McFadden & Whitehead -

McFadden & Whitehead were an American soul duo from Philadelphia. Singers Gene McFadden and John Cavadus Whitehead entered the record business through teenage group work with The Epsilons. They built a Philadelphia International résumé as writers and producers before their 1979 self-titled debut album, which spawned the soul-pop crossover hit “Ain’t No Stoppin’ Us Now.”

Background

McFadden & Whitehead formed as a named recording duo in 1977 in Philadelphia when Gene McFadden and John Cavadus Whitehead redirected a long partnership from staff composition and production toward self-billed studio sessions.

Gene McFadden was born on January 28, 1949, in Olanta, South Carolina, and grew up in Philadelphia. John Cavadus Whitehead was born on July 10, 1948, in Philadelphia. McFadden attended Edison High School in North Philadelphia, where he met Whitehead and formed The Epsilons, a vocal group with classmate Allen Beatty and Whitehead’s cousin, future Maze percussionist Ronald “Roame” Lowry. McFadden played guitar in the partnership and used the instrument to frame early McFadden-Whitehead songs.

Otis Redding witnessed a 1966 Philly Epsilons concert and placed the group in his touring revue as background singers. The Epsilons sang on the 1967 Arthur Conley hit “Sweet Soul Music” after Redding redirected a Stax song first considered for the group. Redding died in a plane crash on December 10, 1967, and the Epsilons returned to Philadelphia. Stax issued the 1968 Epsilons single “The Echo” (b/w “Really Rockin’”).

Talk of the Town

Post-Stax, McFadden and Whitehead reorganized The Epsilons as Talk of the Town, which included James Knight and Lloyd Parks, a subsequent member of Harold Melvin & the Blue Notes.

In March 1972, North Bay issued “Little Bit of Your Lovin’” (b/w “Tossin My Pride Aside”), follwed in July with “Don’t Be So Mean” (b/w “Accept Me for What I Am”).

Gamble issued their 1973 single “Super Groover (All Night Mover)” (b/w “Don’t Be So Mean”), followed in 1974 with their TSOP single “Bumpin’ Boogie (Part I)” (b/w “Bumpin’ Boogie (Part II)”). In January 1975, Talk of the Town concluded with “If We Got the Will” (b/w “I Apologize”).

Meanwhile, Whitehead entered Philadelphia International through the label mailroom with help from Parks. He presented Leon Huff with “Back Stabbers,” the first major McFadden-Whitehead composition. Huff added piano to the track, which The O’Jays recorded as the title track to their 1972 debut album. The song placed McFadden and Whitehead inside the Gamble and Huff staff system at the start of the Philadelphia International expansion.

Early credits behind other artists

The O’Jays cut three McFadden-Whitehead songs for their 1972 release Back Stabbers, including “Listen to the Clock on the Wall” and “Shiftless, Shady, Jealous Kind of People,” both four-way credited with Gable–Huff. In 1972, both teams group-wrote “I’ll Always Love My Mama,” recorded by The Intruders for Save the Children.

Harold Melvin & the Blue Notes recorded “Is There a Place for Me” for their 1973 second album Black & Blue. McFadden and Whitehead linked with keyboardist/composer Victor Carstarphen for multiple three-way compositions, including songs for the 1975 Blue Notes album To Be True (“Where Are All My Friends,” “Bad Luck”) and the title track to its same-year followup Wake Up Everybody.

Billy Paul recorded “Be Truthful to Me,” a McFadden–Whitehead group-write with Gable–Huff, for his 1974 album Got My Head on Straight. The two reteamed with Carstarphen on “People Power,” included on Paul’s 1975 release When Love Is New.

Archie Bell & the Drells cut five McFadden–Whitehead numbers for their 1975 comeback album Dance Your Troubles Away, including the R&B hit “The Soul City Walk.” The 1976 followup, Where Will You Go When the Party’s Over, contained six of the team’s co-writes, includine the later UK Northern Soul classic “Don’t Let Love Get You Down.”

The Jacksons recorded “Strength of One Man” for their 1976 Epic debut. Teddy Pendergrass recorded “The More I Get, the More I Want” for his 1977 debut solo album and “Cold, Cold World” for the 1978 followup Life Is a Song Worth Singing.

McFadden & Whitehead

McFadden & Whitehead released their self-titled debut album, McFadden & Whitehead, in May 1979 on Philadelphia International.

The duo wrote eight all eight tracks with keyboardist and co-producer Jerry Cohen, recorded with bassist Jimmie Williams, drummer Keith Benson, and guitarists Bobby Eli and Dennis Harris. Percussionists Bobby Cupid, David Cruse, and Don Renaldo join backing singers Barbara Ingram, Carla Benson, Evette Benton, and The Futures.

“Ain’t No Stoppin’ Us Now” runs on a steady mid-tempo rhythm, female-response refrains, and brief electronic beeps near the extended fade. “Mr. Music” uses a party address over a buoyant beat and group replies. “Just Wanna Love You Baby” applies firmer four-beat drive under a short lead phrase. “I’ve Been Pushed Aside” slows the arrangement around McFadden’s lead, while Whitehead answers the rejected-lover text. “You’re My Someone to Love” places a pledge lyric over a softened backing and a relaxed sectional turn.

A1. “Ain’t No Stoppin’ Us Now” (7:02)
A2. “I’ve Been Pushed Aside” (5:14)
A3. “Mr. Music” (5:10)
A4. “Just Wanna Love You Baby” (3:58)

B1. “Got to Change” (6:00)
B2. “You’re My Someone to Love” (4:36)
B3. “I Got the Love” (3:33)
B4. “Do You Want to Dance” (7:05)

Sessions spanned 1978 through 1979 at Sigma Sound Studios in Philadelphia with Cohen, who entered the album with recent Philadelphia International credits on Melba Moore (Melba), Teddy Pendergrass (Teddy), and Archie Bell & the Drells (Strategy). Dirk Devlin engineered the sessions amid 1978/79 work on albums by Love Committee, Mirage, Instant Funk, and Double Exposure.

McFadden & Whitehead appeared in a sleeve under Philadelphia International art director Ed Lee, with design by Phyllis H. B. and photography by Ronald G. Harris. The front cover shows the duo leaning together in cream suits against a textured dark field, with a large italic serif nameplate along the upper edge.

Philadelphia International lifted “Ain’t No Stoppin’ Us Now” as a March 1979 single (b/w “I Got the Love”), which reached No. 13 on the Billboard Hot 100, No. 1 on the R&B singles chart, and No. 10 on the disco chart.

In July 1979, “Do You Want to Dance” followed (b/w “Mr. Music”). In November 1979, “I’ve Been Pushed Aside” followed (b/w “You’re My Someone to Love”) and reached No. 73 on the R&B singles chart.

McFadden & Whitehead reached No. 23 on the Billboard 200 and No. 5 on the R&B Albums chart.

I Heard It in a Love Song

McFadden & Whitehead released their second studio album, I Heard It in a Love Song, in 1980 on TSOP, a Philadelphia International imprint.

They co-wrote seven tracks with Cohen, performed with bassist Jimmie Williams, drummer Keith Benson, guitarist Dennis Harris, and keyboardist Cohen. Guitarist Roland Chambers appears on selected titles. Barbara Ingram sings backing vocals along with Carla Benson, Evette Benton, and The Jones Girls.

“I Heard It in a Love Song” sets an easy mid-tempo rhythm under a polished lead exchange. “That Lets Me Know I’m in Love” extends the slow-song form around direct romantic address. “I Know What I’m Gonna Do” settles into a restrained rhythm bed. “Don’t Feel Bad” adds steady accents under a reassurance text.

A1. “I Heard It in a Love Song” (5:12)
A2. “That Lets Me Know I’m in Love” (6:33)
A3. “I Know What I’m Gonna Do” (4:19)
A4. “Always Room for One More” (3:26) – Carstarphen, McFadden, Whitehead

B1. “Don’t Feel Bad” (5:31)
B2. “Why Oh Why” (5:41)
B3. “This Is My Song” (4:34)
B4. “Love Song Number 690 (Life’s No Good Without You)” (5:46)

Sessions occurred at Sigma Sound with Cohen, Devlin, and co-engineers Jim Gallagher and Jeffrey Stewart. Cohen also produced 1980 PIR titles by Teddy Pendergrass (TP) and Lou Rawls (Sit Down and Talk to Me). Devlin worked in sequence with MFSB (Mysteries of the World), The Stylistics (Hurry Up This Way Again), and Leon Huff (Here to Create Music). Gallagher’s adjacent credits include titles by Dexter Wansel (Time Is Slipping Away), Archie Bell & the Drells (Strategy), and Michael Henderson (Wide Receiver).

I Heard It in a Love Song appeared in a sleeve directed and designed by Paula Bisacca, with fashion design by Al Berman and photography by Len Kaltman. The front cover shows the duo in cream and tan suits against a pale studio field, with one dove in hand and another dove on the floor. A small bird graphic sits near the title. Bisacca contemporary credits include Salsoul and Atlantic packages for Double Exposure and Herbie Mann. Kaltman also photographed sleeves for the Salsoul Orchestra, Instant Funk, and The Godz.

TSOP lifted “I Heard It in a Love Song” as a July 1980 single (b/w “Always Room for One More”), which reached No. 23 on the R&B singles chart and No. 74 on the dance chart. In December 1980, “That Lets Me Know I’m in Love” followed (b/w “I Know What I’m Gonna Do”).

I Heard It in a Love Song reached No. 153 on the Billboard 200 and No. 28 on the R&B Albums chart.

Movin’ On

McFadden & Whitehead released their third studio album, Movin’ On, in 1982 on Capitol.

McFadden and Whitehead reunite here with keyboardist Victor Carstarphen, who co-wrote four songs. Guitarist Ronald Gentile co-wrote “Without You” while keyboardist Barry Eastmond contributed to “One More Time.” Gentile plays guitar and co-writes “Without You.” Essra Mohawk supplied “Not With Me.” They perform with horn arrangements by Roland Chambers, led by saxophonist Stephen Wise.

“Are You Lonely” begins with a telephone-dialogue setup, then alternates voices inside a slow rejected-love address. “Trying to Get Back (To the Love I Lost)” uses a slow plea form and repeats the recovery text over a restrained backing.

A1. “One More Time” (5:10) – Eastmond, McFadden, Whitehead
A2. “Without You” (4:04) – Gentile, Meltzer
A3. “Tired of Your Lies” (4:22) – Chambers, McFadden, Whitehead
A4. “Are You Lonely” (4:30) – Carstarphen, McFadden, Whitehead
A5. “Not With Me” (4:38) – Mohawk

B1. “Movin’ On” (4:59) – Carstarphen, McFadden, Vitali, Whitehead
B2. “Everything I Do” (4:09) – Carstarphen, McFadden, Whitehead
B3. “Trying to Get Back (To the Love I Lost)” (4:36) – Carstarphen, McFadden, Whitehead
B4. “Riding on the Crest” (4:15) – Burgee, McFadden, Whitehead, Vitali, Williams
B5. “The Best of Me” (4:00) – Burgee, McFadden, Whitehead

McFadden and Whitehead produced Movin’ On at Sigma Sound, with Rena Sinakin as executive producer. Devlin and Gallagher co-engineered the recording with Joe Tarsia, the Sigma founder and former Cameo-Parkway chief engineer. Devlin worked in parallel with Blue Magic and Patti LaBelle. Gallagher contemporary work includes 1981 albums by Five Special and Deniece Williams, followed by 1983 overdub or engineering credits for Phyllis Hyman and Michael Sembello.

Movin’ On appeared in a sleeve with album artwork by Karen Zebulon and photography by Joseph Marvullo.

Capitol lifted “One More Time” as a November 1982 single (b/w “The Best of Me”), which reached No. 58 on the R&B singles chart. In February 1983, “Are You Lonely” appeared as a single (b/w “Riding on the Crest”). Movin’ On reached No. 64 on the R&B Albums chart.

Subsequent activity

After Movin’ On, McFadden and Whitehead cut “Ain’t No Stoppin’ (Ain’t No Way)” for Sutra in 1984. Whitehead issued the 1988 solo album I Need Money Bad. The duo later reunited for corporate and nostalgia appearances during the 1990s.

Whitehead was shot to death in Philadelphia on May 11, 2004, outside his home studio. McFadden died from liver and lung cancer on January 27, 2006, in Philadelphia.

Discography: