Leon Haywood -

Leon Haywood (February 11, 1942 — April 5, 2016) was a Houston-born singer-keyboardist who moved to Los Angeles in the early 1960s and worked with saxophonist Big Jay McNeely before he joined the Sam Cooke touring band. After early Fantasy and Fat Fish sides, Haywood reached the R&B chart with the Imperial single “She’s With Her Other Love” and the Decca single “It’s Got to Be Mellow.” Magnificent Montague used him in the session unit behind the Packers instrumental “Hole in the Wall.”

Haywood signed with 20th Century for the 1973–75 albums Back to Stay, Keep It in the Family, and Come and Get Yourself Some, scoring R&B hits with “Party,” “Strokin’ (Pt. II),” and “I Want’a Do Something Freaky to You.” After the 1978/79 MCA titles Double My Pleasure and Energy, he cut Naturally for 20th Century with the 1980 hit “Don’t Push It Don’t Force It.” Haywood also produced the 1981 Carl Carlton single “She’s a Bad Mama Jama (She’s Built, She’s Stacked).”

Background

Otha Leon Haywood was born on February 11, 1942, in Houston, Texas. He heard blues music as a child and took up piano at age three in Houston. Leon played in local groups as a teenager and accompanied New Orleans blues guitarist Guitar Slim.

Haywood moved to Los Angeles in the early sixties and worked with saxophonist Big Jay McNeely. Leon co-wrote both sides of the July 1961 Swingin’ single “Without a Love” (b/w “The Squat”) for Big Jay McNeely and Band, with an organ credit on “The Squat.”

In October 1963, Haywood cut the Fantasy single “I’m Gonna Wait” (b/w “You’re All For Yourself”) with producer Cliff Goldsmith and arranger Ray Shanklin. Haywood wrote both sides and the 1964 Fantasy followup: “The Truth About Money” (b/w “Would I”) with producer Goldsmith and arranger Shanklin. He also worked as keyboardist in the touring band for singer Sam Cooke before motel manager Bertha Franklin fatally shot Cooke on December 11, 1964, at the Hacienda Motel in Los Angeles.

Soul Cargo

Leon Haywood released his debut album, Soul Cargo, in 1966 on Fat Fish

Haywood delivers ten songs split between keyboard-led instrumentals and vocal blues-soul numbers. He wrote “Soul Cargo,” “The Fat Fish,” and “Spice of the Blues.” Cargo covers songs popularized by Lee Morgan (“The Sidewinder”), Horace Silver (“The Preacher”), Bobby Bland (“I’ll Take Care of You” and “I Pity the Fool”), and Percy Mayfield (“The River’s Invitation”). Haywood also records outside songs by Reverend Willie Gresham (“Going Back to New Orleans”) and Bobby Ray Shanklin (“Ray’s Theme”).

“Soul Cargo” simmers through a terse lead and clipped accents. “The Fat Fish” snaps into a short dance figure with close-room bite. “The Sidewinder” rides a hard backbeat through brassy punctuation. “The River’s Invitation” slows around plaintive phrasing and rounded cadence. “I Pity The Fool” tightens its complaint around blunt vocal placement and minor-key weight.

A1. “Soul Cargo” (3:28) – Haywood wrote the August 1966 Fat Fish single, which the label paired with “Spice of the Blues.”
A2. “The Fat Fish” (1:56) – Haywood wrote the compact LP track that carries the label name into the side-one program.
A3. “The Sidewinder” (3:27) – Edward Lee Morgan wrote and recorded the Blue Note title track, which reached No. 81 on the Billboard Hot 100 in January 1965.
A4. “Going Back to New Orleans” (3:11) – Reverend Willie Gresham wrote the song, and Haywood later reused his version as the B-side of the 1967 Fat Fish single “Baby Reconsider.”
A5. “Spice of the Blues” (2:55) – Haywood wrote the B-side of the August 1966 Fat Fish single “Soul Cargo.”

B1. “Ray’s Theme” (3:35) – Bobby Ray Shanklin wrote the side-two opener for the LP program.
B2. “The Preacher” (3:34) – Horace Silver wrote the 1955 Blue Note composition, which he recorded with his quintet before Haywood.
B3. “I’ll Take Care of You” (2:42) – Brook Benton wrote the Bobby Bland Duke single, which reached No. 89 on the Billboard Hot 100 and No. 2 on the R&B chart in 1959; Roy Hamilton cut a 1962 version before Haywood.
B4. “River’s Invitation” (2:28) – Percy Mayfield wrote and recorded the song for Specialty, then remade it for Tangerine in a 1963 version that reached No. 99 on the Billboard Hot 100 and No. 25 on the R&B chart.
B5. “I Pity the Fool” (2:26) – Don Deadric Malone Robey received the writer credit for the Bobby Bland Duke single, which reached No. 46 on the Billboard Hot 100 and No. 1 on the R&B chart in 1961.

Cliff Goldsmith produced Soul Cargo for Fat Fish, the Hollywood label that also issued the August 1966 title single and the March 1967 Haywood single “Skate A While.”

Ralph Kaffel created the cover art, and Alison Avery and Ray Avery photographed the package. The cover shows Haywood in a dark suit beside dockside cargo, with suspended wooden crates above the ship rail.

Fat Fish issued “Soul Cargo” as an August 1966 single (b/w “Spice Of The Blues”).

It’s Got to Be Mellow

Leon Haywood released his second album, It’s Got to Be Mellow, in November 1967 on Decca.

Mellow covers songs popularized by Don Covay & the Goodtimers (“Mercy, Mercy”), The Beatles (“Yesterday”), Ray Charles (“I Can’t Stop Loving You”), Bessie Smith (“Nobody Knows You When You’re Down and Out”), Patti Page (“The Tennessee Waltz”), Bobbie Gentry (“Ode to Billy Joe”), Cannonball Adderley (“Mercy, Mercy, Mercy”), and Miles Davis (“’Round Midnight”).

“It’s Got to Be Mellow” sways on close-miked lead calls, clipped replies, and two-step cadences. “Yesterday” lingers over softened lead lines and elongated chorus vowels. “Nobody Knows You When Your Down and Out” drags its complaint through low-register phrases and slow cadential turns. “Ode to Billy Joe” unfolds in measured verse phrases, with each section landing on the title refrain. “Cornbread and Buttermilk” presses a compact vamp into terse instrumental stance.

A1. “Mercy, Mercy, Mercy (Have Mercy Baby)” (2:48) – Don Covay and Ronald Miller wrote the 1964 Don Covay & The Goodtimers hit “Mercy, Mercy,” which reached No. 35 on the Billboard Hot 100 and No. 1 on the R&B chart; the Rolling Stones cut a 1965 version before Haywood.
A2. “It’s Got To Be Mellow” (2:15) – Haywood wrote the July 1967 Decca single, which reached No. 63 on the Billboard Hot 100 and No. 21 on the Billboard R&B chart.
A3. “Yesterday” (3:47) – Paul McCartney and John Lennon wrote the Beatles’ 1965 No. 1 US hit; Matt Monro, Marianne Faithfull, and Lou Rawls cut versions before Haywood.
A4. “I Can’t Stop Loving You” (3:02) – Don Gibson wrote and recorded the song in 1957; Ray Charles took it to No. 1 on the US pop, AC, R&B, and UK charts in 1962 before Haywood.
A5. “Nobody Knows You When Your Down and Out” (4:21) – Jimmie Cox wrote the 1923 song; Bessie Smith took her 1929 Columbia version to No. 15 on the US chart before Haywood.
A6. “Tennessee Waltz” (2:27) – Pee Wee King and Redd Stewart wrote the song first released by King’s Golden West Cowboys; Patti Page took “The Tennessee Waltz” to No. 1 on the Billboard pop chart in 1950, and Sam Cooke cut a 1964 version before Haywood.

B1. “Ode to Billy Joe – Part 1” (2:43) – Bobbie Gentry wrote and released the 1967 No. 1 Billboard Hot 100 hit; the Kingpins cut an Atco single before Haywood split the song across side two.
B2. “Ode to Billy Joe – Part 2” (2:54) – Haywood continues the Gentry composition after the sidebreak.
B3. “Cornbread and Buttermilk” (2:16) – Haywood wrote the B-side of the July 1967 Decca single “It’s Got To Be Mellow.”
B4. “Mercy, Mercy, Mercy” (4:01) – Joe Zawinul wrote the Cannonball Adderley instrumental, which reached No. 11 on the Billboard Hot 100 and No. 2 on the R&B chart in 1967; The Buckinghams cut a No. 5 US vocal version before Haywood.
B5. “’Round Midnight” (4:05) – Thelonious Monk and Cootie Williams wrote the 1944 Cootie Williams and His Orchestra instrumental; Bernie Hanighen wrote the later vocal lyric, and Miles Davis cut “’Round About Midnight” before Haywood.

Haywood produced and arranged It’s Got to Be Mellow for Decca, extending the self-directed credits from the July 1967 title single and its B-side, “Cornbread and Buttermilk.”

Decca issued “It’s Got To Be Mellow” as a July 1967 single (b/w “Cornbread and Buttermilk”), which reached No. 63 on the Billboard Hot 100 and No. 21 on the Billboard R&B chart.

Non-Album Singles, August 1967–July 1972

Leon Haywood released eleven stock singles between the August 1967 Fat Fish issue “Baby Reconsider” and the June 1972 Evejim issue “There Ain’t Enough Hate Around to Make Me Turn Around.”

The run contains fourteen Haywood-written or co-written songs across twenty-two side placements. The outside and co-writers are Reverend Willie Gresham, Pee Wee King, Redd Stewart, Don Covay, Ronald Miller, William Bell, Booker T. Jones, Bobby Parker, Maria Tynes, Jimmy Lewis, Marshall McQueen Jr., and Winston Ray Williams. Haywood covers songs popularized by Patti Page (“Tennessee Waltz”), William Bell (“Everyday Will Be Like a Holiday”), and Bobby Parker (“Blues Get Off My Shoulder”).

In August 1967, Fat Fish issued “Baby Reconsider” (b/w “Goin’ Back to New Orleans”). Cliff Goldsmith produced the Haywood original with arranger Arthur Wright. Gresham wrote “Goin’ Back to New Orleans,” which Haywood had cut for Soul Cargo.

Haywood followed in November 1967 with the Decca single “Mellow Moonlight” (b/w “Tennessee Waltz”). Haywood wrote and produced “Mellow Moonlight,” which reached No. 92 on the Billboard Hot 100 and No. 35 on the Billboard R&B chart. King and Stewart wrote “Tennessee Waltz,” a Patti Page No. 1 pop hit.

Decca issued “It’s the Last Time” (b/w “Mercy, Mercy, Mercy (Have Mercy Baby)”) in April 1968. Haywood produced “It’s the Last Time” as his second Decca follow-up to “It’s Got to Be Mellow.” Covay and Miller wrote “Mercy, Mercy,” the Don Covay and the Goodtimers hit adapted for the single.

Haywood continued his Decca run in June 1968 with “I Want to Talk About My Baby” (b/w “You Don’t Have to See Me Cry”). He produced both songs.

Decca paired Haywood with two outside soul-blues titles in November 1968 on “Everyday Will Be Like a Holiday” (b/w “Blues Get Off My Shoulder”). Bell and Jones wrote “Everyday Will Be Like a Holiday” for Bell’s 1967 Stax single. Parker wrote and first released “Blues Get Off My Shoulder” on Vee-Jay during 1958.

Capitol issued “Consider The Source” (b/w “Just Your Fool”) in August 1969. Phil Wright produced the single with arranger James Anthony Carmichael. Haywood wrote “Consider The Source,” and Tynes joined him on “Just Your Fool.”

Also in 1969, Haywood wrote and produced “Twitchie Feet” (b/w “Bag of Goodies”), a Pzazz Records single by Soul Machine, a Costa Rican R&B group also known as Blues Machine.

Haywood returned to Capitol in March 1970 with “I Wanna Thank You” (b/w “I Was Sent to Love You”). Wright produced the single. Haywood arranged “I Wanna Thank You,” and Carmichael arranged the Haywood–Tynes song “I Was Sent to Love You.”

Evejim issued “You Know What” (b/w “You And Your Moody Ways”) in 1971. Ray Jackson arranged the single, pairing Haywood’s “You Know What” with the Haywood–Lewis song “You And Your Moody Ways.”

Atlantic reversed the Evejim pairing in April 1971 as “You And Your Moody Ways” (b/w “You Know What”). Angle L. Balestier produced the single with Jackson arranging both songs.

Atlantic issued “Clean Up Your Own Backyard” (b/w “String Bean”) in February 1972. Haywood produced and arranged “Clean Up Your Own Backyard,” a Haywood–McQueen–Williams song, and “String Bean,” a Lewis composition.

Haywood closed the period in June 1972 with the Evejim single “There Ain’t Enough Hate Around to Make Me Turn Around” (b/w “One Way Ticket to Love Land”). Haywood produced the single and shared the title-side arrangement with Jackson. Lewis joined Haywood on “One Way Ticket to Love Land.”

Back to Stay

Leon Haywood released his third album, Back to Stay, in 1973 on 20th Century.

Haywood sings lead across a nine-song soul set, with arrangements by Haywood and James Anthony Carmichael. He wrote or co-wrote five songs. Marshall McQueen Jr. wrote two outside songs; Sonny Thompson and Bettye Swann wrote the remaining outside songs.

“La La Song” claps through a thumping singalong refrain and plain group reply. “Long As There’s You (I Got Love)” lingers over a slow-burn pledge as Haywood holds the lead near a grainy low-register guitar line. “There Ain’t Enough Hate Around (To Make Me Turn Around)” states a socially pointed text through a direct title chant and firm turnaround cadence.

A1. “La La Song” (3:31) – Haywood
A2. “Sweet Loving Pair” (3:16) – Bill Williams Jr., Marshall McQueen Jr., Winston R. Williams
A3. “Show Me That You Care” (3:23) – Haywood, McQueen
A4. “Let Them Talk” (2:53) – Thompson
A5. “Fair Warnin’” (2:43) – McQueen

B1. “One Way Ticket To Loveland” (2:57) – Haywood, Jimmy Lewis
B2. “Make Me Yours” (3:00) – Bettye Swann
B3. “Long As There’s You (I Got Love)” (7:49) – Haywood, Williams, McQueen
B4. “There Ain’t Enough Hate Around (To Make Me Turn Around)” (3:11) – Haywood

Haywood produced and arranged Back to Stay with arranger James Anthony Carmichael and engineer David Braithwaite.

Leprevost & Leprevost designed the cover package with illustration by Andy Zito and photography by Gene Brownell. Brownell photographed Haywood seated in a plaid jacket and red tie before a pale blue oval backdrop.

20th Century issued “One Way Ticket to Love Land” as an August 1972 single (b/w “There Ain’t Enough Hate Around To Make Me Turn Around”). The label lifted “La La Song” as an April 1973 single (b/w “Sweet Loving Pair”).

In December 1973, “Long As There’s You (I Got Love)” reappeared as the B-side of “Keep It In The Family” and reached No. 63 on the Billboard R&B chart.

Keep It in the Family

Leon Haywood released his fourth album, Keep It in the Family, in June 1974 on 20th Century.

Haywood sings lead across a nine-song soul set arranged by Gene Page. “Keep It in the Family” lopes through a chunky title line as Haywood drives the refrain. “That Sweet Woman of Mine” lingers as a slow-burn address and places the lead close to the central pledge.

“B.M.F. Beautiful” snaps through a compact instrumental break and clipped foreground figures. “Long As There’s You (I Got Love)” returns to slow-jam territory through low-register phrasing and a held title line. “You’ll Never Walk Alone” swells toward a broad cadence as Haywood projects the vocal across the orchestral rise.

A1. “Keep It In the Family” (2:40) – Haywood
A2. “Sugar Lump” (2:39) – Page
A3. “That Sweet Woman of Mine” (3:44) – McQueen, Williams, Haywood
A4. “The Day I Laid Eyes On You” (2:37) – McQueen
A5. “When It Comes Down On You In the Middle of the Night” (4:22) – Chase

B1. “A Hundred Pounds of Clay” (2:57) – Elgin, Rogers, Dixon
B2. “Long As There’s You (I Got Love)” (8:06) – Haywood, McQueen, Williams
B3. “B.M.F. Beautiful” (3:25) – Haywood, Page
B4. “You’ll Never Walk Alone” (4:14) – Rodgers, Hammerstein

Haywood produced Keep It in the Family. Gene Page arranged seven tracks and shared the title-track arrangement with Haywood. Haywood and James Anthony Carmichael arranged “Long As There’s You (I Got Love).” Stan Ross engineered seven tracks. Tom Oliver and David Braithwaite engineered the two exceptions, “Keep It In The Family” and “Long As There’s You (I Got Love).” John Mills and Val Garay mixed the album.

Jack Levy directed the cover package for Keep It in the Family. David Larkham designed the front cover, and Eddie Douglas designed the interior. Brian Hagiwara photographed a cover composite with two Haywood figures before a tree and teal sky.

20th Century lifted “Keep It In The Family” as a December 1973 single (b/w “Long As There’s You (I Got Love)”), which reached No. 50 on the Billboard Hot 100 and No. 11 on the Billboard R&B chart. The B-side also reached No. 63 on the Billboard R&B chart. “Sugar Lump” followed as a July 1974 single (b/w “That Sweet Woman Of Mine”) and reached No. 35 on the Billboard R&B chart.

Keep It in the Family reached No. 35 on the Billboard Top R&B Albums chart.

Come and Get Yourself Some

Leon Haywood released his fifth album, Come and Get Yourself Some, in October 1975 on 20th Century.

Haywood sings lead across a nine-song soul-funk set and plays electric piano, Moog, and organ. The session roster names roughly fourteen players, including bassist Wilton Felder, drummer Ed Greene, guitarists Ray Parker Jr. and David T. Walker, and keyboardist Joe Sample. Haywood wrote or co-wrote six songs.

“Come and Get Yourself Some” sweeps past the title refrain on an upper-register entrance and broad orchestral lift. “This Feeling’s Rated Extra” smolders from a wailing opening cry into a slow, close-voiced lead. “I Want’a Do Something Freaky to You” lingers through a spoken-and-moaned introduction before Haywood raises the lead across hard accents. “Who You Been Giving It Up To” bites into an angry lead and clipped rhythmic figure.

“You Need a Friend Like Mine” surges through backing-voice responses and churchy chord bursts. “Consider the Source” slows around high-note figures and Haywood’s pleaded warning against rumor. “I Know What Love Is” murmurs through half-spoken lines and closes on a fuller cadence.

A1. “Come and Get Yourself Some” (3:33) – Cason
A2. “This Feeling’s Rated Extra” (3:49) – Haywood
A3. “I Want’a Do Something Freaky to You” (5:57) – Haywood
A4. “Who You Been Giving It Up To” (2:51) – Haywood

B1. “You Need a Friend Like Mine” (3:03) – Knight
B2. “Consider the Source” (4:00) – Haywood
B3. “Just Your Fool” (3:28) – Haywood, Tynes
B4. “I Know What Love Is” (3:14) – Elaine McQueen, Marshall McQueen Jr.
B5. “Believe Half of What You See (And None of What You Hear)” (2:41) – Haywood

Haywood produced Come And Get Yourself Some and arranged rhythm. Gene Page arranged strings and shared horn arrangements with Haywood and James Mitchell. John Mills engineered and mixed the album, and Stan Ross engineered the A3 single.

Queens Graphics designed the Come And Get Yourself Some cover package. Photographers Bob Levy and Buddy Rosenberg shot Haywood leaning toward the camera in an orange suit and blue plaid jacket against a dark studio background.

20th Century issued “Believe Half of What You See (And None of What You Hear)” as an October 1974 single (b/w “The Day I Laid Eyes On You”), which reached No. 94 on the Billboard Hot 100 and No. 21 on the Billboard R&B chart.

The label lifted “Come an’ Get Yourself Some” as a May 1975 single with stock-copy pairings that used “B.M.F. Beautiful” or “Who You Been Giving It Up To,” and the A-side reached No. 83 on the Billboard Hot 100 and No. 19 on the Billboard R&B chart.

20th Century followed with “I Want’a Do Something Freaky to You” as a September 1975 single (b/w “I Know What Love Is”), which reached No. 15 on the Billboard Hot 100, No. 7 on the Billboard R&B char, and No. 53 on the UK Singles Chart.

“Just Your Fool” followed as a December 1975 single (b/w “Consider the Source”) and reached No. 26 on the Billboard R&B chart.

Come And Get Yourself Some reached No. 140 on the Billboard 200 and No. 21 on the Billboard Top R&B Albums chart.

Intimate

Leon Haywood released his sixth album, Intimate, in 1976 on Columbia.

Haywood sings lead across an eight-song soul set. He handled rhythm arrangements, and Gene Page handled horn-and-string arrangements. Haywood wrote or co-wrote four songs. Van McCoy wrote two outside songs; Rich Cason wrote one, as did Ed Townsend. Haywood recorded the album with roughly twenty players, including bassists Louis Johnson and Wilton Felder, drummer James Gadson, guitarist Ray Parker Jr., and saxophonist Ernie Watts.

“Dream Dream” glides beneath a cushioned arrangement and unhurried refrain. “The Streets Will Love You to Death” lingers on its warning title line and stretches the refrain into a street-level caution. “It’s Got to Be Mellow” reclines into a compact remake and resolves around the plain-spoken title phrase.

A1. “Let Me Make It Good to You” (3:11) – Cason
A2. “Dream Dream” (4:13) – McCoy
A3. “Strokin’” (6:02) – Haywood
A4. “Let’s Get It On” (4:44) – Townsend

B1. “The Streets Will Love You to Death” (6:46) – Williams, Roberts, Haywood, McQueen
B2. “I’m Your Knight In Shining Armor” (3:39) – McCoy
B3. “They Don’t Make ’Em No More Like You” (6:03) – Williams, McQueen
B4. “It’s Got to Be Mellow” (2:45) – Haywood

Haywood produced Intimate and arranged rhythm at ABC Recording Studios in Los Angeles. Recording engineers Barney Perkins, Frank Clark, Monty Stark, and Reginald Dozier cut the album with assistant engineer Vincent Leslie Jones. Gene Page arranged horns and strings.

20th Century issued “Strokin’ (Pt. II)” as a May 1976 single (b/w “Strokin’ (Pt. I)”), which reached No. 13 on the Billboard R&B chart.

Columbia lifted “The Streets Will Love You To Death – Part I” as an October 1976 single (b/w “The Streets Will Love You To Death – Part II”), which reached No. 63 on the Billboard R&B chart.

In January 1977, Columbia issued “Dream Dream” as a single (b/w “Let Me Make It Good To You”).

Haywood also produced and co-arranged the RCA release Love Is What We Came Here For, the long-awaited second album by Mississippi soul singer Garland Green.

Double My Pleasure

Leon Haywood released his seventh album, Double My Pleasure, in 1978 on MCA.

Haywood sings lead across an eight-song soul-funk set. He recorded the album with bassists Rick Jones, Ron Brown, and David Shields, drummers James Gadson and Ed Greene, and percussionist Eddie Brown. The roster also names guitarists Roland Bautista, Billy Ray Charles, Tony Drake, and Ray Parker Jr. with keyboardists James Ingram, Greg Jackson, Jack Perry, and Haywood. Willard Burton wrote two songs while Tony Coleman submitted “Life Goes On.”

“Double My Pleasure” bounds through a playful title chant and driving dance beat. “You Bring Out the Freak in Me” teases the refrain across an extended vamp and keeps the vocal low in the mix. “Fine and Healthy Thing” clenches a heavy-footed backbeat under its central chant. “She’s Built She’s Stacked” struts through a big low-end line, peppered horn punctuation. “Super Sexy” pivots from the title phrase into a clipped vocal answer.

A1. “Double My Pleasure” (5:00) – Haywood
A2. “You Bring Out the Freak In Me” (7:22) – Haywood
A3. “Fine and Healthy Thing” (4:41) – Burton

B1. “She’s Built She’s Stacked” (3:16) – Haywood
B2. “Life Goes On” (3:03) – Coleman
B3. “Self Respect” (3:38) – Haywood
B4. “Super Sexy” (3:18) – Haywood
B5. “It’s Gonna Be Alright” (3:00) – Burton

Haywood produced Double My Pleasure and arranged rhythm. Tony Coleman arranged rhythm and horns, and Gene Page arranged strings and horns. Engineer John Mills recorded and mixed the album with assistant engineer Al Schmitt. Fred Borkgren mixed the album, and John Golden mastered the record.

Jim Britt photographed Haywood for the cover package. Stylist Stephon Martin shaped Haywood’s wardrobe for the session.

MCA issued “Super Sexy” as a September 1977 single (b/w “Life Goes On”), which reached No. 54 on the Billboard R&B chart.

“Double My Pleasure” followed as a January 1978 single (b/w “It’s Gonna Be Alright”) and reached No. 91 on the Billboard R&B chart. MCA lifted “Fine and Healthy Thing” as a May 1978 single (b/w “She’s Built She’s Stacked”), which reached No. 84 on the Billboard R&B chart.

Energy

Leon Haywood released his eighth album, Energy, in 1979 on MCA.

Haywood sings lead across a six-track dance-soul set. Tony Coleman arranged the tracks with Haywood; Gene Page arranged the strings. Haywood wrote four songs and collaborated with Coleman on “Party,” which rides a lean dance pulse and repeats the title call across a direct refrain. John Klenner and Sam M. Lewis wrote “Just Friends.

A1. “Disco Fever” (7:10) – Haywood
A2. “Energy” (5:18) – Haywood
A3. “Party” (5:37) – Haywood, Coleman

B1. “Blessed With Love” (3:48) – Haywood
B2. “I Love You” (3:55) – Haywood
B3. “Just Friends” (7:05) – Klenner, Lewis

Haywood produced Energy. Sessions occurred at MCA Whitney Recording Studios in Glendale, and mixing occurred at Love ’N Comfort Studios in Los Angeles.

George Osaki directed the cover art, and Jim Britt photographed Haywood for the sleeve.

MCA issued “Party” as an August 1978 promo single, which reached No. 24 on the Billboard R&B chart.

Naturally

Leon Haywood released his ninth album, Naturally, in 1980 on 20th Century Fox.

Haywood sings lead across a seven-song soul-funk set. He recorded the album with bassists Scott Edwards and Rick Jones, drummer James Gadson, and percussionist Rock Deadrick. The roster also names guitarists Tony Drake, David T. Walker, and Michael McGloiry with keyboardists Gail Deadrick, James Ingram, and Tony Coleman. James Ingram wrote “That’s What Time It Is”; Phil Hurtt and Bunny Sigler wrote “Love Is What We Came Here For.”

“Don’t Push It Don’t Force It” shuffles through a brisk backbeat and tight refrain pressure. “Daydream” rises through bright brass punctuation and a clean single-edit cadence. “Love Is What We Came Here For” eases into a ballad breather and lowers the address around a soft cadence. “If You’re Lookin’ for a Night of Fun (Look Past Me, I’m Not the One)” pivots on its long title phrase and brisk floor pressure. “Lovers Rap” closes on spoken rhymes over a firm rhythmic backing.

A1. “Don’t Push It Don’t Force It” (5:30) – Haywood
A2. “Daydream” (5:24) – Haywood
A3. “That’s What Time It Is” (4:04) – Ingram
A4. “Love Is What We Came Here For” (4:55) – Hurtt, Sigler

B1. “If You’re Lookin’ For a Night of Fun (Look Past Me, I’m Not The One)” (5:29) – Haywood
B2. “Who You Been Giving It Up To?” (2:46) – Haywood
B3. “Lover’s Rap” (6:51) – Haywood

Haywood produced Naturally at Sun Storm Recording Studios, Quantum Recording Studios, and Janna’s Room with engineers Reginald Dozier and Ron Capone. Tony Coleman joined Haywood on most horn-and-rhythm arrangements. Tom Tom 84, James Mitchell, and Gene Page receive additional horn-and-string arrangement credits.

Stan Martin directed and designed the cover package with photography by Jim Britt and styling by Amy Tafurt.

20th Century-Fox issued “Don’t Push It Don’t Force It” as a February 1980 single (b/w “Who You Been Giving It Up To?”). The single reached No. 49 on the Billboard Hot 100, No. 2 on the Billboard R&B chart, No. 10 on the Billboard dance chart, and No. 12 on the UK Singles Chart.

“If You’re Lookin’ For A Night Of Fun (Look Past Me, I’m Not The One)” followed in July 1980 (b/w “That’s What Time It Is”) and reached No. 67 on the Billboard R&B chart.

Naturally reached No. 22 on the Billboard Top R&B Albums chart.

It’s Me Again

Leon Haywood released his tenth album, It’s Me Again, in 1983 on Casablanca.

Haywood sings lead across an eight-song electro-soul set. He recorded the album with vocalist Karen Roberts and background vocalists James Ingram, Phil Perry, J.D. Nicholas, Josie James, and Phillip Ingram. Jerry Knight wrote two songs; Willie Hutch wrote one outside title, as did Rich Cason.

“I’m Out to Catch” runs as a duet pursuit, with Karen Roberts answering Haywood across a forward vocal exchange. “I Wanta Do Something Freaky to You” refits the earlier title to an eighties rhythm base and a coded undercurrent. “T.V. Mama” works a compact title phrase over a tight dance backbeat. “Desire” clamps short vocal commands to clipped synth-era movement.

A1. “T.V. Mama” (6:05) – Haywood
A2. “Desire” (3:25) – Knight
A3. “I’ll Always Be Around” (4:23) – Hutch
A4. “Secret Rendezvous” (3:24) – Knight

B1. “I’m Out to Catch” (6:10) – Cason
B2. “Keep It In the Family” (3:02) – Haywood
B3. “I Wanta Do Something Freaky to You” (5:54) – Haywood
B4. “Steppin’ Out” (3:38) – Haywood, Cason

Haywood self-produced It’s Me Again, co-engineered by Barney Perkins and Bill Dashiell with orchestral arrangements by David N. Crawford.

Casablanca lifted “I’m Out To Catch” as a 1983 single (b/w “Keep It In The Family”), which reached No. 27 on the Billboard R&B chart and No. 39 on the Billboard dance chart.

The label followed with “T.V. Mama” as an August 1983 promo single and a 1983 stock single (b/w “Steppin’ Out”), which reached No. 83 on the Billboard R&B chart.

It’s Me Again reached No. 48 on the Billboard Top R&B Albums chart.

Discography: