Leroy Hutson -

Leroy Hutson (born June 4, 1945) is an American R&B singer, songwriter, and producer from Newark, N.J., who emerged as the third frontman of Chicago soulsters The Impressions, which he joined in 1971 as Curtis Mayfield‘s replacement. As a solo artist, Hutson released seven albums on Mayfield’s Curtom label between 1973 and 1979, followed by an eighth on Elektra in 1982.

Background

Hutson was born on June 4, 1945, in Newark, New Jersey. In high school, he formed a doo-wop quartet, The Nu-Tones, which won several talent contests. (Not to be confused with the namesake acts on Mark, Dart, and Amon.)

He attended Howard University in Washington DC, initially majoring in dentistry. His roommate, Donny Hathaway, left college early to serve as the musical director for The Impressions. This prompted Hutson to change his college major to music theory and composition. While still enrolled, he joined The Mayfields, which performed at New York’s Apollo Theater and Philadelphia’s Uptown Theater. They issued one single, “I’ve Been Trying” (b/w “If”), in 1966 on Mayfield Records, written and produced by Curtis Mayfield.

In 1968, Hutson teamed with singer Debbie Rolands in the duo Sugar & Spice. Signed to MCU/Uni-subsidiary Kapp Records, they issued the 1968/69 singles “Dreams” (b/w “Ah Ha Yeah”) and “In Love Forever” (b/w “Let the Whole World Know”). Also that year, Hutson arranged the b-side “Sentimental Man” by label-mates The Unifics, a Hathaway-associated act.

During 1969, Hutson and Hathaway co-wrote and arranged sides for The Indigos (“Love You (Je Vous Aime Oui Je Fais)”), Nolan Chance (“I’ll Never Forget You”), Roberta Flack (“Tryin’ Times”), and Hathaway’s two-part single “The Ghetto” (included on his 1970 debut album Everything Is Everything). They also collaborated on “You’ll Never Be True” for the 1969 album Love Is by singer Lovelace Watkins, which also features “Je Vous Aime” and the Mayfield co-write “Gone Away” (later covered by Flack).

Subsequent Hutson/Hathaway co-writes include 1970/71 sides for Carla Thomas (“Never Be True”), Duponts (“If You Do Love Me”), and Juliane (“I Love You”).

In 1971, Hutson sang backing vocals on Mayfield’s second solo album, Roots. That year, Mayfield assigned Hutson as his own replacement in The Impressions. Hutson sang on their 1972 release Times Have Changed, written and produced by Mayfield. He stayed for two years, then signed to Mayfield’s Curtom label as a solo artist.

Love Oh Love

Leroy Hutson released his debut solo album, Love Oh Love, in January 1973 on Curtom.

The album pairs lush Chicago soul arrangements with orchestral instrumentation and romantic balladry. It marks Hutson’s first project after his tenure with The Impressions, showcasing his move toward a smoother, more personal sound built on flowing horn lines, supple string charts, and layered vocal harmonies.

Hutson wrote or co-wrote seven of the album’s eight songs, working with Michael Hawkins and Janice Hutson on select numbers. Joe Reaves and Maurice Commander co-wrote “When You Smile,” and Janice Hutson co-wrote the title track.

The lineup features Hutson on vocals, percussion, ARP synthesizer, and electric piano with organist Morris Beeks, bassist Victor Chandler, drummer Scotty Harris, trumpeter Michael Harris, trombonists Billy Howell and Bill McFarland, reedists Jerry Wilson (alto saxophone) and Sonny Seals (tenor saxophone), flutist Joel Brandon, tuba player Aaron Dodd, conga player Norman Shobey, percussionist Joe Reaves, vibraphonist Miller Pertum, and guitarist Stephen Harris. Sol Bobrov led the string section with arrangements by Rich Tufo and Tom Washington. Background vocals are by The Imaginations, The Identicals, and Janice Hutson.

“So in Love With You” opens the album with light strings and restrained rhythm under Hutson’s intimate lead vocal. “Love, Oh Love” takes a brisker pace with bright horns and percussive accents. “When You Smile” stretches out with floating flute figures and modulated rhythm passages. “Getting It On (Theme from The Jay Johnson Affair)” is a funk-oriented instrumental with crisp guitar and horn breaks. “Time Brings On a Change” reflects on personal and social transformation with sampled excerpts from Martin Luther King Jr. “I’ll Be There, I’ll Still Care” and “I’m in Love With You, Girl” maintain the romantic focus in compact ballad settings, while “As Long as There’s Love Around” closes the set with an uplifting tempo and a broad, brassy arrangement.

A1. “So in Love With You” (2:57) — co-written by Michael Hawkins; a soft ballad with string backdrops and gentle rhythm.
A2. “Love, Oh Love” (3:52) — co-written by Janice Hutson and Michael Hawkins; upbeat soul track driven by horn stabs.
A3. “When You Smile” (4:18) — co-written by Joe Reaves and Maurice Commander; extended mid-tempo number with woodwind accents.
A4. “Getting It On (Theme from The Jay Johnson Affair)” (3:55) — instrumental; rhythm-centered piece with prominent guitar and brass punctuation.

B1. “Time Brings On a Change” (4:39) — political soul track underscored by MLK audio samples.
B2. “I’ll Be There, I’ll Still Care” (3:06) — co-written by Michael Hawkins; steady-paced romantic ballad.
B3. “I’m in Love With You, Girl” (2:40) — concise, lightly arranged declaration of love.
B4. “As Long as There’s Love Around” (3:11) — uplifting closer with assertive horns and layered harmonies.

Sessions occurred at Curtom Studios in Chicago with Leroy Hutson as producer and Tom Tom 84 (Tom Washington) and Rich Tufo handling arrangements. Love Oh Love features photography by Joel Brodsky.

Curtom promoted the album with “When You Smile,” which reached No. 81 on the Billboard R&B chart.

The Man!

Leroy Hutson released his second solo album, The Man!, in May 1974 on Curtom.

The album builds on the lush arrangements and romantic focus of his debut with a heavier emphasis on rhythmic interplay, extended instrumental breaks, and large-scale orchestrations. It reflects Hutson’s growing ambitions as writer, producer, and arranger, merging Chicago soul textures with funk-leaning rhythm passages.

Hutson co-wrote four of the eight songs with Michael Hawkins, including “Can’t Say Enough About Mom,” “Ella Weez,” “Could This Be Love,” and “Dudley Do-Right.” He also co-wrote “The Ghetto ’74” with Donny Hathaway, revisiting their earlier hit for Hathaway. Daniel Reed, Quinton Joseph, and Tony Green contributed three songs, and Eugene Dixon and James Thompson wrote “Give This Love a Try.”

The lineup features Hutson on clavinet, ARP synthesizer, electric piano, and lead vocals, with guitarist Phil Upchurch (also on sitar), drummer Quinton Joseph, bassist Joseph “Lucky” Scott, keyboardist Michael Hawkins (electric piano), percussionist Fred Walker (bongos, congas, tabla), and reedist Jerry Wilson (tenor and alto saxophone). Backing vocals are by Janice Hutson, The Natural Four, Galaxy, and Eulaulah Hathaway. Jerry Long handled string and horn arrangements.

“Can’t Say Enough About Mom” opens with an extended build around assertive horn lines and an uplifting lyric that celebrates maternal influence. “Gotta Move – Gotta Groove” shifts into quicker funk tempo with clipped guitar figures and call-and-response refrains. “Ella Weez” uses layered vocal phrasing over a bustling rhythm. “Give This Love a Try” slows the pace with soft backing harmonies and an elegant arrangement. “The Ghetto ’74” reimagines Hutson and Hathaway’s earlier composition as an instrumental led by saxophone with percussion flourishes. “After the Fight” delivers a reflective lyric against a tense rhythmic pulse. “Could This Be Love” draws on Impressions-style vocal layering with a measured, smooth arrangement. “Dudley Do-Right” closes the set with playful production touches and brassy funk motifs.

A1. “Can’t Say Enough About Mom” (6:14) — co-written by Michael Hawkins; a soul anthem with a prominent horn fanfare and pro-family lyric.
A2. “Gotta Move – Gotta Groove” (3:38) — written by Daniel Reed, Quinton Joseph, and Tony Green; brisk funk with light guitar ornamentation.
A3. “Ella Weez” (3:01) — co-written by Michael Hawkins; up-tempo track with layered vocals and rhythmic drive.
A4. “Give This Love a Try” (3:35) — written by Eugene Dixon and James Thompson; a soft ballad with blended backing harmonies.

B1. “The Ghetto ’74” (4:34) — co-written by Donny Hathaway; instrumental revision of Hathaway’s 1970 hit “The Ghetto,” led by saxophone and percussion.
B2. “After the Fight” (3:17) — written by Reed, Joseph, and Green; socially reflective lyric over a tense rhythm.
B3. “Could This Be Love” (3:08) — co-written by Hawkins; smooth romantic track with layered harmonies.
B4. “Dudley Do-Right” (3:44) — co-written by Reed, Joseph, and Hutson; playful funk track with light novelty elements.

Sessions occurred at Curtom Studios in Chicago with Leroy Hutson as producer and Jerry Long handling arrangements. The Man! features photography by Joel Brodsky.

Curtom promoted the album with “Ella Weez” (b/w “Could This Be Love”), which reached No. 81 on the Billboard R&B chart.

Hutson’s co-write “The Ghetto” was first recorded by Donny Hathaway in 1970 and became one of Hathaway’s signature songs before Hutson reinterpreted it here as “The Ghetto ’74.”

Hutson

Leroy Hutson released his third solo album, Hutson, in July 1975 on Curtom.

The album pairs mid-tempo Chicago soul arrangements with ornamental horns, Fender Rhodes figures, and lush string charts. It marks Hutson’s creative peak period on Curtom and emphasizes sleek, orchestrated production across a compact, seven-song set.

Hutson wrote five of the album’s songs outright and co-wrote the remaining two with Michael Hawkins, Charles Boyd, and Gerald Dickerson.

Hutson sings lead and plays Fender Rhodes, piano, and synthesizer with bassist Victor Chandler, drummer and percussionist Donnell Hagan, guitarist Stephen Harris, reedist Jerry Wilson (tenor and alto saxophone), trumpeter Michael Harris, trombonist Bill McFarland, conga player Master Henry Gibson, keyboardist Ronald Coleman, guitarist Phil Upchurch (acoustic and electric), and guitarist Craig McMullen. Sol Bobrov led the string section with arrangements by Rich Tufo. Background vocals are by the Kitty Haywood Singers and Beverly McLin.

“All Because of You” opens the album with a long instrumental buildup that layers strings, horns, and rhythm before Hutson enters with declarative romantic lines. “I Bless the Day” centers on piano and vocal phrasing in a restrained ballad setting. “It’s Different” is a lightly skipping track driven by synthesizer accents. “Cool Out” serves as a brief instrumental transition with Fender Rhodes as the focal point. “Lucky Fellow” moves at a slightly quicker pace with bright horns and guitar interplay. “Can’t Stay Away” has a reflective, steady rhythm under its vocal refrain, and “So Much Love” closes the album with a lean arrangement and warm horn swells.

A1. “All Because of You” (7:03) — extended introduction layering horns, strings, and percussion before shifting into a romantic lyric.
A2. “I Bless the Day” (4:03) — piano ballad that underlines themes of devotion and gratitude.
A3. “It’s Different” (4:43) — driven by synthesizer figures that give the arrangement sharp rhythmic turns.
A4. “Cool Out” (3:00) — instrumental; electric piano–based interlude with light rhythmic punctuation.

B1. “Lucky Fellow” (5:03) — co-written with Charles Boyd and Gerald Dickerson; brighter pace with horn breaks and guitar fills.
B2. “Can’t Stay Away” (5:35) — co-written with Michael Hawkins; reflective lyric built on steady rhythm.
B3. “So Much Love” (3:22) — closing track with tight brass figures and simple vocal lines.

Sessions occurred at Curtom Studios in Chicago with Leroy Hutson producing and Roger Anfinsen engineering.

Curtom promoted Hutson with “All Because of You” (b/w “Can’t Stay Away”), which reached No. 36 on the Billboard R&B chart. “Can’t Stay Away” followed as a second single and reached No. 46.

Feel the Spirit

Leroy Hutson released his fourth solo album, Feel the Spirit, in February 1976 on Curtom.

The album balances brisk, funk-leaning arrangements with orchestrated ballads, marking the second release in Hutson’s peak mid-1970s period. He fronts the Free Spirit Symphony, a large ensemble that expands his sound with tight brass, multiple keyboards, and layered vocal harmonies.

Hutson wrote or co-wrote six of the album’s seven tracks with contributions from guitarist Stephan Harris, drummer Donnell Hagan, and keyboardist Michael Hawkins. He also includes “Butterfat,” an instrumental composed by guitarist Steve Khan.

Hutson sings lead and plays Clavinet, ARP synthesizer, and piano (bass) with guitarists Craig McMullen, Phil Upchurch, and Stephan Harris; drummers Donnell Hagan and Cordell Carter; percussionist Tony Carpenter (congas); bassists Benny Scott and Richard Evans; keyboardists Alfonso Surrett (also backing vocals), Aaron Jamal, and Michael Hawkins; trumpeters Michael Harris and Steve Hawkins; trombonist Bill McFarland; reedist Jerry Wilson (alto and tenor saxophone); and multiple backing singers including Arnold Blair, Eulaulah Hathaway, Janice Hutson, Joe D. Reaves, and the Kitty Haywood Singers.

“It’s the Music” opens the album with rhythm-heavy instrumentation, bright horn figures, and a prominent trombone solo. “Let’s Be Lonely Together” draws on clipped funk guitar and stacked harmonies. “Never Know What You Can Do (Give It a Try)” carries a self-empowerment lyric with contoured phrasing reminiscent of The Impressions. “Lover’s Holiday” moves at a slower pace with soft string flourishes. The title track, “Feel the Spirit (‘76),” is largely instrumental, propelled by background vocals and light synthesizer effects. “Don’t Let It Get Next to You” returns to harmony soul balladry, while “Butterfat” closes the album as an extended funk instrumental.

A1. “It’s the Music” (4:50) — co-written with Stephan Harris; propulsive funk arrangement with brass accents and a trombone solo.
A2. “Let’s Be Lonely Together” (3:32) — co-written with Donnell Hagan and Michael Hawkins; clipped rhythm guitar and layered backing vocals frame the lyric.
A3. “Never Know What You Can Do (Give It a Try)” (3:57) — co-written with Michael Hawkins; mid-tempo soul number with an encouragement theme.
A4. “Lover’s Holiday” (3:47) — co-written with Michael Hawkins; slow romantic ballad with string textures.

B1. “Feel the Spirit (‘76)” (5:54) — instrumental disco-oriented track with background vocals and ARP synthesizer figures.
B2. “Don’t Let It Get Next to You” (3:39) — co-written with Michael Hawkins; harmony soul in a Philadelphia-inspired arrangement.
B3. “Butterfat” (7:16) — instrumental composed by Steve Khan; extended funk jam with emphasis on brass and rhythm.

Sessions occurred at Curtom Studios in Chicago with Leroy Hutson producing.

Curtom promoted Feel the Spirit with “Feel the Spirit (‘76),” which reached No. 25 on the Billboard R&B chart and No. 5 on the Dance chart. “Lover’s Holiday” followed as a second single and reached No. 66 R&B.

Hutson II

Leroy Hutson released his fifth solo album, Hutson II, in November 1976 on Curtom.

The album continues Hutson’s signature blend of brass-laced funk and orchestrated Chicago soul, containing both vocal and instrumental numbers in a streamlined set that marks the final entry in his mid-1970s Curtom trilogy. He fronts an expanded backing ensemble that features five guitarists, eight keyboardists, four reedists, three drummers, and a full brass and string section.

Hutson wrote or co-wrote all nine tracks, including two instrumentals. Guitarist Stephen Harris and keyboardist Rich Tufo assisted with arrangements.

“Love the Feeling” opens the album with upbeat rhythm guitar and swelling horns. “I Do, I Do (Want to Make Love to You)” delivers contoured vocal phrasing and stacked harmonies over an undulating soul arrangement. “I Think I’m Falling in Love” moves at a slower pace with warm keyboard textures, while “Love to Hold You Close” has a clipped rhythmic pulse. The instrumentals “Situations” and “Blackberry Jam” spotlight the brass and rhythm sections. “Sofunkstication” extends the rhythmic focus in a tight funk setting, while “Don’t It Make You Feel Good” closes the set with brisk backing vocals and compact horns.

A1. “Love the Feeling” (3:53) — bright horn lines frame Hutson’s vocal over a mid-tempo soul rhythm.
A2. “Situations” (1:09) — instrumental interlude with light brass figures and rhythm guitar.
A3. “I Do, I Do (Want to Make Love to You)” (3:57) — romantic lyric phrased with controlled falsetto and background harmonies.
A4. “I Think I’m Falling in Love” (3:28) — slow-tempo soul number with layered keyboards and strings.
A5. “Love to Hold You Close” (3:10) — clipped rhythmic guitar and warm brass arrangement.

B1. “Flying High” (3:49) — relaxed mid-tempo number with sustained backing vocals.
B2. “Blackberry Jam” (4:50) — instrumental centered on horn stabs and rhythmic interplay.
B3. “Sofunkstication” (4:45) — extended funk arrangement emphasizing rhythm section and horns.
B4. “Don’t It Make You Feel Good” (3:04) — uptempo closer with prominent backing vocals.

Sessions occurred at Curtom Studios in Chicago with Leroy Hutson producing and Fred Bredberg engineering.

Curtom promoted Hutson II with “I Do, I Do (Want to Make Love to You)” (b/w “Blackberry Jam”), which reached No. 55 on the Billboard R&B chart in early 1977. “Blackberry Jam” followed as a second single and reached No. 82 R&B.

Discography: