Blue Magic -

Blue Magic was an American soul group from Philadelphia that released five albums on ATCO between 1974 and 1978, followed by an album apiece on Capitol and Omni during the early 1980s.

Members: Keith “Duke” Beaton (tenor vocals), Ted “The Wizard” Mills (lead vocals, 1972-90, 2012-present), Wendell Sawyer (baritone vocals, tenor vocals, lead vocals, 1972-77, 1981-present), Vernon Sawyer (tenor vocals, baritone vocals, 1972-77, 1981-2008), Richard Pratt (bass vocals, 1972-81), Michael Buchanan (baritone vocals, 1977-81), Walter Smith (tenor vocals, 1977-81)

Background

Blue Magic were culled from an unrecorded vocal group called Shades of Love, which featured Keith Beaton, Richard Pratt, Vernon Sawyer, and his brother Wendell. In 1972, they were summed by songwriter and vocalist Ted Mills to cut material in lieu of his prior act, Toppicks. (Mills cut an earlier single, “Win All Your Love,” with female four-piece The Cooperettes.)

That year, Blue Magic premiered with the Mills-Penned single “Guess Who” (b/w “Spell”), released on Atco and produced by Norman Harris. It was followed in 1973 by two further Atco singles: “Look Me Up” (b/w “What’s Come Over Me”) and “Stop to Start” (b/w “Where Have You Been”). In 1974 they issued the R&B chart-topper “Slideshow” (b/w “Just Don’t Want To Be Lonely”).

Blue Magic

Blue Magic released their self-titled debut album on January 9, 1974, on Atco.

The album introduces the quintet’s ornate, harmony-rich approach to Philadelphia soul, blending romantic ballads with the brisk, string-laden dance sound emerging from Sigma Sound Studios. The record established their signature lush vocal interplay and positioned them alongside the city’s top soul groups.

Lead vocalist Ted Mills wrote three selections and co-wrote one with Allan Felder, who collaborated on five songs with producer Norman Harris. Guitarist–composer Bobby Eli co-wrote two, including the breakout hit “Sideshow,” and co-authored “Just Don’t Want to Be Lonely,” a song popularized the previous year by Ronnie Dyson and later by The Main Ingredient. Harris, also active that year with First Choice (The Player), Executive Suite (Executive Suite 1), and Bunny Sigler (That’s How Long I’ll Be Loving You), oversaw the sessions with musicians from MFSB.

The album alternates between slow, orchestral laments and upbeat club numbers. “Sideshow” frames heartbreak as a carnival attraction, its mournful pace and spoken intro enhancing the theatrical mood. “Stop to Start” and “Welcome to the Club” highlight the group’s confident step into uptempo soul with polished rhythm and brass flourishes, while “Spell” and “What’s Come Over Me” showcase their smooth vocal blend.

A1. “Sideshow” (4:06) – Written by Bobby Eli and Vinny Barrett; frames romantic misfortune within a circus metaphor, beginning with a playful, declarative introduction and moving through verses that build melancholy tension before resolving in a contemplative, cyclical chorus.
A2. “Look Me Up” (5:54) – Written by Norman Ray Harris and Allan Felder; a rhythmic invitation to reconnect, featuring bright instrumental punctuations and layered vocal exchanges that intensify through successive verses.
A3. “What’s Come Over Me” (4:09) – Written by Ted Mills; conveys sudden emotional awakening, with contoured vocal lines rising through the verses and culminating in restrained yet expressive refrains.
A4. “Just Don’t Want to Be Lonely” (7:00) – Written by Eli, Barrett, and John Freeman; chronicles yearning for companionship over expansive verses, with a swelling orchestral backdrop and recurring, plaintive choruses that heighten the sense of longing.

B1. “Stop to Start” (3:18) – Written by Jimmy Grant and Felder; describes the hesitation and anticipation of romance through a brisk, rhythmic framework, with verses that gradually build into a syncopated vocal exchange.
B2. “Welcome to the Club” (5:05) – Harris/Felder; an energetic declaration of social inclusion, featuring ascending verses and a chorus that broadens in scope with horns and strings.
B3. “Spell” (4:15) – Mills; explores fascination and attraction with contoured vocal turns and layered instrumentation that swell into each chorus.
B4. “Answer to My Prayer” (3:15) – Harris/Felder; a reflective appeal expressed over rising vocal passages and a concluding, resonant chorus.
B5. “Tear It Down” (5:27) – Mills/Felder; frames emotional confrontation with verses that steadily build tension, culminating in a forceful, climactic refrain.

Sessions occurred at Sigma Sound Studios in Philadelphia with producer Norman Harris and engineers Joe Tarsia, Kenny Present, Don Murray, Jay Mark, and Carl Paruolo. Arrangements were handled by Harris and Vince Montana Jr., who also directed strings and horns with Don Renaldo’s ensemble.

Atco promoted Blue Magic with “Stop to Start” (b/w “Where Have You Been”), which reached No. 14 on the Billboard R&B chart and No. 74 on the Hot 100. Follow-up “Sideshow” (b/w “Just Don’t Want to Be Lonely”) topped the R&B chart and peaked at No. 8 pop, selling over a million copies. The album reached No. 4 on the R&B chart and No. 45 on the Billboard 200.

2007 remastered reissue bonus tracks:
B6. “Guess Who” (3:37) – Mills; a succinct narrative of discovery and revelation, with verse dynamics leading into emphatic refrains.
B7. “Where Have You Been” (3:20) – Mills/Felder; addresses absence and longing with steadily intensifying verses and a resolving chorus.
B8. “Look Me Up” (Tom Moulton Remix) (5:56) – extends the original with enhanced instrumental layers and rhythmic shifts, emphasizing vocal contours across the build and chorus.

Barry Biggs later covered “Sideshow” as a 1977 UK Top 3 hit, and “Just Don’t Want to Be Lonely” reappeared in multiple renditions through the decade, securing the album’s lasting influence in Philadelphia soul.

The Magic of the Blue

Blue Magic released their second album, The Magic of the Blue, on December 3, 1974, on Atco.

The album expands on the lush vocal interplay established on their debut, pairing ornate ballads with more assertive uptempo numbers. Blue Magic balances theatrical emotion and polished rhythm, supported by the strings-and-horns sophistication of Sigma Sound Studios’ house band MFSB.

Ted Mills wrote two tracks and co-wrote another, while guitarist–composer Bobby Eli contributed three songs and co-authored two with Vinnie Barrett. Producer Norman Harris co-wrote five selections with Allan Felder, Pat Cooper, and Ronnie Tyson. The album contains a lead single that mirrors the thematic drama of the previous hit “Sideshow,” along with intimate reflections and dance-oriented tracks.

The LP alternates between narrative ballads and rhythmic, celebratory numbers. “Three Ring Circus” frames romantic disappointment through circus imagery, while “Love Has Found Its Way to Me” and “Never Get Over You” sustain the group’s signature dreamlike melancholia. Uptempo songs such as “Stringin’ Me Along” and “Let Me Be the One” feature precise rhythmic shifts and soaring brass, illustrating the ensemble’s versatility.

A1. “Three Ring Circus” (5:12) – Written by Bobby Eli and Vinny Barrett; continues the carnival-themed lament of “Sideshow,” depicting the misadventures of lovers as a staged spectacle of romantic misfortune. The verses rise in urgency, blending plaintive vocal lines with instrumental flourishes before reaching a cyclical, reflective chorus.
A2. “Stringin’ Me Along” (3:29) – Written by Norman Ray Harris, Pat Cooper, and Ronnie Tyson; narrates hesitant attraction through ascending vocal passages and rhythmically varied verses that intensify toward a layered, resolving refrain.
A3. “You Don’t Have to Tell Me Goodbye” (4:26) – Written by Harris, Barrett, and James Hendricks; details emotional farewell with verses that subtly swell into pleading vocal lines and a chorus that reiterates the sorrowful sentiment.
A4. “Never Get Over You” (4:42) – Written by Harris and Allan Felder; conveys lingering heartache with contoured verses that build tension and a chorus that rises in harmonic complexity, emphasizing enduring longing.
A5. “Talking to Myself” (4:22) – Eli/Barrett; expresses introspective yearning over verses that undulate in cadence, culminating in a chorus that amplifies the internal dialogue with layered vocal interplay.

B1. “Let Me Be the One” (5:05) – Written by Harris, Felder, and Chuck Brooks; advances a plea for romantic attention, unfolding over verses that gradually increase in intensity and a chorus that broadens with strings and vocal harmonies.
B2. “Maybe Just Maybe (We Can Fall in Love Again)” (4:15) – Written by Morris Bailey, Jr. and Edward Green; traces tentative hope through verses that rise and fall with expressive phrasing, converging in a restrained but emotive chorus.
B3. “Love Has Found Its Way to Me” (5:02) – Written by Eli and Allan Waldman; celebrates the arrival of affection through verses that gradually swell in emotional breadth and a chorus that opens expansively with layered orchestration.
B4. “When Ya Coming Home” (3:48) – Written by Ted Mills and Felder; conveys longing and anticipation in pleading verses that build toward a resolute chorus, punctuated by subtle instrumental accents.
B5. “Looking for a Friend” (4:12) – Mills; explores desire for connection over contoured vocal lines, with verses that steadily intensify into a chorus that balances urgency and reflection.

Sessions occurred at Sigma Sound Studios in Philadelphia with producers Norman Harris and Bobby Eli and engineers Joe Tarsia, Carl Paruolo, Kenny Present, Don Murray, and Jay Mark. Harris, Eli, Vince Montana Jr., and Ron Kersey handled arrangements, with vocal arrangements by Carl Helm, Phil Hurtt, Bunny Sigler, Barbara Ingram, Evette Benton, Carla Benson, Ted Mills, Wendell Sawyer, and Darryl Grant.

Atco promoted the album with “Three Ring Circus” (b/w “Welcome to the Club”), which reached No. 5 on the Billboard R&B chart and No. 36 on the Hot 100. The follow-up single “Love Has Found Its Way to Me” (b/w “When Ya Coming Home”) reached No. 45 R&B in early 1975.

The record preserves the group’s signature balance of intricate harmonies and narrative depth while adding rhythmic confidence, marking a natural evolution from their debut.

Thirteen Blue Magic Lane

Blue Magic released their third album, Thirteen Blue Magic Lane, on September 9, 1975, on Atco.

The album refines the group’s signature harmonies while integrating stronger rhythmic drive and proto-disco textures. Blue Magic balances dreamlike ballads with energized uptempo tracks, arranged by Norman Harris and Ron “Have Mercy” Kersey, and supported by MFSB’s strings-and-horns sophistication.

Ted Mills wrote two songs and co-wrote another, including a remake of “What’s Come Over Me,” performed as a duet with Margie Joseph. Guitarist–composer Norman Harris contributed multiple compositions with co-writers Allan Felder and Tanya Jones, while Ron Kersey co-wrote several tracks, including the title cut. The album blends original material with the group’s reinterpretation of an earlier song.

Ballads such as “Chasing Rainbows” and “The Loneliest House on the Block” exhibit expansive, contoured vocal lines and layered string accompaniment. Up-tempo numbers like “We’re on the Right Track” and “Stop and Get a Hold of Yourself” feature tight rhythmic shifts and subtle electronic textures that push toward disco while complementing Blue Magic’s airy harmonies.

A1. “The Loneliest House on the Block” (5:07) – Written by Norman Ray Harris and Allan Felder; depicts isolation and emotional distance with verses that rise in tension, flowing into a chorus that swells with layered vocal harmonies.
A2. “Chasing Rainbows” (4:11) – Written by Ted Mills; conveys yearning and elusive desire through contoured vocal lines, with verses that gradually build into a pleading, resonant chorus.
A3. “Born on Halloween” (3:17) – Written by Harris, Felder, and Tanya Jones; narrates a tale of uniqueness and outsider status over angular verses that lead into a chorus that broadens with instrumental punctuation.
A4. “Haunted (By Your Love)” (3:03) – Written by Ron Tyson, Felder, and Bruce Hawes; explores lingering attachment through verses that gradually intensify, culminating in a chorus that amplifies the emotional charge.
A5. “I Like You” (3:14) – Mills; expresses candid affection over rhythmic verses that swell into a layered chorus, balancing warmth and urgency.

B1. “Magic of the Blue” (5:33) – Written by Ron Kersey, Harris, and Felder; frames devotion with sweeping verses that build in tension and a chorus that broadens through orchestral and vocal layering.
B2. “We’re on the Right Track” (5:45) – Harris/Felder; advances a celebratory affirmation of progress over syncopated verses that surge into a rousing, expansive chorus.
B3. “Stop and Get a Hold of Yourself” (5:18) – Written by Pat Cooper and Kersey; details emotional confrontation with verses that steadily increase in intensity, leading to a climax in the chorus.
B4. “What’s Come Over Me” (4:26) – Mills; revisits the first album track as a duet with Margie Joseph, with verses that weave tender pleading into a chorus that rises and swells in harmonic complexity.

Sessions occurred at Sigma Sound Studios in Philadelphia with producers Norman Harris and Ron “Have Mercy” Kersey and engineers Carl Paruolo, Kenny Present, and Jay Mark, assisted by Dirk Devlin, Mike Hutchinson, and James Gallagher. Harris and Kersey arranged the tracks with contributions from Richard Rome and Ted “Wizard” Mills; Don Renaldo and his Strings and Horns provided orchestral accompaniment.

Atco promoted the album with “Chasing Rainbows” (b/w “You Won’t Have to Tell Me Goodbye”), which reached No. 17 on the Billboard R&B chart. “What’s Come Over Me” (b/w “You and Me (Got a Good Thing Going)”) followed, peaking at No. 11 R&B, and “Grateful” (b/w “I Like You”) appeared as a single in early 1976.

The third Blue Magic LP demonstrates their mastery of smooth balladry and uptempo proto-disco. While tracks like “Chasing Rainbows” and “The Loneliest House on the Block” highlight the group’s ethereal vocal interplay, songs such as “We’re on the Right Track” advance their rhythmic sophistication. Thirteen Blue Magic Lane confirms Blue Magic’s ability to bridge classic Philadelphia soul with the emerging disco aesthetic, maintaining a delicate balance between lush orchestration and danceable energy.

Norman Harris also produced 1975 albums by Revelation, The Trammps, and the South Shore Commission.

Mystic Dragons

Blue Magic released their fourth album, Mystic Dragons, on August 26, 1976, on Atco.

The album broadens the group’s approach, pairing their signature gossamer harmonies with funk-infused and rhythmically assertive tracks. While ballads remain central, tracks like “Freak-N-Stein” and “Mother Funk” demonstrate Blue Magic’s ability to energize their sound with danceable arrangements, incorporating electronic textures and orchestral flourishes.

Bobby Eli wrote or co-wrote six songs, collaborating with Len Barry, Vinnie Barrett, and other co-writers. Ted “Wizard” Mills contributed one original song and arranged vocals with the group on select tracks. Keith Beaton and Keith Barrow co-wrote tracks including “See the Bedroom” and “Rock N Roll Revival,” adding further variety.

Up-tempo material such as “Freak-N-Stein” and “Mother Funk” juxtaposes tight, syncopated rhythms with layered vocal harmonies, while “Rock N Roll Revival” merges R&B phrasing with rock energy. Slower pieces like “Summer Snow,” “To Get Love (You Must Give Love),” and “Making Love to a Memory” highlight Blue Magic’s lush, romantic side, balancing the album’s funkier moments.

A1. “Freak-N-Stein” (7:58) – Written by Bobby Eli and Len Barry; opens with playful, angular verses that build tension, leading into a commanding, syncopated chorus that drives the song’s funky momentum.
A2. “To Get Love (You Must Give Love)” (5:19) – Written by Eli and Vinny Barrett; conveys reciprocity in romance over steadily ascending verses, with a chorus that broadens through layered harmonies and rhythmic shifts.
A3. “See the Bedroom” (3:22) – Written by Keith Beaton and Ted “Wizard” Mills; articulates intimate longing with contoured vocal turns across the verses and a chorus that swells in a restrained, pleading manner.
A4. “Mother Funk” (5:55) – Eli/Barry; frames exuberant celebration through verses that ripple with rhythm and a chorus that amplifies energy via horns, percussion, and syncopation.

B1. “Summer Snow” (5:01) – Eli/Barry; evokes fleeting romance through verses that build with soft insistence, resolving in a chorus that broadens with harmonic layering.
B2. “Rock N Roll Revival” (4:30) – Written by Eli, Keith Barrow, and Barry; blends R&B and rock with angular vocal lines and verses that gradually rise into an expansive, rousing chorus.
B3. “It’s Something About Love” (4:25) – Barrow; explores devotion and intrigue over contoured verses, intensifying into a chorus that swells with expressive vocal layers.
B4. “Making Love to a Memory” (3:05) – Eli/Barry; details nostalgia and lingering desire through verses that escalate in tension, resolved in a softly emphatic chorus.
B5. “Spark of Love” (3:21) – Mills; conveys awakening emotion through steadily building verses, leading to a chorus that swells with harmonic interplay.

Sessions occurred at Sigma Sound Studios in Philadelphia with producer Bobby Eli and engineers Arthur Stoppe, Carl Paruolo, Darrell Rogers, Dirk Devlin, Jim Gallagher, Kenny Present, and Pete Humphreys. Vocal and rhythm arrangements were handled by Blue Magic, with orchestral contributions from Don Renaldo and his Strings and Horns.

Atco released “Freak-N-Stein” (b/w “Stop and Get a Hold of Yourself”) as the lead single in May 1976. A promo version followed in June, and “Teach Me (It’s Something About Love)” (b/w “Spark of Love”) appeared in August.

Mystic Dragons surprises with its funk-forward opener and playful R&B-rock hybrid in “Rock N Roll Revival,” yet it retains Blue Magic’s core identity through romantic ballads like “Summer Snow” and “Making Love to a Memory.” Though the production’s warmth sometimes muffles the synth and orchestral textures, the album rewards listeners with a mix of adventurous rhythmic tracks and tender, expressive harmonies.

Norman Harris also produced 1976 albums by First Choice (Let Us Entertain You), Impact (self-titled), Double Exposure (Ten Percent), and Eddie Kendricks (Goin’ Up in Smoke).

Live!

In 1976, WMOT Records issued Live!, a double-album co-billed to Blue Magic, Major Harris, and Margie Joseph.

The album captures the Philadelphia soul sound in a live setting, featuring the headliners performing their signature hits alongside covers of well-known material. Blue Magic delivers lush harmonies and romantic ballads, Major Harris offers smooth, sultry vocals, and Margie Joseph adds dynamic interpretations of contemporary pop and soul tunes.

Primary songwriting on the album comes from Ted Mills, Bobby Eli, Vinnie Barrett, and Norman Harris, among others. Blue Magic performs material they wrote or co-wrote, including “Sideshow,” “Chasing Rainbows,” and “We’re on the Right Track,” while covering Barry White (“You’re My First, My Last, My Everything”) and Harvey Schmidt & Tom Jones (“Try to Remember”). Margie Joseph contributes arrangements and co-writing on tracks like “Ridin’ High” and interprets the Wings ballad “My Love.” Major Harris sings originals such as “Love Won’t Let Me Wait” and “Loving You Is Mellow.”

The live set divides into ballads, duet performances, and medleys. Blue Magic alternates between tender pieces like “Chasing Rainbows” and more rhythmically assertive numbers such as “We’re on the Right Track.” Duets with Margie Joseph, particularly “What’s Come Over Me” and “I’m Gonna Make You Love Me,” highlight vocal interplay, while medleys combine hits with classic standards. Harris’s contributions, especially “Love Won’t Let Me Wait,” balance sensuality with dynamic phrasing. Joseph interprets pop material with varying success, bringing energetic delivery to “My Love” and a restrained approach to “Feelings.”

A1. Blue Magic, Major Harris and Margie Joseph – “I Love Music” (2:42) — arranged by Jack Faith; written by Kenny Gamble & Leon Huff
A2. Margie Joseph – “Feelings” (3:52) — arranged by Richard Rome; written by Morris Albert
A3. Margie Joseph – “Ridin’ High” (4:56) — arranged by Jack Faith; written by Arif Mardin and Margie Joseph
A4. Margie Joseph – “My Love” (4:32) — arranged by Richard Rome; written by Paul McCartney & Linda McCartney
A5. Major Harris and Margie Joseph – “You’re a Special Part of Me” (4:35) — arranged by Richard Rome; written by Andrew Porter, Greg Wright, Harold Johnson

B1. Major Harris – “I Got Over Love” (5:24) — arranged by Vincent Montana, Jr.; written by Charles B. Simmons & Joseph B. Jefferson
B2. Major Harris – “Loving You Is Mellow” (4:20) — arranged by Jack Faith; written by Bobby Eli & Terry Collins
B3. Major Harris – “Love Won’t Let Me Wait” (3:52) — arranged by Vincent Montana, Jr.; written by Bobby Eli & Vinnie Barrett
B4a. Blue Magic Medley – “Spell” (2:45) — arranged by Vincent Montana, Jr.; written by Ted Mills & Sam Reed
B4b. Blue Magic Medley – “You’re My First, My Last, My Everything” (1:20) — arranged by Jack Faith; written by Barry White, Tony Sepe, P. S. Radcliffe
B4c. Blue Magic Medley – “We’re on the Right Track” (3:04) — arranged by Vincent Montana, Jr.; written by Norman Harris & Al Felder

C1a. Blue Magic Medley – “Try to Remember” (1:00) — arranged by Vincent Montana, Jr.; written by Harvey Schmidt & Tom Jones
C1b. Blue Magic Medley – “Stop to Start” (5:50) — arranged by Richard Rome; written by Jimmy Grant & Al Felder
C2. Blue Magic – “Chasing Rainbows” (4:50) — arranged by Vincent Montana, Jr.; written by Ted Mills
C3. Blue Magic – “Sideshow” (5:24) — written by Bobby Eli & Vinnie Barrett
C4. Blue Magic – “Haunted (By Your Love)” (2:55) — arranged by Vincent Montana, Jr.; written by Al Felder, Bruce Hawes, Ron Tyson

D1. Blue Magic and Margie Joseph – “What’s Come Over Me” (5:45) — arranged by Vincent Montana, Jr.; written by Ted Mills
D2. Blue Magic – “Bad Luck” (5:20) — arranged by Jack Faith; written by Gene McFadden, John Whitehead, Victor Carstarphen
D3. Blue Magic and Margie Joseph – “I’m Gonna Make You Love Me” (5:30) — arranged by Norman Harris; written by J. Ross & K. Gamble
D4. Blue Magic and Margie Joseph – “Funny Guy, Funny Girl, Funny Love” (2:56) — written by Charles B. Simmons & Joseph B. Jefferson

The album was recorded live at the Latin Casino in Cherry Hill, New Jersey, captured by Wally Heider Recording, mixed and edited at Sigma Sound Studios, and lacquer cut at Frankford/Wayne Recording Labs. Backing included Larry LaBes and Lee Smith on bass, Larry James on drums, Greg Moore on congas, Edward Moore and Ted Cohen on guitar, Erskine Williams and Frank DiGiovanni on keyboards, the Latin Casino Orchestra conducted by Vincent Montana, Jr., and string conduction by Ron Kersey.

Live! presents classic Philadelphia soul in a concert context, highlighting the performers’ ability to balance lush ballads with medleys and rhythmically energized numbers. Blue Magic shines on “Sideshow” and “We’re on the Right Track,” Harris elevates “Love Won’t Let Me Wait,” and Joseph delivers spirited readings of pop material, making the set a rewarding if uneven live snapshot of 1970s Philly soul.

In 1989, Luther Vandross covered “Love Won’t Let Me Wait.”

Message From the Magic

Blue Magic released their fifth studio album, Message From the Magic, on January 19, 1978, on Atco.

The album leans toward soft, romantic soul, blending tender ballads with light rhythmic tracks. Blue Magic performs their signature harmonies throughout, incorporating contributions from keyboardist Ted “Wizard” Mills and fellow band members Keith Beaton, Michael Buchanan, Richard Pratt, and Walter Smith.

Primary songwriting comes from Ted Mills, Keith Beaton, and Richard Pratt, who collectively co-wrote most of the album. Additional writers include Skip Scarborough and Raina Taylor on “Lady in My World of Love” and Ernest Straughter, Luther Waters, and Philip Bailey on “I Waited.” The band integrates samba influences on “Can’t Get You Off My Mind” and glockenspiel textures on “Lady in My World of Love,” while “Message” and “Still in Love With You” reflect their romantic ballad style.

Ballads dominate the record, with “Still in Love With You” and “Sweet Woman” emphasizing lush harmonies and tender lyricism. Mid-tempo tracks like “Message” offer optimism, while “Can’t Get You Off My Mind” introduces samba-inflected rhythmic variations. “I Waited” provides a brisker pace, balancing the album’s overall mellow atmosphere.

A1. “Can’t Get You Off My Mind” (4:26) — written by Keith Beaton, Richard Pratt, Ted Mills; samba-influenced rhythmic patterns drive the track
A2. “If You Want Me To” (3:55) — written by Ted Mills; a tender plea emphasizing harmonic interplay
A3. “Lady in My World of Love” (3:39) — written by Raina Taylor, Skip Scarborough; features glockenspiel and slow, contoured vocal lines
A4. “Four Leaf Clover” (4:03) — written by Carl Carwell, Philip Bailey, Wayne Stalling

B1. “Purple Passion” (4:50) — written by Keith Beaton, Richard Pratt, Ted Mills
B2. “Still in Love With You” (3:40) — written by Keith Beaton, Richard Pratt, Ted Mills; romantic ballad with lush layering
B3. “Message” (3:35) — written by Keith Beaton, Richard Pratt, Ted Mills; mid-tempo track expressing optimism
B4. “Sweet Woman” (4:02) — written by Ted Mills; showcases tender vocal harmonies
B5. “I Waited” (4:01) — written by Ernest Straughter, Luther Waters, Philip Bailey

Sessions occurred at Hollywood Sound Recorders, Hollywood, California, and Total Experience Studios, Los Angeles, California, with Skip Scarborough producing and Bob Hughes and Rick Clifford engineering. Mastering took place at CBS Recording Studio, San Francisco.

Backing musicians include electric guitarists Al McKay and Spencer Bean, electric bassist Robert Russell, drummer Ralph Johnson, acoustic pianist Ernest Straughter, Fender Rhodes players Ted Mills and Michael Stanton, percussionist Philip Bailey, vibraphonist/xylophonist Victor Feldman, woodwind players Don Myrick and Ernie Watts, trumpeters Bob Findley and Oscar Brashear, trombonist Maurice Spears, and a string section led by concertmaster Gerri Vinci with violins, violas, and cellos.

The album offers a mellow, intimate soundscape, balancing romantic ballads with subtle rhythmic flourishes. Samba-tinged and mid-tempo tracks provide variation, while the band’s signature harmonies remain central. Fans of Blue Magic’s earlier gold singles, “Sideshow” and “Three Ring Circus,” will find familiar stylistic continuity.

Record label Atco promoted the album with “I Waited” (b/w “Can’t Get You Off My Mind”), released on April 5, 1978.

Welcome Back

Blue Magic released their sixth studio album, Welcome Back, in March 1981 on Capitol.

The album blends Philly soul with modernized production, maintaining Blue Magic’s signature harmonies while incorporating synthesizer textures and percussion flourishes. Guitarist Norman Harris and keyboardist Theodore Mills provide continuity alongside drummer Earl D. Young and bassist Ronald Baker.

Primary songwriting comes from group members Ted Mills, Keith Beaton, and Richard Pratt, who co-wrote several tracks. Additional contributions include Norman Harris, Bruce Gray, and Ron Tyson, while Bobby Eli and Vinnie Barrett penned “Feeln’ the Love” and “Land of Make-Believe.” “Welcome Back” features Harris, Mikki Farrow, and David Hendricks as co-writers, and James Grant wrote “Let There Be Love.”

Ballads dominate the record, with “Who Could Ever Leave You” and “Seems I Haven’t Seen Her” highlighting layered harmonies and tender lyricism. “Land of Make-Believe” and “Feeln’ the Love” present slightly more upbeat, rhythmically varied arrangements. Synthesizer-driven tracks, including “All I Really Need Is You” and “Remember November,” add subtle early-’80s textures while preserving the group’s soft soul identity.

A1. “The Oscar Harris” — written by Tyson
A2. “Feeln’ the Love” — written by Eli, Barrett
A3. “Who Could Ever Leave You” — written by Mills, Sawyer, Sawyer, Beaton, Harris, Tyson
A4. “Welcome Back” — written by Harris, Farrow, Hendricks
A5. “Land of Make-Believe” — written by Eli, Barrett

B1. “Seems I Haven’t Seen Her” — written by Mills, Sawyer, Sawyer, Beaton
B2. “Standin’ on the Edge of a Love Affair” — written by V. Davis, P. Vear, D. Frank
B3. “Let There Be Love” — written by James Grant
B4. “All I Really Need Is You” — written by Felder, Gilbert, Rome
B5. “Remember November” — written by Mills, Sawyer, Sawyer, Beaton, McLean

Sessions occurred at Alpha International Studios and Sigma Sound Studios, Philadelphia, Pennsylvania, with producer Norman Harris overseeing recording.

Backing musicians include guitarists Bobby Eli, Norman Harris, Billy Neale, and T.J. Tindall, bassist Ronald Baker, drummer Earl D. Young, keyboardists Theodore Mills and Carleton H. Kent, synthesizer players Eugene Curry and Mills (Mini Moog, Prophet, Fender Rhodes), percussionist Henri Smith, vibraphonist Vincent Montana, Jr., and conga/bongo player Larry Washington. Backing vocals feature Barbara Ingram, Carla Benson, Evette Benton, Carl Helm, Lucille Jones, Mikki Farrow, Phil Hurtt, Ron Tyson, and the band itself.

Capitol promoted the album with the single “Seems I Haven’t Seen Her” (b/w “Who Could Ever Leave You”) in July 1981. “Land of Make-Believe” was released as the A-side of an earlier single (b/w “Remember November”).

Discography: