Teddy Pendergrass ‘Life Is a Song Worth Singing’ feat. ‘Only You’ & ‘Close the Door’ is his second album released on June 2, 1978 by Philadelphia International Records.
Track Listing : 1.Life Is A Song Worth Singing (Thom Bell, Linda Creed) – 04:11 . 2.Only You (Kenny Gamble, Leon Huff) – 05:04 . 3.Cold, Cold World (Victor Carstarphen, Gene Mcfadden, John Whitehead) – 04:33 . 4.Get Up, Get Down, Get Funky, Get Loose (Kenny Gamble, Leon Huff) – 05:24 . 5.Close The Door (Kenny Gamble, Leon Huff) – 05:25 . 6.It Don’T Hurt Now (Sherman Marshall, Ted Wortham) – 06:00 . 7.When Somebody Loves You Back (Kenny Gamble, Leon Huff) – 04:57
Musicians : Teddy Pendergrass – Vocals
Production : Produced By Kenny Gamble, Leon Huff, Jack Faith, Gene Mcfadden, John Whitehead, Victor Carstarphen, Sherman Marshall . Thom Bell, Jack Faith . Jerry Block – Engineer . Jim Gallagher – Engineer . Peter Humphreys – Assistant Engineer . Jay Mark – Engineer . Darrell Rogers – Assistant Engineer . Rocky Schnaars – Assistant Engineer . Jeffrey Stewart – Assistant Engineer . Arthur Stoppe – Engineer . Joe Tarisa – Engineer . Mike Mixx Tarisa – Assistant Engineer
Arrangements : Thom Bell, Jack Faith
Package : Phyllis H.B. – Design . Ronald G. Harris – Photography . Ed Lee – Design . David Nathan – Liner Notes
Recorded 1977–1978 At Sigma Sound Studios, Philadelphia, Pennsylvania.
Released On June 2, 1978 By Philadelphia International Records.
Life Was a Song Worth SingingWhen asked by The Amsterdam News to describe “Close the Door”, Pendergrass simply replied “panty wetter”, an apt description for many of the ballads on Life is a Song Worth Singing (the title track, a remake of Thom Bell produced Johnny Mathis recording from 1973) […]
Close the Door and its successor in 1979, Turn off the Lights, became the epitomes of the ”bedroom ballad”. For some the term might represent the debasement of soul music, ”wet-crotch music” as somebody called it, but I would disagree. […]
Romantic schlock at its sexiest and most honest. Pendergrass is in such control of his instrument that the more commonplace of the Sigma Sound orchestrations never spoil the mood, while the good ones–let’s hear it for the sax breaks on Only You–accent it the way they’re supposed to. […]
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