Dexter Wansel -

Dexter Wansel is an American keyboardist, singer, composer, and producer who cut a 1973 album with the funk-psych one-off Yellow Sunshine. As a solo artist, he released four albums between 1976 and 1979 on PIR.

Background

He was born Dexter Gilman Wansel on August 22, 1950, in Philadelphia. From age nine to thirteen, he worked as an errand boy at the storied Uptown Theater on N. Broad St. In high school, he befriended Stanley Clarke and the two played in bands together.

After his 1970 discharge from the US Army, Wansel landed sessionist work at Sigma Sound Studios, where he programmed early-model synthesizers, including the EMS VCS 3 ‘Putney’ and the ARP 2600. In 1973, he joined the funk band Yellow Sunshine and played on their singular self-titled album, released on PIR-subsidiary Gamble. The following year, he programmed the Putney synthesizer on the eponymous debut album by the soul-funk ten-piece Force of Nature.

In 1975, Wansel wrote, arranged, and produced sides for Billy Paul (“I Think I’ll Stay Home Today (Part 1)”) and MFSB (“When Your Love Is Gone”), both released on Philadelphia International Records. That same year, he played keyboards on the ATCO release Thirteen Blue Magic Lane by soulsters Blue Magic. He also co-wrote two songs for singer Carl Carlton and arranged the bulk of his third album, I Wanna Be With You, on ABC Records.

After signing with Philadelphia International, Wansel formed a songwriting partnership with lyricist Cynthia Biggs. Prior to their collaboration, Biggs had co-written songs for MFSB and the group City Limits, primarily with Bruce Hawes.

Together, Biggs and Wansel penned “Jump for Joy” for The Jacksons and “Where I Belong” for Billy Paul in 1977. That same year, they also wrote “I Believe in Love” for Dee Dee Sharp, with Biggs later co-writing “I Love You Anyway” with Wansel and Kenneth Gamble. Their successful partnership continued into the late 1970s, yielding collaborations such as “Take Me in Your Arms Tonight” for Teddy Pendergrass and Stephanie Mills and “Hurry Up This Way Again” for The Stylistics in 1979. Biggs also co-wrote with other composers, including “Deep Inside of Me” and “Driving Me Wild” for The Futures and The Stylistics respectively.

Life on Mars

Dexter Wansel released his debut album, Life on Mars, in July 1976 on PIR.

The album opens with the instrumental “A Prophet Named K.G.,” where layered keyboards ride a shifting rhythm section. The title track sets phased synthesizers against mid-tempo funk pacing, framed by strings and brass. “Together Once Again,” sung by Terry Welles, shifts to a contoured soul ballad, while “Stargazer,” arranged by Jack Faith, pushes toward orchestral soul with brass and strings.

Side B highlights extended instrumentals: “One Million Miles From the Ground” unfolds in spacious textures, “You Can Be What You Wanna Be” carries its lyric on a steady bass foundation, and “Theme From the Planets” and “Rings of Saturn” balance cosmic synthesizer themes with brisk funk patterns.

Wansel composed and arranged every track except “Together Once Again” (V. Barrett) and “Stargazer,” arranged by Jack Faith. He used an ARP synthesizer for many of the album’s soundscapes.

A1. “A Prophet Named K.G.” (4:20) – Opens with a tight rhythm section underpinning layered strings and punchy brass, while saxophone and trumpet trade brief solos before the arrangement drops to let synths and strings fill the space.
A2. “Life on Mars” (5:50) – Begins with a spacious synth introduction that leads into a Rhodes piano motif; a contrasting B-section adds horn and choir textures, and Derrick Graves’ bass drives the central rhythmic momentum with soloing flourishes on the Rhodes.
A3. “Together Once Again” (4:23) – Slow vocal track with subdued instrumentation, featuring Terry Welles’ lead; chord progressions are simple, with restrained keyboard and string accompaniment.
A4. “Stargazer” (3:20) – Instrumental with a flowing disco-fusion arrangement; prominent string lines and flute passages complement rhythmic accents, with space for solo runs that weave through the orchestration.

B1. “One Million Miles From the Ground” (5:00) – Alternates between soft, floating verses and fuller choruses with backing vocals; synthesizer textures include atmospheric sweeps and electronic fills, with trumpet solos punctuating the arrangement.
B2. “You Can Be What You Wanna Be” (5:04) – Driving funk track with sharp rhythmic phrasing from drums and congas; strings and horns accentuate chord changes while percussion emphasizes syncopated beats.
B3. “Theme From the Planets” (4:53) – Starts with a drum break that launches into layered keyboards and horns; features a brief, precise sax solo and sections of angular synth lines that support a central thematic motif.
B4. “Rings of Saturn” (3:43) – Keyboard- and synth-heavy closer with sparse percussion; the arrangement relies on improvisation between Wansel and Malach’s saxophone, producing a spacious, atmospheric finish.

The album was created at Sigma Sound Studios in Philadelphia. Dexter Wansel produced the sessions, engineered by Jay Mark with assistance from Jeffrey Stewart, Mike Hutchinson, and Peter Humphreys, under chief engineer Jim Gallagher.

The lineup features Wansel on keyboards, synthesizers, and vocals with Derrick Graves (bass), Darryl Brown (drums, percussion), and Calvin Harris (guitar). Charles Collins and Joe Johnson add percussion, and the rhythm section from Trenton funk unit Instant Funk appears on two tracks. MFSB provide strings and horns, with solos by Bobby Malach (saxophone, flute) and Al Harrison (trumpet). Barbara Ingram, Carla Benson, and Evette Benton sing backing vocals, with Terry Welles featured on “Together Once Again.”

Photography was handled by Danny Wong and Eric Meola. The cover shows Wansel inside the Neon Tunnel, a space-age corridor in the foyer of 127 John Street in New York City, also used on the inner sleeve of Hall & Oates’ 1975 Silver Album.

Life on Mars reached No. 10 on the US Billboard Dance Club Songs chart.

What the World Is Coming To

Dexter Wansel released his second album, What the World Is Coming To, in March 1977 on PIR.

The album spans dance pieces, subdued vocal numbers, and orchestrated instrumentals with a shift toward earthbound themes. “Dance With Me Tonight” and “Disco Lights” ride on rapid rhythm lines and thick synthesizer layers. “Holdin’ On” and “Dreams of Tomorrow” move at slower pace with softened keyboard voicings and close vocal blends.

Instrumentals “First Light of the Morning,” “Ode Infinitum,” and the title track stretch into arranged textures with brass, strings, and open keyboard space. “Going Back to Kingston Town” pivots on a reggae pulse with phrasing indebted to Bob Marley. Jean Carn sings lead on “Dreams of Tomorrow” and backing on two cuts.

A1. “First Light of the Morning” (6:09)
A2. “Dance With Me Tonight” (5:38)
A3. “Holdin’ On” (4:55)
A4. “Ode Infinitum” (4:00)

B1. “Disco Lights” (4:09)
B2. “What the World Is Coming To” (6:21)
B3. “Going Back to Kingston Town” (3:59)
B4. “Dreams of Tomorrow” (4:48)
B5. “Prelude #1” (1:21)

The album was recorded at Sigma Sound Studios in Philadelphia. Wansel produced the sessions with engineering by Jay Mark and Jim Gallagher, assisted by a team of engineers. Herb Powers Jr. mastered the album at Frankford/Wayne Recording Labs.

The lineup features Wansel on ARP synthesizer, Fender Rhodes and RMI electric pianos, Baldwin grand piano, percussion, and vocals. Derrick Graves plays bass, Billy Johnson drums, and Herb Smith guitar, with Steve Gold on additional keyboards. Darryl Brown, Idris Muhammad, and Charles Collins contribute on drums. Bobby Malach (saxophone) and Al Harrison (trumpet, flugelhorn) add solos, while Barbara Ingram, Carla Benson, and Evette Benton provide backing vocals.

Wansel wrote nine of the album’s ten tracks. He co-wrote “Dance With Me Tonight” with C. Biggs, “Holdin’ On” with Bunny Sigler, and “Ode Infinitum” with Derrick Graves.

Voyager

Dexter Wansel released his third album, Voyager, in March 1978 on PIR.

The record spans funk, soul ballads, Latin rhythms, and instrumental fusion. “All Night Long” opens with clipped guitar, electric piano, and rhythm pushed by bass. “Solutions” rides a steady mid-tempo pace with synthesizer layers. The eight-minute “Voyager” develops through extended instrumental passages, including a forceful tenor saxophone solo from George Howard.

“I Just Want to Love You” moves briskly with a funk rhythm, while “Time Is the Teacher” slows into ballad form. “Latin Love (Let Me Know)” incorporates percussion patterns and a Latin inflection, while “I’m in Love” closes with smooth, flowing soul.

A1. “All Night Long” (5:34)
A2. “Solutions” (4:57)
A3. “Voyager” (8:13)

B1. “I Just Want To Love You” (4:17)
B2. “Time Is The Teacher” (5:30)
B3. “Latin Love (Let Me Know)” (4:48)
B4. “I’m In Love” (3:36)

The album was recorded at Sigma Sound Studios in Philadelphia, engineered by Jay Mark, Jim Gallagher, and Joe Tarsia with assistance from Ken Present. Wansel produced every track except “Latin Love (Let Me Know),” which was produced by Derrick Graves.

The lineup includes Wansel on Fender Rhodes, mini-Moog, Polymoog, synthesizers, guitar, percussion, and lead vocals. Derrick Graves plays bass, Billy Johnson drums, and Herb Smith rhythm guitar. Steve Gold contributes grand piano, mini-Moog, Fender Rhodes, and Clavinet, with Larry Washington on congas. Don Renaldo’s strings and horns appear, with solos from George Howard on saxophone and Butch Harper on trumpet and flugelhorn. Barbara Ingram, Carla Benson, and Evette Benton provide backing vocals.

The album’s cover, designed by Ed Lee with photography by Ronald G. Harris, depicts Wansel in an astronaut suit, underscoring the space theme of the title track.

Time Is Slipping Away

Dexter Wansel released his fourth album, Time Is Slipping Away, in October 1979 on PIR.

The album opens with “I’ll Never Forget (My Favorite Disco),” where lush strings sweep over driving bass and dance-ready piano pulses. “The Sweetest Pain,” sung by City Limits vocalist Terri Wells, slows into a late-night mood with warm keyboard washes and swirling backing vocals. “Funk Attack” pulses with striding rhythm guitar, bright synth lines, and a tight rhythm section. The title track drifts with ethereal piano and reflective horn phrasing.

“It’s Been Cool” moves on sustained rhythm motifs framed by soaring vocal layers. “Let Me Rock You” rides a buoyant beat under layered vocal textures. “New Beginning,” featuring Herb Smith’s vocal and guitar, drifts into dreamlike territory with floating strings and gentle percussion. The closer, “One for the Road,” lays out a spacious instrumental space where tenor sax cuts through a relaxed pulse.

A1. “I’ll Never Forget (My Favorite Disco)” (4:31)
A2. “The Sweetest Pain” (5:42)
A3. “Funk Attack” (3:58)
A4. “Time Is Slipping Away” (3:14)

B1. “It’s Been Cool” (5:00)
B2. “Let Me Rock You” (4:32)
B3. “New Beginning” (4:37)
B4. “One For The Road” (4:39)

The album was recorded at Sigma Sound Studios in both Philadelphia and New York. Engineering came from Arthur Stoppe, Jeffrey Stewart, Jim Gallagher, Peter Humphreys, and Steve Tose, with help from several assistants. Wansel produced and arranged most tracks; Jack Faith and Herb Smith shared arranging duties, and Wansel handled writing and arrangement for multiple songs.

Producer Credits

As an in-house producer at Philadelphia International Records, Dexter Wansel helped shape the label’s orchestrated yet rhythm-driven soul sound. He produced The Jacksons’ The Jacksons (1976) and Goin’ Places (1977), along with Lou Rawls’ All Things in Time (1976), Unmistakably Lou (1977), and Let Me Be Good to You (1979). He also worked with MFSB on Philadelphia Freedom (1975) and produced Dee Dee Sharp Gamble’s What Color Is Love (1977) and The Jones Girls’ 1979 self-titled album.

In the following decade, Wansel produced Lou Rawls’ Sit Down and Talk to Me (1980) and MFSB’s Mysteries of the World (1980). He oversaw Patti LaBelle’s The Spirit’s in It (1981), I’m in Love Again (1983), and Patti (1983), and contributed to Teddy Pendergrass’s TP (1980), Grover Washington Jr.’s The Best Is Yet to Come (1982), and Phyllis Hyman’s Living All Alone (1986). His productions balanced string arrangements with funk rhythms, making him a central architect of late-period Philly soul.