13 Commodores

• 1 I'm In Love 04:07
• 2 Turn Off The Lights 04:22
• 3 Nothing Like A Woman 04:57
• 4 Captured 04:36
• 5 Touchdown 04:50
• 6 Welcome Home 05:20
• 7 Ooo, Woman You 04:22
• 8 Only You 05:00
• Total Runtime 37:34

Info zu 13

„For the Commodores, losing Lionel Richie in 1982 was a lot like L.T.D. losing Jeffrey Osborne and Rose Royce losing Gwen Dickey -- it was a severe blow, although not a fatal one. In fact, the Commodores had a few major hits after Richie's departure, including 'Nightshift' (a number one R&B/number three pop smash) in 1984 and 'Goin' to the Bank' in 1986. Released in 1983, Commodores 13 was the band's first post-Richie album as well as its first album without producer James Carmichael (who had been working with the Commodores since 1974). This LP came out around the same time as Richie's second solo album, Can't Slow Down, which sold over eight million copies in the U.S. alone. Commodores 13 didn't do nearly that well, although it's a generally decent, if uneven, record that had a number 20 R&B hit in 'Only You.' The lead vocals are handled by Walter Orange, Thomas McClary, and the Mean Machine's Harold Hudson, who was an interim vocalist rather than an official full-time vocalist. Not surprisingly, the Commodores cover both their R&B bases and their pop bases, getting into everything from sleek keyboard funk ('Touchdown,' 'Nothing Like a Woman') to adult contemporary ballads ('Only You'). Meanwhile, 'Ooo Woman You,' which McClary co-wrote with Melissa Manchester, is a catchy pop/rock number. Is Commodores 13 a masterpiece? No. This release isn't in a class with essential treasures like 1976's Hot on the Tracks or 1977's The Commodores. But it isn't a bad album, and it indicated that there could be life after Lionel Richie for the Commodores.“ (Alex Henderson. AMG)

Bill Champlin, vocals
David Cochrane, vocals
Harold Hudson, vocals
Melissa Manchester, vocals
Thomas McClary, vocals
Walter Orange, vocals
Phyllis St. James, vocals
Deborah Thomas, vocals
Tandia White, vocals
Vesta Williams, vocals
Michael Dunlap, guitar
Thomas McClary, guitar
Milan Williams, guitar
David Cochrane, bass
Ronald LaPread, bass
Bill Champlin, keyboards
Harold Hudson, keyboards
Milan Williams, keyboards
Bill Champlin, piano
Eric Daniels, piano
Harold Hudson, piano
William King, trumpet
Paulinho Da Costa, percussion
Walter Orange, drums
Steve Schaeffer, drums
David Cochrane, synthesizer
Michael Boddicker, synthesizer
David Cochrane, saxophone, vocoder

Engineered by Jane Clark, Magic Moreno, Norman Whitfield
Produced by William King, Thomas McClary, Walter Orange

Digitally remastered

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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