Sensational '70's Tune for Tuesday, July 14th, '09

As the first single the Spinners released on Atlantic after leaving Motown/ VIP, 1972's "I'll Be Around" not only marked the beginning of a long, fruitful stay with the label, but also the group's remarkable collaboration with producer/songwriter Thom Bell. Prior to teaming with the Spinners, Bell had success with the Delfonics (including the lush, romantic "La La Means I Love You" and "Didn't I [Blow Your Mind This Time]") and had established a reputation as a classy, innovative arranger at Gamble & Huff's Philadelphia International Records, but 1972 is really when he hit his stride. During that year, he began working with both the O'Jays and the Spinners, helping them become the two biggest soul vocal groups of the '70s. "I'll Be Around" went a long way in establishing the reputations of both Bell and the Spinners. Structurally, the song, written by Bell/ Hurtt, expanded upon the Spinners' 1970 breakthrough hit "It's a Shame." Like that song, it opened with a crystal-clear, indelible guitar hook that led into the group's magnificent harmonies. Of course, there were major differences in tone and production. Where "It's a Shame" was fairly up-tempo, "I'll Be Around" was a smooth, seductive groove that was simultaneous lean and lush. Bell's production was unfailingly classy and sophisticated -- although there were strings and horns, they're never overstated, since he chose to have the bass and drums pin down a nimble, funky slow groove and keep the Spinners at center stage. He wound up finding the sonic equivalent of the song's dignified message of devotion. After all, the narrator is pledging his love to a lover that just left him for another -- but, if she ever changes her mind and decides to return, he'll be around. He's "bowing out gracefully," but he still wants her love, a mixed emotion that Bobbie Smith captured perfectly with his lead vocal. As a producer, Bell found the right tone -- he's so convincing, in fact, that it's hard to imagine the girl not returning to Smith. However, Bell's work as a songwriter was every bit as strong as it was as a producer. Take away his signature strings and tight grooves, and the song is still an effective romantic plea -- as covers by Regina Belle and G.C. Cameron prove. No matter how good these other recordings are, it's still impossible to top the Spinners' original hit single, which was an ideal match of song, performance, arrangement, and production.