Express Yourself! Features
THE POINTER SISTERS
"They've Got The Power!"
By Christian John Wikane
It is my hope the Pointer Sisters are remembered beyond “Neutron Dance.” In fact, it is my
hope that the Pointer Sisters are remembered, period. Though the "Billboard" charts haven’
t housed a Pointer Sisters song in well over a decade, the legacy of Anita, Ruth, June, and
Bonnie Pointer proves that their hits are only half the story.
Sporting vintage attire from the 1940’s and singing everything from country music to show
tunes might bewilder a 21st century audience conditioned to scandalous frocks and
sampled riffs makes the Pointer Sisters all the more remarkable in the pantheon of R&B
artists. Their early ‘70’s incarnation, featuring all four sisters, fused together the couture of
the Andrew Sisters with the soulful rhythms of Martha & the Vandellas. The Pointers
scatted the length of the musical scales with each sister adding a special nuance to the
group’s unique sound. Even after Bonnie’s departure in the mid-‘70’s, the voices of Ruth,
Anita, and June continued in the spotlight. On any number of compilations highlighting their
commercial peak in the 1980’s, it’s evident that each sister helped score a hit with her
distinctive lead vocal, whether it be Anita’s seductive purr on “Slow Hand” or Ruth’s robotic
reading of “Automatic.” All sisters have released singles and solo albums over the years,
but none has captured the energy, excitement, and soulfulness of when the family sings
together.
Raised by Reverends Elton and Sarah Pointer in Oakland, California, the Pointer daughters
were not encouraged to sing the secular music that would later spark a successful
recording career. Though their childhood years were spent listening to gospel music, Ruth,
Anita, Bonnie, and June eventually immersed themselves in an eclectic mix of musical
styles as teenagers. Diverging from the church and into jazz, country, and rhythm and
blues expanded the sisters’ musical radar. After finishing high school, Anita and Ruth each
married and began raising children while June and Bonnie performed together as “Pointers-
A-Pair.” The duo became a trio when Anita climbed aboard; thus, the first incarnation of the
“Pointer Sisters” was born.
A live gig with Elvin Bishop helped land the Pointer Sisters a recording contract at Atlantic
Records. Their first single, “Don’t Try to Take the Fifth,” was a well-intentioned but poorly
received effort. With no shortage of singing trios on the radio in 1972, the single got lost in
the shuffle. However, more than thirty years later, one hears potential in the group’s
performance. Though not a bad tune, it was too safe a choice for a group whose talent
stretched outside the confines of conventional R&B.
Knowing that the Pointer Sisters needed artistic nurturing, David Rubinson brought them to
his production company, “David Rubinson & Friends.” Having produced a diverse roster
of talent, such as Taj Mahal, Moby Grape, and Herbie Hancock, Rubinson afforded the
Pointers an opportunity to exercise their musical muscle. With the addition of Ruth, the
Sisters signed with Blue Thumb Records label and recorded their debut album, The Pointer
Sisters, in 1973. Impressive from start to finish, the album boasts a delightful cocktail of
styles ranging from down and dirty blues (Wille Dixon’s “Wang Dang Doodle”) to scat-
inflected jazz (“Cloudburst”). A single edit of Allen Toussaint’s socially conscious “Yes We
Can Can” was lifted for radio play and shot to #11 on Billboard’s Pop Chart. Featuring an
extended bass, drum, and guitar introduction, the tune emphasizes a “less is more
approach” in its instrumentation. Where “Don’t Try to Take the Fifth” might have suffered
from overproduction, “Yes We Can Can” succeeded with its highly effective musical
sparseness and unique vocal arrangement.
Their second album for Blue Thumb, That’s A- Plenty, further reflected the Pointers’
penchant for picking music that defied industry categorization. “The Pointer Sisters like
country!” exclaimed Anita Pointer on the occasion of the group’s historic appearance at the
Opera House in San Francisco (recorded for a double live album in 1974). Indeed, track two
on side two of That’s A-Plenty is a wistful little tune called “Fairytale.” Replete with fiddles,
slide guitar, and a loping bass lick, it’s the album’s centerpiece. Not only did the song make
the country & western Top 40, but it also won the Pointer Sisters their first Grammy for – of
all things – Best Country & Western Performance by a Group. Elsewhere on the album was
the Sisters’ trademark trading of scat lead vocals, immortalized on their spine-tingling cover
of Dizzy Gillespie’s “Salt Peanuts.” Backed by drums, bass, and piano, the siblings
wondrously whirl through words and syllables at nearly twice the speed of 33 1/3 RPM. On
the Opera House recording, the audience is clearly awestruck by Ruth, Anita, June, and
Bonnie’s ability to mirror the studio version of Gillespie’s composition in live performance.
The Pointers Sisters also worked the sweaty and (often) shirtless clientele of gay clubs into
a frenzy with another trademark of their Blue Thumb recordings: the extended mix.
Predating twelve-inch single releases, songs like “Love in Them There Hills,” “How Long
(Betcha Got a Chick on the Side),” and “Going Down Slowly” featured funky and lengthy
intros, two or three verses, a catchy refrain, and a gradual build towards a musical climax.
Clocking in just under or over eight minutes, these tracks afforded DJ’s a multitude of
mixing options to effect another type of “climax” on the club crowd.
However, the climax of the Pointer Sisters’ success as a quartet passed after the release of
Steppin’ in 1975. Though they made high profile appearances on everything from “Carol
Burnett & Friends” to “Sesame Street” to the film Car Wash, the retro gimmick had worn its
wear on the Pointers. Bonnie sought a solo career and was rewarded with her own club
hits on the Motown label in the late ‘70’s while the remaining Sisters made one last album
for the Blue Thumb label in 1977 (the rather uninspiring Havin’ A Party).
Without Bonnie in tow, Ruth, Anita, and June won the attention of producer Richard Perry.
Perry was one of the most sought-after producers of the 1970’s, having worked with Diana
Ross and Barbra Streisand as well as scoring number one hits for Carly Simon, Harry
Nilsson, and Leo Sayer. His instincts in the studio proved to be just as successful for the
Pointer Sisters. Perry salvaged their career and expanded their audience by selecting a
variety of songs written by established rock artists and refashioning them with the Sisters’
distinctive voices. Released in 1978 on the Planet label, Energy featured soulful covers of
material by such artists as Loggins & Messina, Fleetwood Mac, Steely Dan, and Bruce
Springsteen. The slyly suggestive “Fire” (written by Springsteen) earned the Pointer
Sisters their first Top 5 pop hit and became one of the trio’s signature songs. A
composition by Allen Toussaint, “Happiness,” added a large dose of funk and soul to the
mixture. The Sisters’ demands to “keep it comin’” over a feverish bass line is an
exuberantly seductive sequence that adds plenty more “fire” their first collaboration with
Perry. (Self-proclaimed “space cowboy” Jamiroquai recently cited the tune as being a
strong influence.)
Outfitted in denim and overalls, the stark black and white cover image of the Pointer Sisters
on Priority (1979) indicated the hard-edged, bluesy material inside the record jacket. Perry
assembled a first-rate studio band, including guitarist Waddy Wachtel, to usher the Sisters
through songs by The Band (“The Shape I’m In”), the Rolling Stones (“Happy”),
Springsteen (“She’s Got the Fever”), Graham Parker (“Turned Up Too Late’), and Bob Seger
(“All Your Love”). Though the album marks one of the Pointers Sisters most musically
consistent releases, radio was not warm to Perry’s innovative reshaping of the material or
the decidedly rock direction the Sisters were taking.
1980 marked yet another turning point for the Pointer Sisters. After the disappointing
reception of Priority, Perry pointed the sisters in the direction of pop and urban
contemporary on Special Things. Unlike its predecessors, not a rock tune was to be found.
Ebullient tracks like “Could I Be Dreamin’” and “We’ve Got the Power” bridged the Sisters
back to DJ turntables while established songwriting teams, such as Barry Mann/Cynthia
Weil and Burt Bacharach/Carole Bayer Sager, lent their pens to the project with “He’s So
Shy” (another Top 5 hit) and “The Love Too Good To Last,” respectively.
1981 proved to be no less a successful year with the release of Black and White, a
companion piece of sorts to Special Things. Similarly, uptempo tracks (“Sweet Lover Man,”
“Take My Heart, Take My Soul”) were sequenced comfortably along more relaxed affairs
(“What A Surprise,” “Someday We’ll Be Together”). It was “Slow Hand,” though, that shot to
the number two spot on Billboard’s pop chart. Oozing with a creamy lead guitar, Anita
effectively paints the picture of the “midnight moon” and a “blanket of stars” with one of her
most textured vocal performances. Sisters Ruth and June phrase “easy touch” and
“heated rush” with subtle sensuality. Not surprisingly, it remains a cornerstone in the
Pointer Sisters catalog.
Their fifth album with Perry, So Excited, incorporated more synthesizers into the musical
fold as evidenced by the sassy “If You Wanna Get Back Your Lady.” Mid-tempo tracks
furnished both sides of the record and were more pop-driven than the tunes on Special
Things and Black and White. (Of particular note to collectors: just two years before Chaka
Khan turned out the definitive version of “I Feel For You,” Ruth, Anita, and June tackled the
Prince-penned tune on So Excited.)
The Pointers are clearly enjoying themselves on the cover of So Excited (shot by Norman
Seeff) and with good reason: after nearly a decade of recording, their songs were becoming
staples on radio and the corresponding albums earned gold records. However, the Pointers
Sisters’ best was yet to come and a remixed version of So Excited’s title track lead the way…
Perfume, luxurious furs, and bath suds were the accoutrements du jour in the Pointers’
video for “I’m So Excited.” No longer in hats, scarves, and flamboyant retro wear, Ruth,
Anita, and June epitomized early 1980’s glamour in this film short. In no less than four
minutes, the Pointers primp and prepare before morphing into a sequined-styled trio, taking
the stage in a small after-hours club. The video signaled the Pointers’ burgeoning chart
success with the release of Break Out. Perhaps a more apt name for the album is “Break
Through” for the Pointers Sisters reached a new level of commercial success during the
two years following the album’s release in 1983. Richard Perry immersed Ruth, Anita, and
June in a dance-pop context and succeeded with a steady stream of Top 10 hits:
“Automatic,” “Jump (For My Love),” “Neutron Dance,” and the remix of “I’m So Excited.”
An exquisite dance-ballad “I Need You,” and the salacious “Baby Come and Get It” (co-
written by James Ingram) also garnered modest airplay.
On the heels of Break Out’s impressive chart run, and after being honored at the 1985
Grammy Award and American Music Award ceremonies, the Pointers Sisters returned with
another dance-pop fusion on Contact. Though the album featured a few memorable
performances, most notably “Dare Me,” “Freedom,” and “Back in My Arms” (with lead
vocals by June, Anita, and Ruth respectively), the bulk of the material seemed contrived to
replicate the winning formula of Break Out. Subsequent releases, Hot Together (1986) and
Serious Slammin’ (1988) were less memorable and found Richard Perry burying the Sisters’
unique voices underneath layers of tired synthesizer tracks. What had worked so well five
years earlier stultified the Pointer Sisters’ artistic growth at the close of the 1980’s.
Switching labels and producers, Right Rhythm marked Ruth, Anita, and June’s only
Motown release. Like label mate Diana Ross, the Pointer Sisters attempted to adapt to the
popular new jack and hip-hop rhythms of the early 1990’s with lackluster results. In 1993,
the Pointers returned with their strongest album in close to a decade. Released on the SBK
label, Only Sisters Can Do That recalled the balance of pop, soul, and dance that had made
albums like Special Things and Black and White so appealing. The material, produced by J.
Geils Band member Peter Wolf, highlighted the individual qualities of each sister’s voice.
Anita delivered a strong yet sensual lead on “I Want Fireworks.” Ruth wrapped her
commanding voice around the tender “Don’t Walk Away,” with a guest appearance by the
song’s co-writer, Michael McDonald. “Feel for the Physical” and “Vibetime,” whose titles
almost suggest a superficial ploy to join Janet Jackson in exploring the nocturnal
playground, are two very fine dance cuts on the album. The autobiographical title track is a
joyful, rollicking affair that captures the Sisters in a playful mood and cements the twenty-
year anniversary of the Sisters’ eponymous debut album.
Though the Pointer Sisters toured throughout the ‘90’s (even appearing in a production
celebrating the music of Fats Waller, Ain’t Misbehavin’), they have not released an album of
new studio material in eleven years. The generation who came of age grooving to En
Vogue, TLC, SWV, and (later) Destiny’s Child may not realize that the Pointer Sisters were
the reigning female R&B singing group on the airwaves between the late ‘70’s and middle
‘80’s. Like The Supremes before them, the Pointers attracted a range of listeners with
different tastes. Only the Pointer Sisters could win the respect of an audience at the Grand
Ole Opry, pay tribute to Duke Ellington, cover material by everyone from Sam Cooke to
Steely Dan, top the dance charts, sing the words of Maya Angelou, work with Bruce Willis
and Barbra Streisand, and navigate through the ever changing tide of popular music with
grace and dignity to spare.
RECOMMENDED LISTENING:
The Pointer Sisters (1973, Blue Thumb)
That’s A-Plenty (1974, Blue Thumb)
Live at the Opera House (1974, Blue Thumb)
Energy (1978, Planet)
Special Things (1980, Planet)
Black & White (1981, Planet)
Break Out (1983, Planet)
Only Sister Can Do That (1993, SBK)
Fire: The Very Best of the Pointer Sisters (1996, RCA)
Yes We Can Can: The Best of the Blue Thumb Recordings (1997, Hip-O)
For further information, visit: www.thepointersistersfans.com
Christian John Wikane’s e-mail address is: mountainhigh79@hotmail.com
"They've Got The Power!"
By Christian John Wikane
It is my hope the Pointer Sisters are remembered beyond “Neutron Dance.” In fact, it is my
hope that the Pointer Sisters are remembered, period. Though the "Billboard" charts haven’
t housed a Pointer Sisters song in well over a decade, the legacy of Anita, Ruth, June, and
Bonnie Pointer proves that their hits are only half the story.
Sporting vintage attire from the 1940’s and singing everything from country music to show
tunes might bewilder a 21st century audience conditioned to scandalous frocks and
sampled riffs makes the Pointer Sisters all the more remarkable in the pantheon of R&B
artists. Their early ‘70’s incarnation, featuring all four sisters, fused together the couture of
the Andrew Sisters with the soulful rhythms of Martha & the Vandellas. The Pointers
scatted the length of the musical scales with each sister adding a special nuance to the
group’s unique sound. Even after Bonnie’s departure in the mid-‘70’s, the voices of Ruth,
Anita, and June continued in the spotlight. On any number of compilations highlighting their
commercial peak in the 1980’s, it’s evident that each sister helped score a hit with her
distinctive lead vocal, whether it be Anita’s seductive purr on “Slow Hand” or Ruth’s robotic
reading of “Automatic.” All sisters have released singles and solo albums over the years,
but none has captured the energy, excitement, and soulfulness of when the family sings
together.
Raised by Reverends Elton and Sarah Pointer in Oakland, California, the Pointer daughters
were not encouraged to sing the secular music that would later spark a successful
recording career. Though their childhood years were spent listening to gospel music, Ruth,
Anita, Bonnie, and June eventually immersed themselves in an eclectic mix of musical
styles as teenagers. Diverging from the church and into jazz, country, and rhythm and
blues expanded the sisters’ musical radar. After finishing high school, Anita and Ruth each
married and began raising children while June and Bonnie performed together as “Pointers-
A-Pair.” The duo became a trio when Anita climbed aboard; thus, the first incarnation of the
“Pointer Sisters” was born.
A live gig with Elvin Bishop helped land the Pointer Sisters a recording contract at Atlantic
Records. Their first single, “Don’t Try to Take the Fifth,” was a well-intentioned but poorly
received effort. With no shortage of singing trios on the radio in 1972, the single got lost in
the shuffle. However, more than thirty years later, one hears potential in the group’s
performance. Though not a bad tune, it was too safe a choice for a group whose talent
stretched outside the confines of conventional R&B.
Knowing that the Pointer Sisters needed artistic nurturing, David Rubinson brought them to
his production company, “David Rubinson & Friends.” Having produced a diverse roster
of talent, such as Taj Mahal, Moby Grape, and Herbie Hancock, Rubinson afforded the
Pointers an opportunity to exercise their musical muscle. With the addition of Ruth, the
Sisters signed with Blue Thumb Records label and recorded their debut album, The Pointer
Sisters, in 1973. Impressive from start to finish, the album boasts a delightful cocktail of
styles ranging from down and dirty blues (Wille Dixon’s “Wang Dang Doodle”) to scat-
inflected jazz (“Cloudburst”). A single edit of Allen Toussaint’s socially conscious “Yes We
Can Can” was lifted for radio play and shot to #11 on Billboard’s Pop Chart. Featuring an
extended bass, drum, and guitar introduction, the tune emphasizes a “less is more
approach” in its instrumentation. Where “Don’t Try to Take the Fifth” might have suffered
from overproduction, “Yes We Can Can” succeeded with its highly effective musical
sparseness and unique vocal arrangement.
Their second album for Blue Thumb, That’s A- Plenty, further reflected the Pointers’
penchant for picking music that defied industry categorization. “The Pointer Sisters like
country!” exclaimed Anita Pointer on the occasion of the group’s historic appearance at the
Opera House in San Francisco (recorded for a double live album in 1974). Indeed, track two
on side two of That’s A-Plenty is a wistful little tune called “Fairytale.” Replete with fiddles,
slide guitar, and a loping bass lick, it’s the album’s centerpiece. Not only did the song make
the country & western Top 40, but it also won the Pointer Sisters their first Grammy for – of
all things – Best Country & Western Performance by a Group. Elsewhere on the album was
the Sisters’ trademark trading of scat lead vocals, immortalized on their spine-tingling cover
of Dizzy Gillespie’s “Salt Peanuts.” Backed by drums, bass, and piano, the siblings
wondrously whirl through words and syllables at nearly twice the speed of 33 1/3 RPM. On
the Opera House recording, the audience is clearly awestruck by Ruth, Anita, June, and
Bonnie’s ability to mirror the studio version of Gillespie’s composition in live performance.
The Pointers Sisters also worked the sweaty and (often) shirtless clientele of gay clubs into
a frenzy with another trademark of their Blue Thumb recordings: the extended mix.
Predating twelve-inch single releases, songs like “Love in Them There Hills,” “How Long
(Betcha Got a Chick on the Side),” and “Going Down Slowly” featured funky and lengthy
intros, two or three verses, a catchy refrain, and a gradual build towards a musical climax.
Clocking in just under or over eight minutes, these tracks afforded DJ’s a multitude of
mixing options to effect another type of “climax” on the club crowd.
However, the climax of the Pointer Sisters’ success as a quartet passed after the release of
Steppin’ in 1975. Though they made high profile appearances on everything from “Carol
Burnett & Friends” to “Sesame Street” to the film Car Wash, the retro gimmick had worn its
wear on the Pointers. Bonnie sought a solo career and was rewarded with her own club
hits on the Motown label in the late ‘70’s while the remaining Sisters made one last album
for the Blue Thumb label in 1977 (the rather uninspiring Havin’ A Party).
Without Bonnie in tow, Ruth, Anita, and June won the attention of producer Richard Perry.
Perry was one of the most sought-after producers of the 1970’s, having worked with Diana
Ross and Barbra Streisand as well as scoring number one hits for Carly Simon, Harry
Nilsson, and Leo Sayer. His instincts in the studio proved to be just as successful for the
Pointer Sisters. Perry salvaged their career and expanded their audience by selecting a
variety of songs written by established rock artists and refashioning them with the Sisters’
distinctive voices. Released in 1978 on the Planet label, Energy featured soulful covers of
material by such artists as Loggins & Messina, Fleetwood Mac, Steely Dan, and Bruce
Springsteen. The slyly suggestive “Fire” (written by Springsteen) earned the Pointer
Sisters their first Top 5 pop hit and became one of the trio’s signature songs. A
composition by Allen Toussaint, “Happiness,” added a large dose of funk and soul to the
mixture. The Sisters’ demands to “keep it comin’” over a feverish bass line is an
exuberantly seductive sequence that adds plenty more “fire” their first collaboration with
Perry. (Self-proclaimed “space cowboy” Jamiroquai recently cited the tune as being a
strong influence.)
Outfitted in denim and overalls, the stark black and white cover image of the Pointer Sisters
on Priority (1979) indicated the hard-edged, bluesy material inside the record jacket. Perry
assembled a first-rate studio band, including guitarist Waddy Wachtel, to usher the Sisters
through songs by The Band (“The Shape I’m In”), the Rolling Stones (“Happy”),
Springsteen (“She’s Got the Fever”), Graham Parker (“Turned Up Too Late’), and Bob Seger
(“All Your Love”). Though the album marks one of the Pointers Sisters most musically
consistent releases, radio was not warm to Perry’s innovative reshaping of the material or
the decidedly rock direction the Sisters were taking.
1980 marked yet another turning point for the Pointer Sisters. After the disappointing
reception of Priority, Perry pointed the sisters in the direction of pop and urban
contemporary on Special Things. Unlike its predecessors, not a rock tune was to be found.
Ebullient tracks like “Could I Be Dreamin’” and “We’ve Got the Power” bridged the Sisters
back to DJ turntables while established songwriting teams, such as Barry Mann/Cynthia
Weil and Burt Bacharach/Carole Bayer Sager, lent their pens to the project with “He’s So
Shy” (another Top 5 hit) and “The Love Too Good To Last,” respectively.
1981 proved to be no less a successful year with the release of Black and White, a
companion piece of sorts to Special Things. Similarly, uptempo tracks (“Sweet Lover Man,”
“Take My Heart, Take My Soul”) were sequenced comfortably along more relaxed affairs
(“What A Surprise,” “Someday We’ll Be Together”). It was “Slow Hand,” though, that shot to
the number two spot on Billboard’s pop chart. Oozing with a creamy lead guitar, Anita
effectively paints the picture of the “midnight moon” and a “blanket of stars” with one of her
most textured vocal performances. Sisters Ruth and June phrase “easy touch” and
“heated rush” with subtle sensuality. Not surprisingly, it remains a cornerstone in the
Pointer Sisters catalog.
Their fifth album with Perry, So Excited, incorporated more synthesizers into the musical
fold as evidenced by the sassy “If You Wanna Get Back Your Lady.” Mid-tempo tracks
furnished both sides of the record and were more pop-driven than the tunes on Special
Things and Black and White. (Of particular note to collectors: just two years before Chaka
Khan turned out the definitive version of “I Feel For You,” Ruth, Anita, and June tackled the
Prince-penned tune on So Excited.)
The Pointers are clearly enjoying themselves on the cover of So Excited (shot by Norman
Seeff) and with good reason: after nearly a decade of recording, their songs were becoming
staples on radio and the corresponding albums earned gold records. However, the Pointers
Sisters’ best was yet to come and a remixed version of So Excited’s title track lead the way…
Perfume, luxurious furs, and bath suds were the accoutrements du jour in the Pointers’
video for “I’m So Excited.” No longer in hats, scarves, and flamboyant retro wear, Ruth,
Anita, and June epitomized early 1980’s glamour in this film short. In no less than four
minutes, the Pointers primp and prepare before morphing into a sequined-styled trio, taking
the stage in a small after-hours club. The video signaled the Pointers’ burgeoning chart
success with the release of Break Out. Perhaps a more apt name for the album is “Break
Through” for the Pointers Sisters reached a new level of commercial success during the
two years following the album’s release in 1983. Richard Perry immersed Ruth, Anita, and
June in a dance-pop context and succeeded with a steady stream of Top 10 hits:
“Automatic,” “Jump (For My Love),” “Neutron Dance,” and the remix of “I’m So Excited.”
An exquisite dance-ballad “I Need You,” and the salacious “Baby Come and Get It” (co-
written by James Ingram) also garnered modest airplay.
On the heels of Break Out’s impressive chart run, and after being honored at the 1985
Grammy Award and American Music Award ceremonies, the Pointers Sisters returned with
another dance-pop fusion on Contact. Though the album featured a few memorable
performances, most notably “Dare Me,” “Freedom,” and “Back in My Arms” (with lead
vocals by June, Anita, and Ruth respectively), the bulk of the material seemed contrived to
replicate the winning formula of Break Out. Subsequent releases, Hot Together (1986) and
Serious Slammin’ (1988) were less memorable and found Richard Perry burying the Sisters’
unique voices underneath layers of tired synthesizer tracks. What had worked so well five
years earlier stultified the Pointer Sisters’ artistic growth at the close of the 1980’s.
Switching labels and producers, Right Rhythm marked Ruth, Anita, and June’s only
Motown release. Like label mate Diana Ross, the Pointer Sisters attempted to adapt to the
popular new jack and hip-hop rhythms of the early 1990’s with lackluster results. In 1993,
the Pointers returned with their strongest album in close to a decade. Released on the SBK
label, Only Sisters Can Do That recalled the balance of pop, soul, and dance that had made
albums like Special Things and Black and White so appealing. The material, produced by J.
Geils Band member Peter Wolf, highlighted the individual qualities of each sister’s voice.
Anita delivered a strong yet sensual lead on “I Want Fireworks.” Ruth wrapped her
commanding voice around the tender “Don’t Walk Away,” with a guest appearance by the
song’s co-writer, Michael McDonald. “Feel for the Physical” and “Vibetime,” whose titles
almost suggest a superficial ploy to join Janet Jackson in exploring the nocturnal
playground, are two very fine dance cuts on the album. The autobiographical title track is a
joyful, rollicking affair that captures the Sisters in a playful mood and cements the twenty-
year anniversary of the Sisters’ eponymous debut album.
Though the Pointer Sisters toured throughout the ‘90’s (even appearing in a production
celebrating the music of Fats Waller, Ain’t Misbehavin’), they have not released an album of
new studio material in eleven years. The generation who came of age grooving to En
Vogue, TLC, SWV, and (later) Destiny’s Child may not realize that the Pointer Sisters were
the reigning female R&B singing group on the airwaves between the late ‘70’s and middle
‘80’s. Like The Supremes before them, the Pointers attracted a range of listeners with
different tastes. Only the Pointer Sisters could win the respect of an audience at the Grand
Ole Opry, pay tribute to Duke Ellington, cover material by everyone from Sam Cooke to
Steely Dan, top the dance charts, sing the words of Maya Angelou, work with Bruce Willis
and Barbra Streisand, and navigate through the ever changing tide of popular music with
grace and dignity to spare.
RECOMMENDED LISTENING:
The Pointer Sisters (1973, Blue Thumb)
That’s A-Plenty (1974, Blue Thumb)
Live at the Opera House (1974, Blue Thumb)
Energy (1978, Planet)
Special Things (1980, Planet)
Black & White (1981, Planet)
Break Out (1983, Planet)
Only Sister Can Do That (1993, SBK)
Fire: The Very Best of the Pointer Sisters (1996, RCA)
Yes We Can Can: The Best of the Blue Thumb Recordings (1997, Hip-O)
For further information, visit: www.thepointersistersfans.com
Christian John Wikane’s e-mail address is: mountainhigh79@hotmail.com
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