Deniece Williams

Deniece Williams is an American soul singer and songwriter with a musical career that dates back to the early 1970s. Between 1976 and 1984, she released seven albums on Columbia/CBS. Distinguished by her high-octave quiver, she scored international hits with “Free,” “It’s Gonna Take a Miracle,” and “Let’s Hear It for the Boy.”

Background

Williams was born June Deniece Chandler on June 3, 1951, and raised in Gary, Indiana. She initially enrolled in a nursing program at Morgan State University in Baltimore, but dropped out when her attention turned to music. She got her first singing gig at the Casino Royal and decided to pursue this full time.

Between 1968 and 1970, she released six singles as Deniece Chandler: three on Chicago small-press Toddlin’ Town Records and three on subsidiary Lock Records. A brief stint in soulsters The Lovelites yielded the track “I’m Not Like the Others,” which went unreleased until 1999. In the early ’70s, she married ex-classmate Kendrick Williams and moved to California.

Williams became a vocalist in Wonderlove, the backing band of Stevie Wonder, appearing on the albums Talking Book, Fulfillingness’ First Finale, and Songs in the Key of Life. In 1974, she appeared on albums by Minnie Riperton (Perfect Angel), Syreeta Wright (Stevie Wonder Presents: Syreeta), Esther Phillips (Performance), and Kenny Rankin (Silver Morning). Amid further performances on 1975 albums by Roberta Flack (Feel Like Makin’ Love) and Linda Lewis (Not a Little Girl Anymore), Williams signed a solo deal with Columbia Records.

This Is Niecy

Deniece Williams released her debut album, This Is Niecy, on August 13, 1976, on Columbia.

The album establishes Williams’ soprano as its centerpiece, framed by arrangements from members of Earth, Wind & Fire. It blends orchestrated soul with subtle jazz-inflected touches, balancing intimate vocal passages with lush horn and string textures.

Williams co-wrote the majority of the material with Clarence MacDonald, Fritz Baskett, and Lani Groves, while “Watching Over” was composed with Al McKay, Jerry Peters, Maurice White, Verdine White, and Freddie White, and “Free” also involved Hank Redd and Susaye Green.

Musically, This Is Niecy ranges from the mid-tempo warmth of “That’s What Friends Are For” and “Cause You Love Me Baby” to the expansive, nearly eight-minute “If You Don’t Believe.” Side B opens with “Free,” a subtle, spacious number with contoured phrasing and dynamic restraint. “Watching Over” and “It’s Important to Me” feature intricate brass lines and controlled rhythm shifts, while “Slip Away” leans into a jazz-tinged feel reminiscent of her session work with Minnie Riperton and Syreeta.

A1. “It’s Important to Me” (4:21)
A2. “That’s What Friends Are For” (4:27)
A3. “Slip Away” (3:49) first appeared as “How’d I Know,” a 1975 album track by Merry Clayton.
A4. “Cause You Love Me Baby” (4:08)

B1. “Free” (5:57)
B2. “Watching Over” (3:53)
B3. “If You Don’t Believe” (7:54)

Sessions occurred at Wally Heider 3 in Los Angeles, Davlen Recorders in North Hollywood, and Kendum Recorders in Burbank, with Maurice White and Charles Stepney producing and George Massenburg engineering.

Backing vocals include Williams, Maurice White, and Sydney Barnes. Verdine White plays bass, Freddie White and Maurice White handle drums, Al McKay is on guitar, and Jerry Peters provides piano and electric piano. Horns and woodwinds feature George Bohanon, Oscar Brashear, Ernie Watts, and others, arranged with a mix of trombone, trumpet, French horn, and woodwind.

“Free” reached No. 2 on the US R&B Singles chart and No. 25 on the Billboard Hot 100. Abroad, it hit No. 14 in the Netherlands, No. 8 in Ireland, and No. 1 on the UK Singles Chart. In June 1977, “That’s What Friends Are For” became the second single (b/w “It’s Important to Me”).

This Is Niecy reached No. 3 on the US R&B Albums chart, No. 33 on the Billboard 200, and No. 26 on the UK Albums chart.

Song Bird

Deniece Williams released her second album, Song Bird, on October 28, 1977, on Columbia.

Collaborations with Johnny Mathis

Between Song Bird singles, Deniece Williams scored her first major US hit with “Too Much, Too Little, Too Late,” a duet with veteran entertainer Johnny Mathis. The ballad — written by Australians John Vallins and Nat Kipner (father of Steve Kipner) and included on Mathis’s March 1978 release You Light Up My Life — reached No. 1 on the Billboard Hot 100 and became a soft-rock radio evergreen. Williams also dueted with Mathis on the b-side, “Emotion,” a recent hit for Samantha Sang, written by Barry and Robin Gibb of the Bee Gees.

Williams and Mathis reteamed for his July 1979 release That’s What Friends Are For, which includes their duet covers of the Billy Joel ballad “Just the Way You Are” and the Marvin Gaye/Tammi Terrell classic “You’re All I Need to Get By,” a No. 10 R&B hit.

When Love Comes Calling

Deniece Williams released her third album, When Love Comes Calling, on June 22, 1979, on ARC/Columbia.

The album features a mix of upbeat tracks, dance-oriented numbers, and string-laden ballads, supported by top L.A. session musicians.

Williams co-wrote everything apart from “Like Magic” (Geary Lanier, Robert Wright) and “God Knows,” a song credited to Allee Willis, Frannie Golde, and ex-Herman’s Hermits singer Peter Noone. Raydio frontman Ray Parker, Jr. trades guitar tracks with Wah Wah Watson and Toto‘s Steve Lukather. Ex-Skylark keyboardist David Foster juggles keyboard duties with sessionist Greg Phillinganes. Bill Champlin sings backup on four tracks.

Musically, the album balances galloping disco-pop on “I’ve Got the Next Dance,” mid-tempo soft rock in “I Found Love” and the title track, and expansive ballads like “Touch Me Again” and “Why Can’t We Fall in Love?” By contrast, “Like Magic” leans on layered percussion and saxophone textures, and “Turn Around” combines vibraphone, horns, and backing vocals for a richly arranged mid-tempo number.

A1. “I Found Love” (2:38)
A2. “Are You Thinking?” (4:17)
A3. “My Prayer” (0:23)
A4. “I’ve Got the Next Dance” (5:49)
A5. “Touch Me Again” (5:10)

B1. “When Love Comes Calling” (3:27)
B2. “God Knows” (4:09)
B3. “Like Magic” (3:31)
B4. “Turn Around” (3:48)
B5. “Why Can’t We Fall in Love?” (4:30)

Sessions occurred at multiple Los Angeles studios (Sunset Sound, Davlen Studios, Kendun Recorders, Devonshire Studios), where Williams co-produced with Parker, Jr. and Foster, just then building his production portfolio with the 1978/79 Hall & Oates albums Along the Red Ledge and X-Static. Humberto Gatica co-engineered When Love Comes Calling with Ron Malo. Gene Page and Jerry Hey arranged horns and strings, while Sylvester Rivers and Greg Mathieson handled rhythm arrangements.

The album produced two singles: “I’ve Got the Next Dance” (b/w “When Love Comes Calling”), which reached No. 26 on the US R&B chart and No. 1 on the Billboard Dance chart, and “I Found Love” (b/w “Are You Thinking?”).

When Love Comes Calling reached No. 27 on the Billboard R&B Albums chart.

My Melody

Deniece Williams released her fourth album, My Melody, on March 13, 1981, on ARC/Columbia.

The album presents Williams’ soprano within the lush Philly soul sound, blending strings, horns, and layered rhythm tracks: hallmarks of producer Thom Bell.

Williams co-wrote every track alongside Bell, with Clarence McDonald and Fritz Baskett contributing to “Silly” and “Strangers,” and Allen and Preston Glass co-writing “You’re All That Matters.” Guitarists Bill Neale and Bobby Eli trade lines over Bob Babbitt’s bass, while George Merrill and Bell cover keyboards. Bell, Carl Helm, and Merrill provide backing vocals.

Musically, the album alternates bel canto-inflected ballads like “Sweet Surrender” and “You’re All That Matters” with mid-tempo R&B numbers such as “What Two Can Do.” Elsewhere, “Silly” leans on tight Philly rhythm tracks, while “Suspicious” incorporates a reggae-tinged pace against Bell’s signature strings and horns.

A1. “My Melody” (4:12)
A2. “It’s Your Conscience” (4:55)
A3. “Silly” (5:58)
A4. “Strangers” (6:29)

B1. “What Two Can Do” (3:50)
B2. “You’re All That Matters” (5:20)
B3. “Suspicious” (4:17)
B4. “Sweet Surrender” (4:21)

Sessions occurred at Sigma Sound Studios, Philadelphia, with Williams and Thom Bell producing, arranging, and conducting. Rhythm tracks and vocals were engineered by Don Murray and Jim Gallagher; strings and horns engineered by Arthur Stoppe and Gallagher. Don Renaldo arranged strings and horns. Mixing took place at Monterey Sound, Glendale, CA.

The album produced three singles: “What Two Can Do” (b/w “Suspicious”), which reached No. 17 on the US R&B chart; “It’s Your Conscience” (b/w “Sweet Surrender”); and “Silly” (b/w “My Melody”), which peaked at No. 11 R&B.

My Melody reached No. 13 on the Billboard R&B Albums chart.

Niecy

Deniece Williams released her fifth album, Niecy, on March 19, 1982, on ARC/Columbia.

The album extends the lush Philly soul of 1981’s My Melody, integrating layered strings, horns, and synthesizers with tight rhythm tracks and modern keyboard textures.

Williams co-wrote four tracks with Thom Bell and one each with Skip Scarborough (“Love Notes”), Kevin Bassinson (“A Part of Love”), and arranger Bill Neale (“I Believe in Miracles”). Side A includes the Sixties soul-pop cover “It’s Gonna Take a Miracle.”

Musically, the album mixes romantic ballads like “Waiting” and “I Believe in Miracles” with mid-tempo R&B numbers such as “Waiting by the Hotline” and “How Does It Feel.” “Love Notes” adds a rock-leaning texture, while “Now Is the Time for Love” builds around marching rhythm patterns. Williams delivers controlled, high-range vocals throughout, with the cover “It’s Gonna Take a Miracle” standing out as a polished, Top Ten pop-oriented track.

A1. “Waiting by the Hotline” (3:40)
A2. “It’s Gonna Take a Miracle” (4:10) originated as a 1965 single by the MGM female vocal quartet The Royalettes; written by Teddy Randazzo, Lou Stallman, Bobby Weinstein, and covered by Laura Nyro on Gonna Take a Miracle, her 1971 album with Labelle.
A3. “Love Notes” (4:22) Williams first handed this song to Alton McClain & Destiny, who used it as a 1981 deep cut.
A4. “I Believe in Miracles” (2:52)

B1. “How Does It Feel” (5:50)
B2. “Waiting” (4:32)
B3. “Now Is the Time for Love” (4:09)
B4. “A Part of Love” (3:39)

Sessions occurred at Sigma Sound Studios, Philadelphia, with Williams and Thom Bell producing. Bell arranged and conducted strings and horns, with engineering led by Joe Tarsia and assisted by Dirk Devlen and Michael Tarsia. Bell handled keyboards, while Ed Shea and Larry Washington performed percussion.

As a single, “It’s Gonna Take a Miracle” (b/w “A Part of Love”) reached No. 1 on the US R&B chart, No. 10 on the Billboard Hot 100, and No. 9 in New Zealand. Columbia lifted two further singles: “Waiting by the Hotline” (b/w “Love Notes”) and “Waiting” (b/w “How Does It Feel”).

Niecy reached No. 5 on the R&B Albums chart and No. 20 on the Billboard 200.

I’m So Proud

Deniece Williams released her sixth album, I’m So Proud, in 1983 on Columbia.

The album continues Williams’ exploration of R&B and contemporary soul, integrating layered keyboards, percussion, and modern synth textures with both intimate ballads and expansive mid-tempo numbers. Multiple producers contribute distinct sonic touches, including George Duke and Williams herself.

Williams wrote or co-wrote five tracks, with Bill Neale arranging and co-producing several selections. Skip Scarborough and Terri McFaddin contributed “They Say.” 

Musically, the album balances the romantic ballad “It’s Okay” and the Impressions cover “I’m So Proud” with upbeat, rhythm-driven tracks such as “Do What You Feel” and “Heaven in Your Eyes.” She duets again with Johnny Mathis on “So Deep in Love,” which contrasts her soprano and with his baritone. “Love, Peace and Unity” incorporates layered percussion and bass textures. Williams’ controlled, high-range vocals remain central throughout, complementing each arrangement’s distinct tonal palette.

A1. “Do What You Feel” (4:24)
A2. “I’m So Proud” (3:55) originated as a 1964 Impressions side; written by Curtis Mayfield and covered since by the Main Ingredient,  Beck, Bogert & Appice, and as part of Todd Rundgren‘s soul medley on A Wizzard, a True Star.
A3. “So Deep in Love” (4:22) was submitted to Williams and Mathis by songwriters Bruce Roberts and Jeff Barry.
A4. “I’m Glad It’s You” (3:28)

B1. “Heaven in Your Eyes” (4:54)
B2. “They Say” (7:10)
B3. “Love, Peace and Unity” (5:36)
B4. “It’s Okay” (5:26)

Sessions occurred at The Complex, Le Gonks West, Monterey Sound Studios, and Sunset Sound, where Williams, duke, and Bill Neale co-produced the album. Tommy Vicari and Don Murray engineered and mixed the sessions, while Duke and Neale played keyboards and arranged the tracks.

The album features WAR harmonic player Lee Oskar, serial percussionists Paulinho Da Costa, and multiple bassists (Louis Johnson, “Ready” Freddie Washington, Shaun Solomon), drummers (Rickey Lawson, Denny Seiwell, Errol Corwin), and guitarists (Mike Sembello, Jeffrey Baxter, Paul Jackson Jr.).

The album produced three singles. “Do What You Feel” (b/w “Love, Peace and Unity”) reached No. 9 on the US R&B chart. Columbia followed with “I’m So Proud” (b/w “It’s Okay”) and “Heaven in Your Eyes” (b/w “Love, Peace and Unity”).

I’m So Proud reached No. 10 on the Billboard R&B Albums chart.

Let’s Hear It for the Boy

Deniece Williams released her seventh album, Let’s Hear It for the Boy, on April 16, 1984, on Columbia.

The album blends contemporary R&B, dance-pop, and synth textures, combining upbeat, rhythm-driven tracks with intimate ballads. Williams splits production duties with George Duke, whose arsenal includes Fender Rhodes, Memory Moog, Linn Drums, and vocoder.

Williams wrote two tracks and co-wrote three with Duke. Outside songwriters include Peter Couch (“I Want You,” “Picking Up the Pieces”), and the teams of Dean Pitchford and Tom Snow (“Let’s Hear It for the Boy”), Barry Mann and Cynthia Weil (“Black Butterfly”), Michele Val Jean and Robert Brookins (“Blind Dating”), and Andrew Barrett and George McMahon (“Wrapped Up”).

Musically, the album juxtaposes effervescent, dance-oriented songs such as “Let’s Hear It for the Boy” and “Next Love” with slower ballads including “Black Butterfly” and “Whiter Than Snow.” By contract, “Picking Up the Pieces” and “Wrapped Up” highlight layered percussion, synthesizers, and bass-driven textures. She duets again with Johnny Mathis on “So Deep in Love.” Williams’ soprano remains central across both high-energy and contemplative arrangements.

A1. “Let’s Hear It for the Boy” (4:18)
A2. “I Want You” (2:50)
A3. “Picking Up the Pieces” (4:40)
A4. “Black Butterfly” (4:25)
A5. “Next Love” (4:23)

B1. “Haunting Me” (4:57)
B2. “Don’t Tell Me We Have Nothing” (4:00)
B3. “Blind Dating” (3:39)
B4. “Wrapped Up” (4:37)
B5. “Whiter Than Snow” (3:45)

Sessions occurred at Le Gonks West and The Complex, where Deniece Williams and George Duke co-produced select tracks. Tommy Vicari, Mick Guzauski, and Tom Perry engineered and mixed the recordings, while Duke, Leon Pendarvis, and Russell Ferrante contributed keyboards and arrangements.

The album features harmonic player Lee Oskar, percussionists Paulinho Da Costa and John Robinson, multiple bassists (Nathan East, Fred Washington), drummers (Ricky Lawson, Ricky Nelson), and guitarists (Paul Jackson, Jeff Baxter, Michael Sembello), with saxophonist Ronnie Laws adding tenor lines.

Due to its association with the 1984 blockbuster Footloose, “Let’s Hear It For The Boy” received heavy MTV rotation and became her second No. 1 solo single on the US R&B and Dance charts. The song also topped the Billboard Hot 100 and Canadian RMP chart. Overseas, the single reached No. 5 in the Netherlands, No. 3 in Australia, and No. 2 in New Zealand, Ireland, and the UK.

The followup single, “Next Love” (b/w “Picking Up the Pieces”), reached No. 22 on the Billboard R&B chart. The album reached No. 10 on the US R&B chart and No. 26 on the Billboard 200.

Discography:

• This Is Niecy (1976)
  
• Song Bird (1977)
  
• When Love Comes Calling (1979)
  
• My Melody (1981)
  
• Niecy (1982)
  
• I’m So Proud (1983)
  
• Let’s Hear It for the Boy (1984)

Sources:

• Discogs: Deniece Williams
• 45worlds: Deniece Williams
• 45cat: Deniece Williams