Mass Production -

Mass Production was an American soul-funk band that released eight albums on Cotillion between 1976 and 1983. Initially a ten-piece, they scored a 1979 Billboard hit with “Firecracker” and set UK dance floors alight with “Cosmic Lust,” “Shante,” and “Strollin.” They served as the backing band on the 1980 release Slipping Out by soulsters The Trammps.

Members: LeCoy Bryant, Kevin Douglas, James Drumgole, Agnes “Tiny” Kelly, Larry Marshall, Gregory McCoy, Rodney Phelps, Ricardo Williams, Samuel Williams, Tyrone Williams

Background

Mass Production was formed in mid-1970s Norfolk, Va., by keyboardist/songwriter Tyrone Williams and drummer/songwriter Ricardo Williams. The original lineup also featured bassist Kevin Douglas, saxophonist Gregory McCoy, trumpeter James Drumgole, percussionist Emanual Redding, guitarists Rodney Phelps (lead) and LeCoy Bryant (rhythm), and singers Larry Marshall and Tiny Kelly. Most of them were classmates at Booker T. Washington High School.

Under the guidance of producer/manager Ed A. Ellerbe, they were quickly signed to Atlantic-subsidiary Cotillion, heralding that label’s wave of soul-funk signings (Slave, Sister Sledge, Brides of Funkenstein).

Welcome to Our World

Mass Production released their debut album, Welcome to Our World, in 1976 on Cotillion. It delivers horn-driven funk-disco with up-tempo tracks and occasional slower, spacious numbers.

Guitarist Rodney Phelps wrote “Our Thought (to the World)” and co-wrote “Galaxy” and “Wine-Flow Disco” with saxophonist Gregory McCoy, drummer Ricardo Williams, keyboardist Tyrone Williams, and trumpeter James Drumgole. Ricardo lone-wrote “Magic,” “Just a Song,” and “Fun in the Sun.” Tyrone Williams contributed “I Like to Dance” and the title track.

The album opens with the expansive “Welcome to Our World (of Merry Music)” and continues with the feverish dancefloor tracks “Wine-Flow Disco” and “I Like to Dance.” They explore cosmic textures on “Our Thought (to the World)” and “Galaxy.” The ballads “Just a Song” and “Magic” provide reflective contrasts, and “Fun in the Sun” closes the LP with slick bass and harmonies set to a clicking hi-hat.

A1. “Welcome to Our World (of Merry Music)” (7:32)
A2. “Wine-Flow Disco” (6:08)
A3. “I Like to Dance” (5:07)
A4. “Our Thought (to the World)” (1:06)

B1. “Magic” (6:13)
B2. “Galaxy” (5:35)
B3. “Just a Song” (4:48)
B4. “Fun in the Sun” (6:00)

Sessions occurred at Electric Lady Studios, New York, with producer Ed A. Ellerbe and chief engineer Dave Whitman. Dennis King mastered the album at Atlantic Recording Studios, New York.

Welcome to Our World features artwork by Don Ivan Punchatz with photography by Steinbicker/Houghton, showing the ten-piece band in a pose echoing the Isley Brothers’ covers for 3+3 and Harvest for the World. Art direction came from Abie Sussman and Bob Defrin.

Mass Production released two singles from the album: “Welcome to Our World (of Merry Music)” backed with “Just a Song” and “Wine-Flow Disco” backed with “Fun in the Sun.”

Believe

Mass Production released their second album, Believe, in July 1977 on Cotillion.

Drummer Ricardo Williams composed the first three tracks and “People Get Up.” Guitarist Rodney Phelps co-wrote “We Love You” and “Superlative” with trumpeter Otis Drumgole, who co-wrote “Keep My Heart Together” with saxophonist Gregory McCoy, who contributed “Cosmic Lust.”

Believe opens with the celebratory “Free and Happy” and the brassy “I Believe in Music,” an extended harmonized funk anthem. Other tracks range from energized dancefloor cuts (“Cosmic Lust,” “People Get Up,” “Superlative”) to reflective, textured balladry (“Being Here,” “Keep My Heart Together”). They wrap Side A with “We Love You,” a short, concise vocal piece.

A1. “Free and Happy” (5:20)
A2. “I Believe in Music” (6:46)
A3. “Being Here” (6:20)
A4. “We Love You” (0:40)

B1. “Keep My Heart Together” (3:58)
B2. “Cosmic Lust” (5:53)
B3. “Superlative” (4:33)
B4. “People Get Up” (5:43)

Sessions occurred at Electric Lady Studios, New York, with producer Ed A. Ellerbe and engineers Dave Whitman and Michael Frondelli. Dennis King mastered the album at Atlantic Studios, New York.

Believe features photography by Anthony Loew and art direction by Abie Sussman. Gerard Huerta designed the logo.

Mass Production released two singles from the album: “I Believe in Music” backed with “People Get Up” and “Cosmic Lust” backed with “Keep My Heart Together.”

Three Miles High

Mass Production released their third album, Three Miles High, in April 1978 on Cotillion.

Drummer Ricardo Williams composed two cuts (“Groove Me,” “Just Wanna Make a Dream Come True”) and co-wrote “Watch Me Do It” with keyboardist/vibraphonist Tyrone Williams, who contributed “Our Thought (Let The Music Take You Away).” Trumpeter James “Otiste” Drumgole co-wrote one song each with saxophonist Gregory McCoy (“Sky High”), guitarist Rodney Phelps (“I Don’t Want To Know”), bassist Kevin Douglas (“Scarey Love”), and guitarist Lecoy Bryant (“Music and Love”).

Three Miles High opens with the rhythmic push of “Watch Me Do It” and moves into the harmonized riffs and synth textures of “Sky High.” They explore spacious passages on “I Don’t Want to Know” and “Our Thought (Let the Music Take You Away).” Their brassy dance precision fuels “Groove Me,” “Scarey Love,” “Slow Bump,” and “Music and Love,” a vibe-laced track with sunny harmonies.

A1. “Watch Me Do It” (4:40)
A2. “Sky High” (4:30)
A3. “I Don’t Want to Know” (4:03)
A4. “Groove Me” (5:19)

B1. “Our Thought (Let the Music Take You Away)” (1:25)
B2. “Just Wanna Make a Dream Come True (Mass in F Minor)” (5:33)
B3. “Scarey Love” (3:56)
B4. “Slow Bump” (3:58)
B5. “Music and Love” (3:06)

Sessions occurred at Media Sound, New York, with producers Ed A. Ellerbe and Mass Production and engineer Doug Epstein. Phil Schrago assisted on engineering. Dominick Romeo mastered the album at Frankford/Wayne Mastering Labs, New York.

Three Miles High features photography by Steinbicker/Houghton and art direction by Bob Defrin.

The album spawned two singles: “Just Wanna Make a Dream Come True (Mass in F Minor)” (b/w “I Don’t Want to Know”) and “Sky High” (b/w “Watch Me Do It”).

In the Purest Form

Mass Production released their fourth album, In the Purest Form, in March 1979 on Cotillion.

Drummer Ricardo Williams wrote the opening two tracks while keyboardist Tyrone Williams composed the closer, “Strollin’.” In the Purest Form features the final appearance of guitarist Rodney Phelps, who wrote “Our Thoughts (Purity)” and co-wrote “Next Year,” one of four collaborative pieces led by trumpeter James “Otiste” Drumgole.

Tyrone’s arsenal includes grand piano, clavinet, vibraphone, Fender Rhodes electric piano, and ARP Axxe and mini-Korg synthesizers.

In the Purest Form opens with the propulsive “Firecracker” and follows with the intimate pulse of “Love You.” “With Pleasure” shifts into smooth ballad textures with prominent vocals from Agnes “Tiny” Kelly, while “Our Thoughts (Purity)” provides a brief reflective interlude. They interlock brass, keys, and rhythm across “Can’t You See I’m Fired Up,” “Eyeballin’,” and “Next Year,” all marked by layered ensemblic textures. Side B closes with “Strollin’,” an instrumental that emphasizes ensemble interplay and rhythmic subtlety.

A1. “Firecracker” (6:13)
A2. “Love You” (6:43)
A3. “With Pleasure” (4:33)
A4. “Our Thoughts (Purity)” (2:27)

B1. “Can’t You See I’m Fired Up” (6:46)
B2. “Eyeballin'” (5:16)
B3. “Next Year” (3:45)
B4. “Strollin'” (4:11)

Sessions occurred at Mediasound, New York, with producers Ed A. Ellerbe and Mass Production and engineer Doug Epstein. Bill Stein, Carl Beatty, and Lincoln Clapp assisted on engineering. Dominick Romeo mastered the album.

In the Purest Form features photography by Jim Houghton (front cover) and Chris Callis (liner) with art direction and arrangement by Mass Production.

The album spawned three singles: “Can’t You See I’m Fired Up” (b/w “Our Thoughts (Purity)”), “Firecracker” (b/w “With Pleasure”), and “Love You” (b/w “Strollin'”). “Firecracker” reached No. 4 on the Billboard R&B Singles chart.

Massterpiece

Mass Production released their fifth album, Massterpiece, in February 1980 on Cotillion.

Saxophonist Gregory McCoy composed the opening track, “Angel.” Drummer Ricardo Williams wrote “Nature Lover” while keyboardist Tyrone Williams contributed “Forever” and “Shanté.” Trumpeter James “Otiste” Drumgole co-wrote tracks with bassist Kevin Douglas (“Come Back Hot”) and guitarist Lecoy Bryant (“Gonna Make You Love Me”).

“Angel” soars with McCoy’s lead lines and layered instrumentation. “Forever” drives forward with a keyboard-centered pulse. “Nature Lover” builds through interwoven keys and layered percussion. “Come Back Hot” and “Gonna Make You Love Me” interlock brass, rhythm, and synth textures. “Please Don’t Leave Me” closes with reflective harmonies. “Shanté” stretches over an extended vamp, while the 42-second “Eknuf” functions as a brief transitional interlude.

A1. “Angel” (4:47)
A2. “Forever” (5:39)
A3. “Nature Lover” (6:39)
A4. “Come Back Hot” (3:34)

B1. “Eknuf” (0:42)
B2. “Shanté” (6:17)
B3. “Gonna Make You Love Me” (4:25)
B4. “Your Love” (5:21)
B5. “Please Don’t Leave Me” (4:33)

Sessions occurred at Atlantic Recording Studios, New York City, with Mass Production producing and arranging alongside executive producer Ed A. Ellerbe. Bobby Warner recorded and mixed the album, with Bill Dooley and Randy Mason assisting.

Massterpiece spawned two singles: “Forever” (b/w “Angel”) and “Shanté” (b/w “Come Back Hot”).

Turn Up the Music

Mass Production released their sixth album, Turn Up the Music, in March 1981 on Cotillion.

Drummer Ricardo Williams wrote the opening track, “Our Thought (Tomorrow),” and contributed to “Turn Up the Music,” “I Can’t Believe You’re Going Away,” “Sunshine,” “Saucey,” and “I Got To Have Your Love.” Keyboardist Tyrone Williams composed “Bopp” and co-wrote “Turn Up the Music,” while saxophonist Gregory McCoy and trumpeter James “Otiste” Drumgole co-wrote “Diamond Chips.” Drumgole also co-wrote the closing track, “Clinch Quencher,” with Williams.

“Our Thought (Tomorrow)” opens with a brief, transitional motif. “Turn Up the Music” drives with interlocking keys, rhythm, and layered vocals. “I Can’t Believe You’re Going Away” and “Sunshine” build through piano, percussion, and reflective harmonies. “Bopp” emphasizes keyboard textures over an extended vamp, while “Saucey” and “I Got To Have Your Love” interweave brass and rhythm for energetic ensemble passages. “Diamond Chips” features smoky vocals from Agnes Kelly over layered instrumentation. “Clinch Quencher” closes with horn-driven intensity, echoing the energy of the title track.

A1. “Our Thought (Tomorrow)” (0:52)
A2. “Turn Up The Music” (5:05)
A3. “I Can’t Believe You’re Going Away” (4:43)
A4. “Sunshine” (4:13)
A5. “Bopp” (4:03)

B1. “Saucey” (4:33)
B2. “I Got To Have Your Love” (4:57)
B3. “Diamond Chips” (3:56)
B4. “Clinch Quencher” (4:17)

Sessions occurred at Atlantic Studios, New York City, with Mass Production producing and arranging alongside executive producer Ed A. Ellerbe. Recording engineers included Bill Dooley and Bobby Warner, with Larry Alexander handling the mix and Barry Bongiovi assisting.

Turn Up the Music features art direction and design by Bob Heimall and cover art by Dan Sneberger, with photography by Benno Friedman.

The album spawned two singles: “I Can’t Believe You’re Going Away” (b/w “Diamond Chips”) and “Turn Up The Music” (b/w “Bopp”).

In a City Groove

Mass Production released their seventh album, In a City Groove, in March 1982 on Cotillion.

Drummer Ricardo Williams wrote “One More Chance,” “Rock,” and “Inner City,” while keyboardist Tyrone Williams contributed “Should Have Known Better” and horn arrangements on “Maybe Maybe.” Trumpeter James “Otiste” Drumgole co-wrote “Maybe Maybe” with Ricardo Williams and composed “Solid Love,” which also features synthesizer and string parts by saxophonist Gregory McCoy. Bassist Kevin Douglas, guitarist Lecoy Bryant, and vocalists Larry Marshall and Samuel Williams contributed to “Never Ever,” while Marshall wrote “Weird” with programmed synthesizer by Douglas.

“Maybe Maybe” opens with layered horns and percussion, establishing the set’s rhythmic energy. “Never Ever” builds through interwoven bass, guitar, and vocal textures. “One More Chance” emphasizes strings and horns over a driving beat, while “Should Have Known Better” centers on keyboard phrasing. “Rock” propels forward with orchestral and percussive intensity, and “Inner City” balances reflective melodies against layered instrumentation. “Solid Love” combines brass, strings, and synthesizers for an expansive ensemble effect. “Weird” closes with programmed synth patterns and angular vocal lines.

A1. “Maybe Maybe” (5:17)
A2. “Never Ever” (3:34)
A3. “One More Chance” (5:25)
A4. “Should Have Known Better” (4:09)

B1. “Rock” (6:17)
B2. “Inner City” (5:55)
B3. “Solid Love” (4:52)
B4. “Weird” (3:32)

Sessions occurred at Skyline Studios, New York City, with Mass Production producing and arranging alongside executive producer Ed A. Ellerbe. Michael MacDonald and Glenn Paoli engineered, with Arthur Payson, Eleanor Zimmer, and Steve Goldman assisting, and Jimmy Douglass mixed the album.

The band expanded to ten members with Samuel Williams joining on drums. Mass Production handled rhythm and vocal arrangements, with Cengiz Yaltkaya conducting strings and horns.

In a City Groove spawned two singles: “Inner City” (b/w “Solid Love”) and “Rock” (b/w “Weird”).

’83

Mass Production released their eighth album, ’83, in March 1983 on Cotillion.

Drummer Ricardo Williams wrote “Victory in ’83,” “Chasing Rainbows,” and co-wrote “Style” and “Don’t Stop Believin’” with Samuel Williams. Keyboardist Tyrone Williams contributed “Sun Dancer,” “Style,” and “Here You Come (Creeping Back In My Dreams).” Vocalists Larry Marshall and Tai Kelly co-wrote “Time Bomb” and “Farewell Love” with arrangers Samuel and Ricardo Williams.

“Sun Dancer” opens as an instrumental showcase with layered percussion and flute by musical guest Herbie Mann. “Time Bomb” drives forward with interlocking drums, bass, and vocals, while “Victory in ’83” emphasizes sharp synthesizer lines and rhythmic variation. “Style” balances keyboards, programmed percussion, and layered vocal arrangements. “Farewell Love” and “Here You Come (Creeping Back In My Dreams)” feature multi-part harmonies over bass-driven arrangements. “Chasing Rainbows” builds through reflective vocal lines, and “Don’t Stop Believin’” closes with ensemble interplay and sustained tenor saxophone.

A1. “Sun Dancer” (4:48)
A2. “Time Bomb” (4:36)
A3. “Victory in ’83” (4:20)
A4. “Style” (5:34)

B1. “Farewell Love” (4:34)
B2. “Here You Come (Creeping Back In My Dreams)” (4:13)
B3. “Chasing Rainbows” (4:49)
B4. “Don’t Stop Believin’” (4:57)

Sessions occurred at Atlantic Studios, New York City, with Bryant, Ricardo Williams, and Tyrone Williams producing. Bill Dooley engineered, and Dennis King mastered and cut the lacquer.

Mass Production arranged rhythm, horns, and vocals across the set, with additional arrangements by Samuel Williams, Larry Marshall, and Ricardo Williams. The album features instrumentation from Greg McCoy (tenor and alto sax), James Drumgole (trumpet, flugelhorn), Lecoy Bryant (guitar), Kevin Douglas (bass), Samuel Williams (drums, timbales, bells), Emanuel Redding (percussion), and Tai Kelly (vocals), with flute by Herbie Mann on “Sun Dancer.”

’83 spawned two singles: “Time Bomb” (b/w “Victory in ’83”) and “Sun Dancer” (b/w “Here You Come (Creeping Back In My Dreams)”).

Discography: