Journalist, Political Reporter, Cultural Critic, Editor/Proofreader
Alex V. Henderson
Philadelphia, PA
vixenatr
October 2012
Angela Clemmons
Angela Clemmons
Much has changed in the music industry since the 1980s. iPods are more plentiful than ghetto blasters, people often read about music on websites rather than in physical magazines or newspapers, and a singer, manager or producer in Australia or New Zealand can use the Internet to send audio files to a colleague in Scandinavia in a matter of seconds. But one thing about the music industry that hasn’t changed is its fiercely competitive nature. Some talented singers achieve the recognition they deserve, while others are underexposed—and in 1980s, Angela Clemmons was among the R&B talents who didn’t receive as much commercial recognition as she deserved. Nonetheless, the Connecticut-based vocalist (who was often compared to Deniece Williams because of her ability to hit the high notes) recorded two solid albums for Portrait/Epic Records in the 1980s: 1982’s promising Angela Clemmons and the 1987 follow-up This Is Love, both of which helped her to acquire a small following.
Clemmons was only 18 when, in 1980, her passionate version of the ballad “Out Here On My Own” (which Irene Cara made famous in the movie Fame) was released as her debut single. Two years later, Portrait/Epic released this self-titled debut album and chose the energetic “Give Me Just a Little More Time” as a single—which proved to be a wise move in light of how well-received it was in dance clubs. Originally recorded by the Chairmen of the Board for Brian Holland, Lamont Dozier & Eddie Holland’s Hot Wave/Invictus label in 1970, “Give Me Just a Little More Time” started out as pure Detroit soul. Holland/Dozier/Holland, of course, enjoyed major success during their association with Motown Records in the 1960s, and that Motor City sound was unmistakable when they produced “Give Me Just a Little More Time” for the Chairman of the Board. The song was a major hit in 1970, peaking at #3 on Billboard’s Hot 100 chart and selling over one million copies in the United States alone (the song was also a #8 R&B hit in Billboard). But Clemmons, rather than emulating the Chairman of the Board, took the song in a different direction 12 years later and gave it an inspired disco-soul makeover. Dance clubs proved quite receptive; Clemmons’ single was a major club hit. And while it didn’t burn up the R&B charts the way she no doubt hoped it would, it became a Top 5 hit on the dance singles charts.
Someone who grooved to “Give Me Just a Little More Time” in clubs back in 1982 might have been tempted to think of Clemmons as a dance diva, but disco-soul is not the main focus of this album. The perky “Fill You Up” and the very danceable “Mine” have a strong disco-soul orientation, yet most of Angela Clemmons is more quiet storm than disco. Indeed, the quiet storm factor is as prominent on the soul ballads “When You're Through, I'll Be Waiting,” “Sure Thing,” “Let Me Feel Your Love Again” and “Keep It Warm for Me” as it is on the mid-tempo “Uneasy.”
In addition to Clemmons herself, two of the people who do a lot to give this album its soulful character are the late producer Paul Leka and songwriter/vocalist Michael W. Brown (who wrote most of the material). Leka had a diverse résumé; after producing major 1960s rock hits like “Na Na Hey Hey Kiss Him Goodbye” for Steam, “Will You Be Staying After Sunday” for the Peppermint Rainbow and “Green Tambourine” for the Lemon Pipers, Leka went on to work with everyone from folk-rocker Harry Chapin to arena rockers REO Speedwagon to disco-soul diva Gloria Gaynor. And when Leka joined forces with Clemmons, he obviously wanted her “Give Me Just a Little More Time” single to have soul appeal as well as disco appeal. There were different types of disco in the late 1970s and early 1980s, ranging from the European sound associated with artists like Love & Kisses, Silver Convention, Boney M, the Munich Machine and Cerrone to the soul-drenched disco of Gaynor, Loleatta Holloway, Linda Clifford and the Trammps—and Leka clearly envisioned Clemmons as part of disco-soul rather than Euro-disco.
Clemmons and Leka (who was also from Connecticut) were not only musical associates; they were also close personal friends. And when Leka died in 2011 at the age of 68, Clemmons performed the gospel standard “Amazing Grace” at a funeral luncheon along with fellow singers Michael Brown and Denise Levasseur.
Clemmons’ association with Portrait/Epic Records ended with her second album, This Is Love—and after that, she didn’t record any more albums. But even though Clemmons’ only has two albums in her catalogue, she has done a lot behind the scenes. Clemmons has recorded her share of jingles for commercials over the years, and she has provided background vocals for Aretha Franklin, Celine Dion, Cyndi Lauper, Aldo Nova, George Benson, Vaneese Thomas, Jewel, Roberta Flack and other major artists.
These days, Clemmons still lives in Connecticut, where she has a successful career as a real estate agent. And she continues to sing on the side, performing both gospel and secular music. In fact, Clemmons’ gospel background (her father was a Protestant minister) clearly influenced her when she recorded Angela Clemmons back in 1982. Gospel (which is arguably the “R” in R&B) had a big influence on the classic soul that Clemmons enjoyed growing up, and even though this is a secular album, the influence of African-American gospel comes through. That gospel influence asserts itself whether Clemmons is taking a disco-soul approach or taking a quiet storm approach, and it asserts itself on the two bonus tracks that appear on this reissue: “Out Here on My Own” and the extended 12” single version of “Give Me Just a Little More Time,” neither of which appeared on the album’s original LP configuration.
Thirty years after its original release, Angela Clemmons remains a testament to the singer’s soulful talents.
—Alex Henderson, October 2012
Copyright 2022 Alex V. Henderson. All rights reserved.
Alex V. Henderson
Philadelphia, PA
vixenatr