Soul Music.com Archives: Phil Perry (2006)
This article was originally published in our "Soul Talkin'" section in 2006.
PHIL PERRY
PHIL PERRY
- by Jeff Lorez (Dejanu Music)
New York, April, 2006: There are certain singers that are widely known in the music industry as
“singer’s singers”. Incredibly talented vocalists that for whatever reason never attained the
solo celebrity that their talent deserves but are known amongst fellow artists as being the go to
people when you need a job done and done well. Just as musicians such as Greg Phillinganes,
Paulinho Da Costa, Ricky Lawson, Sonny Emory and Nathan East to name but a few are not
publicly well known but in the industry they command top dollar from the A-list acts, similarly
there are a handful of such singers. Phil Perry is one. Anita Baker, Rod Stewart, David Sanborn,
Quincy Jones and George Duke are just some of the artists/producers that have called upon
Perry’s midas touch in the studio or on the road.
- The early ‘90’s saw Perry debut on Capitol Records and immediately enjoy success with his
remake of Aretha’s “Call Me”, a US R&B #1. Another cover, this time of Patti Labelle’s “If Only
You Know” was another hit for Perry in ’94. Fitting, then that the golden toned crooner, who
debuted in the early ‘70’s as the lead singer of the vocal group, The Monclairs, should decide
to record a complete album of romantic soulful covers, entitled applicably, “Classic Love
Songs”. Also applicable that Shanachie, a label, best known for it’s smooth jazz is the name
behind it as in recent years the East St. Louis born, California based Perry has carved a niche
within this arena, guesting on records by guitarist Lee Ritenour and evergreen fusion combo,
The Rippingtons.
Songs included on Perry’s latest collection include Marvin Gaye’s “I Want You”, The
Temptations, “Just My Imagination”, the Stylistics “People Make the World Go Round”, Spinners
“I’ll Be Around” and Debarge’s “All This Love” amongst other R&B standards. However,
refreshingly, Perry doesn’t merely give karaoke like renditions of the originals but personalizes
the songs, without forsaking the essence of what made them hits in the first place. A tough
balancing act.
Q: How did this album come about, Phil?
P.P.: Chris Davis, the producer, asked me if I wanted to do a record of all covers and I said
“Sure!”. I’ve worked with him on my records and I enjoyed it. Now on every solo record I’ve
ever done I’ve done covers. This, though, is an entire album of covers and it requires a totally
different overview as a project, so that was the challenge. There are seven no. 1 songs on this
CD and I know they’re great songs. My job was to keep the things on there that made them
great. It was about melodies so that’s what I sang. I didn’t want to reinvent the wheel.
Q: Did you relate on a personal level to any or many of these songs?
P.P: All the songs I sang, I have a personal connection to because I grew up with mot of them.
Q: What was the musical climate like in East St. Louis when you grew up in the ‘60’s?
P.P.: We’re talking pre-conglomerate radio where you can hear the 12 top 20 songs in the
country in an area with all different styles represented. You don’t get that on the radio today –
from Stax to Motown, to Philly to the Chicago sound. I have children and I tell them all the time.
“I feel sorry for y’all. You ain’t got much music content to listen to.” I’m not baggin’ on hip-hop
as I have a 20 year-old who’s a composer of hip-hop. The other side of the coin is that their
music choice isn’t reflective of anything that’s not entertainment. It’s not anything you’ll listen
to 30 years from now. I feel bad for them on one hand but I feel good that they grew up listening
to their dad make music that could sustain the test of time.
I know there are melodies being written and recorded today but you’re not hearing them on the
air today. I’m wondering has the industry replaced ears with human robots?
Q: I think there’s going to be backlash, there has to be because the public isn’t being satiated
by the material that the major labels put out or that radio is playing.
P.P.: Now they have satellite radio. Thirty years ago people didn’t think paying for TV would work
but now it’s an essential, so I think eventually people will pay for satellite radio and they’ll go to
what they want to hear. I don’t think the 40 plus demo in radio has been addressed in 20 years.
It didn’t happen because those artists that those people liked to hear stopped making music. It
happened because those artists stopped getting airplay on those radio stations.
Q: You’ve worked with some of the greats of our time. Who have been the most impressive?
P.P.: James Ingram is at the top of the list because of his musicality and the command he has
with his voice. Will Downing I would have to say the same thing about. The Whispers because
they’ve been together for 40 years and they still sound incredible. When you see them live you’
re reminded of just how many hits they’ve had and their show is still entertaining and exciting.
The thing that gets me about all those people is that they never played the flavor of the month
card. They were always true to what they believed in.
George Duke - He’s such an incredible musician and he’s a nicer person than he is a talented
musician. Quincy Jones, Patti Austin, Lee Ritenour, David Sanborn, Anita Baker are the same
way. When you work with someone in a side-man capacity you get an interesting observation on
how they feel about what they do. Some people will step on anybody in their entourage to
shine. Other’s let everybody in their entourage shine – or they wouldn’t be there. Over the
years you learn the subtle traits of both.
Q: Is there anyone from the current generation of singers that impresses you?
P.P.: I like Craig David. I like his style, his tone. I don’t think he’s done the type of stuff he’s
capable of doing. There are a lot of talented young singers out there. The question is, what are
they singing?
Q: What’s your working schedule like these days? Are you on the road much?
P.P.: I write. I go out and do shows. I have a show this weekend in Columbus, Ohio with Will
Downing and some other people. I’m doing the Las Vegas jazz festival on April 22nd with Boney
James.
Q: What about future plans? How would you like to see your career progress?
P.P.: I’d like do to some more movie things. Underscoring music for film. I’d like to make records
and work with younger people like Brian Mcknight. I’ve admired him from a long time.
Q: I remember I interviewed you back in the early ‘90’s when you were on Capitol and you told
me that you were home schooling your kids.
P.P.: My daughter’s graduating from high school next month and I have a daughter that’s a
junior in High School and a son that’s a freshman in High School. Once they got to 5th or 6th
grade we sent them to school.
Q: What are the schools in LA like?
P.P.: The schools in LA leave a lot to be desired but we don’t live in LA and the kids go to a
magnate school. The quality of education in the school they’re in is much better than that at a
public school.
Q: Are your kids musically inclined at all? Do they ask you to get involved?
P.P.: My son has asked me to do a couple of things with him but I’m always on the road so it
hasn’t happened yet but my daughter has sung on several things of his. When you’re in the
music biz as long as I’ve been your kids grow up in the business, too. I’m amazed at their
musical ability. My daughter’s been doing commercials since she’s been 11. But she’s not
planning for a career in this business.
Q: It’s rare to find someone in this business who’s has a long marriage and successfully raised
a family. Have you got any advice?
P.P.: No! I mess up like anyone and when I do I say I’m sorry. But I have to credit my wife. It takes
a special kind of person with a special capacity to love to assist you in keeping the family unit
together amidst the music industry.
(c) 2006, Dejanu Music
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