are as very disco music, without speaking about that of 1979 of Leroy Hutson, so much disco music as its old English fans never went back from there. Moreover at the time Curtom was distributed by RSO which had before left the B.O the fever of Saturday evening .

The same year, in December, Linda Clifford leaves Here' S my coils with new artistic realizers. Curtis Mayfield carries out the very beautiful slow fox trot however to him that song-title is it. Jürgen Koppers carries out the three titles, least good, of which a puffing resumption of the “Lonely night” of Leroy Gomez. The most successful songs are those carried out by Norman Harris and Ronald Tyson, superb of rate/rhythm and of tension, “Repossessed”, “Bailin' out” and the simple “King for has night”. The latter, pleasant in short version, however loses part of its dynamism in long version. A promotional disc entitled Linda Clifford special 12" circulates in the discotheques: it contains “Lonely night”, excel it “Repossessed”, “King for has night” (in long version) and finally the means “I just wanna wanna” carried out by Koppers. This last title also left in version shortened on simple with “Hold me closed” opposite 2. Here' S my coils has nevertheless less success than its predecessors and, classified nine weeks, it culminates only with the n° 47 R &B, n°73 disco music (Club play) and n°117 pop. “I just wanna wanna” is n° 36 R &B.

Clifford in August had left a pleasant duet with Mayfield, “Between you baby and me”, had classified n°14. This slow fox trot leaves into simple with “You' Re so good to me” Mayfield opposite 2. The two songs are extracted from its album to him, Heartbeat , which is classified with reasonable a n° pop 17 R &B and n°42. “Between you baby and me” is integrated thereafter into a complete disc of duets, left in June 1980, The right combination , where Clifford finds its usual artistic realizers. One is there in the register of the drunk person music with very beautiful duets superbly emphasizing the opposite vocal harmonies of the two singers. Norman Harris still Co-carries out a song to him very disco music “It' S lovin' time”. The simple which follows “Between you baby and me” eight month later is “Love' S sweet feeling”, another slow fox trot, classified n°34 (with a senza voce opposite 2). The album is classified during four weeks, with a small point with the n° 53 R &B and n°180 pop in July.

In October 1980, it leaves I' m yours realized by Isaac Hayes (classified 6 weeks, n° 47 R &B and 160 pop). The receipt is the same one as previously: the titles of dance effective and carried out well (“Shot your best shot” n°1 disco music on November 8th for one month, n° 43 R &B) alternate with the elegant slow fox trots and virtuosos. The “street talking” is also present makes in filigree some in songs as “I had has talk with my man” (n° 53 R &B). The latter is a resumption of “I had has talk with my man last night”, itself an adaptation of the gospel “I had has talk with God”. The original version which goes back to 1964 is due to Mitty Collier and it was taken again several times, inter alia by Dusty Springfield (1965) and Inez Foxx (1973). This 45 turns is distributed by Capitol, which will become besides the label of its next album. Gil Askey still Co-carries out a title on this album, the very good hit “Red light” (n°1 disco music the pop on August 30th and n°41), extracted the film Fame left a little before. “Red light” Co-is carried out with Michael Gore, that Clifford will find the following year when it changes production company. “Red light” divides its n°1 disco music with the song “Famed” of Irene Cara, another extract of the B.O of film and “Shot your best shot” division it his with “It don' T hurt No more”.

The album I' L keep one loving you , is carried out at the end of 1981 and at the beginning of 1982 by two teams of realization: that of Michael Gore and that of Leo Graham. The songs carried out by Gore (1981) have vocal arrangements of Luther Vandross (which appears besides in the choruses). Graham carried out to them his in 1982 except “Let it wrinkle” in 1981, and has James L. Mack like artistic realizer associate in charge of arrangements. The album, left at the beginning of 1982, is less monolithic than the precedents. The hit “Don' T as crying to me” takes down to him also a n°1 with the Billboard US disco music in 1982. The style of Clifford evolved/moved, but one is always in the luxurious variety and quality is always with go with an album among best, composed of the funks effective ones like “Let it wrinkle” (in version album on the maximum promotional one of “Don' T like crying to me” and in version shortened on the 45 lathes), of superb slow fox trots like the original version of “All the man I need” and even of a song nicely retro, “I Lied”. This tendency does not have that beneficial and unquestionable effects of its songs are true caricatures, like “Only the angels know”, ballade deserving indulgence only because it is Clifford. Face 2 of the 12" individual commercial “Don' T as crying to” is to me “I' L keep one loving you”, two songs agreeably lengthened. “I' L keep one…” with “Let it wrinkle” excellent a funk is besides, at the heavy and precise rate/rhythm.

This orientation in the smart variety is confirmed in 1984 with the simple ones “has night with the servant boys”, “Sneakin' out” and “You' Re undermines”, examples of funk adult extracts of Sneakin' out (n° 49 R &B). If “night with the servant boys has” is excellent and “You' Re mines” good, the remainder is only correct - as “I just want to hold you”, small funk vain available in version shortened on face 2 of the simple “Sneakin' out”.

My heart' S one follows fire in 1985 with the simple “The heat in me”. In spite of this good title, remixé on the simple one (with “Young stag comes the night” opposite 2), this LP is of all its albums weakest. The 12" of “The heat in me” proposes four goods remixes whose court has cappella. It is classified n°17 dance and in 1987 the long version is coupled with three other songs of the album on maximum promotional.

Then, she sings in clubs of Chicago and takes part on television in a morning program of information. The Nineties are low in discs: “Watcha gonna C” in 1995 and one bad resumption of “Yew my friends could see me now” in 1996. “What cha gonna C”, available in five versions (club, radio, have cappella, “Jazzy groove” and “Dishing the dirt”) is remixé by Michael Hearn who had remixé “Lonely night” and “Repossessed” with Fred Breitberg. “Yew my friends could see now” is to me a version rechantée at the hollow rate/rhythm. And so before Clifford could make a “street talk” free from vulgarity, that does not seem more to be the case when one listens to this little vocally refined version. This recovery is entitled “Rockin' " D" House remake” and it is carried out by Frandith Giménex. It remixé the “Rockin' " D" House mix” and “Club mix” (this last with Tony Smalios and Jimmy Simpson). The face 2 entitled “The madness see' S me now” is remixée by Dave “Madness” del Valle and contains two remixes: the “Rough house mix” and the “Radio dub”. This does not prevent Clifford from keeping a strong foundation of fans for which it will sing “Runaway coils” in 1997 in a memorable version as a public at the top of the music of dance organized by the review Billboard. The following year “Runaway coils” is remixée besides by MAW for compilation " Everybody dance" appeared at Atlantic.

In 1999 she sings (speaks rather) on “Wanna give it up” of Ralphi Rosario. This very successful title, which is classified n°16 in the charts dance of Billboard, is available on a double 12" and shows that Clifford did not lose anything of its vitality. This song will be the prelude to a rebirth.

Then in 2000 Romain & Krivit make it sing on confidential “the Philly groove”, a song based on samplings of “T.S.O.P.” remixée by Joey Negro for the small label Vision records. This same year Joey Negro takes as a starting point “Shot your best shot” for two of its titles: “Must Be the music” for Taka Boom and “C U coils what you feel” for MaxineMcClain. “Philly groove”, “Must Be the music” and “C U coil what you feel” are available besides on compilations " Kandi" disco music; (volume 2 for Taka Boom and volume 3 for the two others).

In 2001 it leaves the simple “Changin'” at West End. It is about a resumption of Sharon Ridley (1976) available in the many ones mix inter alia Tom Moulton, Ralphi Rosario and Blaze (n°17 in the charts dance of Billboard).

In September 2001 she sings “Wrinkle the storm” for Akabu. This title is available inter alia in remixes of Joey Negro at better NRK is to it the “Solar jazz mix”. It is about a song primarily spoken on the relations about a woman with her husband. The words avoid the stereotypes what makes title a success. A version has cappella is available on maximum and compilation " Kings off tomorrow sessions" at Defected (two Cd).

In July 2002 it takes again “Going back to my roots” on the label One Little Indian (the label of Björk). This title is followed of “Sunshine”. In November 2002 it leaves finally “I hear the music” with Ralphi Rosario under the name of “Ralphi Rosario & Linda Clifford present Strings off Life 2”.

In 2003 she sings “Spinnin'”, a collaboration successful with Joey Negro left at Z under the pseudonym Park Prospective customer.

In 2005 the London mixeurs Sound Byte inaugurate their catalog with a remix of “Runaway coils” at Loonacy.

If one excludes the disappointment of 1996, Linda Clifford however maintained in all its discs a standard of quality by making songs where interpretation is perfect. The only reproaches which one could make relate to the realization of Gil Askey, who crushes sometimes his voice, obliging it to impose itself by shouting in an esthetic way not very, and which more is, in an accelerated way. Nevertheless it is one of rare the good singers of drunk person not to have scorned the disco music and to have succeeded in singing it in a convincing and personal way. If its career were shorter than legends like Ross and Franklin, it in demerit not less and could even aspire without reddening nor feared the ridiculous one under better singer of drunk person of the years 70-80.

Its song “Here' S my coils” was taken again by Syreeta and “All the man I need” by the Sister Sledge in duet with David Simmons, by Whitney Houston and finally by Luther Vandross (inelegant at the point to credit Houston and not Clifford with the original version in the booklet of the disc… whereas it had taken part in his realization!). These recoveries do not have nevertheless the plume of the versions of Linda Clifford.

Random links: