Phyllis Hyman -

Phyllis Hyman (July 6, 1949 — June 30, 1995) was an American soul singer who released two albums on Buddah in 1977 and 1978, four albums on Arista between 1979 and 1983, and a trio of titles on Philadelphia International Records between 1986 and 1995.

Background

She was born Phyllis Linda Hyman on July 6, 1949, in Philadelphia, Penn., the eldest of seven children born to Louise and Phillip Hyman. She was mostly raised in the South Hills section of Pittsburgh. After leaving town, she attended music school and toured with a sequence of groups (New Direction, All the People, The Hondo Beat). In 1974, she had a bit part in the biographical drama Lenny, starring Dustin Hoffman as comedian Lenny Bruce. For two years, she led an unrecorded band called Phyllis Hyman and the P/H Factor.

In 1975, Hyman came to the attention of musician Norman Connors, who had been unable to secure the services of Jean Carn for his upcoming album. He enlisted Hyman, who sang two tracks on his 1976 release You Are My Starship: “We Both Need Each Other,” a duet with writer Michael Henderson; and “Betcha By Golly Wow,” the Linda Creed, Thom Bell song made famous by The Stylistics.

Also in 1976, she sang on tracks by The Fatback Band, Jon Lucien (“Spring’s Arrival“), and Pharoah Sanders (“As You Are“). Meanwhile, she entered Hollywood’s Total Experience Recording Studios to record her first album.

Phyllis Hyman

Phyllis Hyman released her self-titled debut album in March 1977 on Buddah.

Hyman’s debut frames her alto within a sophisticated R&B and soul palette, blending string-laden ballads, mid-tempo rhythm tracks, and subtly spacious arrangements. The album balances lush orchestration and jazz-informed instrumentation with her controlled, expressive phrasing, establishing the template for her vocal style before her later Arista work.

The songwriting spans seven primary contributors: Thom Bell co-wrote “Loving You, Losing You” and “I Don’t Want to Lose You” with Linda Creed; Skip Scarborough penned “No One Can Love You More”; Evie Sands and Richard Germinaro wrote “One Thing on My Mind”; Larry Alexander composed “Beautiful Man of Mine”; Hubert Eaves contributed “Children of the World”; Onaje Allan Gumbs co-wrote “Deliver the Love” with Ausar Sahw and Rachim; and B. Scott and M. Goode co-wrote “Was Yesterday Such a Long Time Ago.”

Guitarist Hiram Bullock and Sandy Torano appear on multiple tracks, while rhythm sections feature Will Lee, Nathaniel Watts, and Raymond Pounds, linking compositional input to performance across the album.

Musically, the album alternates between contemplative ballads and rhythm-driven pieces. Hyman imbues “I Don’t Want to Lose You” with a measured dramatic sweep, opening with the chorus and punctuating the middle with scat flourishes. “No One Can Love You More” emphasizes her sensual control, while tracks like “Children of the World” and “Deliver the Love” showcase tighter rhythmic interplay and layered instrumentation. “One Thing on My Mind” and “Beautiful Man of Mine” highlight her ability to elevate material with interpretive nuance, balancing emotional intensity and technical precision. The album’s centerpiece, “The Night Bird Gets the Love,” showcases Hyman’s soaring vocal range with slow, intricate jazz-funk backing.

A1. “Loving You, Losing You” (7:41)
A2. “No One Can Love You More” (4:20)
A3. “One Thing on My Mind” (5:30) originated on Evie Sands’ 1974 comeback album Estate of Mind; also recorded in 1976/77 by The Ebony‘s, Dionne Warwick, and Linda Clifford.
A4. “I Don’t Want to Lose You” (5:31) originated on the 1975 Spinners album Pick of the Litter, covered in 1976 by The Supremes.

B1. “Deliver the Love” (4:02)
B2. “Was Yesterday Such a Long Time Ago” (4:55)
B3. “The Night Bird Gets the Love” (5:20)
B4. “Beautiful Man of Mine” (6:56)
B5. “Children of the World” (2:55)

Sessions occurred at Total Experience, Los Angeles (A1, A2, B4), Sigma Sound, Philadelphia (A3, A4, B5), and Record Plant, NYC (B1–B3) in September 1976. Producers Jerry Peters, John Davis, Hubert Eaves, Larry Alexander, and Sandy Torano shaped arrangements, with strings conducted by Charles Veal and Onaje Allan Gumbs. Engineers included F. Byron Clark, Fred Torchio, and Ken ‘Platinum’ Present; mixing took place at Atlantic Recording Studio in February 1977.

The album features photography by Joel Brodsky.

“Loving You, Losing You” reached no. 32 on the Billboard Hot R&B Songs chart, while “No One Can Love You More” peaked at no. 58. The album itself reached no. 107 on the Billboard 200 and no. 49 on the Top R&B Albums chart, remaining fourteen and seven weeks respectively.

Sing a Song

Phyllis Hyman released her second album, Sing a Song, in 1978 on Buddah. French copies appeared on orange vinyl. In Japan, Buddah retitled the album after its opening track, “Living Inside Your Love.” Soon after its release, Buddah collapsed and sold its roster to Arista.

The album expands on Hyman’s blend of jazz-inflected soul and sophisticated balladry, with textured arrangements and layered keyboards framing her controlled, expressive vocals.

Primary songwriting came from Skip Scarborough, Mark Radice, Larry Alexander, Earnest Straughter, Philip Bailey, Garry Glenn, and Raina Taylor. Hyman contributed her own composition, “Gonna Make Changes,” while Jimmy Van Heusen and Johnny Burke provided the standard “Here’s That Rainy Day.”

A1. “Living Inside Your Love” (6:17)
A2. “Sweet Music” (3:50)
A3. “The Answer Is You” (5:09)
A4. “Love Is Free” (3:51)

B1. “Sing a Song” (3:40)
B2. “Gonna Make Changes” (3:58)
B3. “Soon Come Again” (3:33)
B4. “Be Careful (How You Treat My Love)” (4:12)
B5. “Here’s That Rainy Day” (3:00)

Sessions occurred with producers Larry Alexander and Skip Scarborough. Engineering details are not documented.

The album features a UK single, “Living Inside Your Love,” backed with “Love Is Free.” A 12-inch release included the full-length version of the song paired with “Loving You, Losing You.”

Liner notes were written by Hyman, and sleeve design was handled by Design Machine. All but three songs reappear on her Arista debut, which effectively replaced Sing a Song as her second album.

Somewhere in My Lifetime

Phyllis Hyman released her third album, Somewhere in My Lifetime, on January 10, 1979, on Arista. It features three new songs and six repeats from her deleted second Buddah album, Sing a Song.

The album blends sophisticated balladry, jazz-inflected arrangements, and midtempo disco variations, highlighting Hyman’s control and warmth across diverse textures. Three songs, including the title track, feature Barry Manilow’s co-production, while Theodore Life oversaw several uptempo and soulful numbers.

Primary songwriting comes from Theodore Life, Mark Radice, Larry Alexander, Skip Scarborough, and Gary Glenn. Hyman contributed “Gonna Make Changes,” while pop svengalis Mike Chapman and Nicky Chinn wrote “Kiss You All Over,” a recent hit for Exile. Jesus Alvarez wrote the title track, and Johnny Burke and James Van Heusen supplied the standard “Here’s That Rainy Day.”

Musically, the album divides into three zones: uptempo disco/pop (“Kiss You All Over”), broadway-inflected ballads (“Somewhere in My Lifetime”), and soulful midtempo tracks (“So Strange,” “Living Inside Your Love,” “The Answer Is You”). “Be Careful (How You Treat My Love)” features sympathetic, jazz-inflected arrangements, and “Here’s That Rainy Day” presents Hyman accompanied solely by piano, emphasizing her expressive control.

A1. “Kiss You All Over” (5:10)
A2. “Somewhere in My Lifetime” (3:30)
A3. “Lookin’ for a Lovin” (2:56)
A4. “The Answer Is You” (5:07)
A5. “So Strange” (4:39)

B1. “Gonna Make Changes” (3:56)
B2. “Living Inside Your Love” (6:17)
B3. “Be Careful (How You Treat My Love)” (4:15)
B4. “Soon Come Again” (3:33)
B5. “Here’s That Rainy Day” (2:45)

Sessions occurred at CBS Studios in San Francisco, Media Sound, Secret Sound, and Soundmixers in New York with producers Larry Alexander, Skip Scarborough, Theodore Life, and Barry Manilow. Engineering was handled by Don Cody, Michael Delugg, Rick Rowe, and William Wittman for selected remixes. Mastering took place at Sterling Sound.

The album features two North American singles: “Somewhere in My Lifetime,” which peaked at no. 12 on the Billboard Hot R&B Songs chart, and a double A-side “So Strange” / “Kiss You All Over,” which reached no. 75 on the Billboard Dance Club Songs chart.

Art direction was handled by Donn Davenport, with photography by Ron Harris. Several tracks included guest musicians courtesy of other labels, such as Herbie Hancock and Monty Alexander.

You Know How to Love Me

Phyllis Hyman released her fourth album, You Know How to Love Me, on October 23, 1979, on Arista.

It pairs contemporary disco-styled tracks with intimate ballads, showcasing Hyman’s commanding voice across varied textures.

James Mtume and Reggie Lucas handled the majority of songwriting and production, with contributions from Hubert Eaves, Tawatha, Brad Catron, and Hyman herself. Outside writers include B. Beard on “This Feeling Must Be Love” and H. Schneider and L. Alexander on “Give a Little More.”

The title track opens with strings, clipped guitar accents, and an extended rhythmic framework under Hyman’s vocal lead. “Some Way” moves at a midtempo pace with Rhodes chords and steady rhythm punctuation. “Under Your Spell” follows a lighter pulse with layered harmonies around the lead line. “This Feeling Must Be Love” shifts meter, combining orchestral swells with a restless rhythm section. “But I Love You” reduces the arrangement to piano and voice with gospel inflections. “Heavenly” employs full orchestration, while “Hold On” builds on percussion and synthesizer bursts. “Give a Little More” introduces saxophone figures and group backing vocals. “Complete Me” closes the album with alto saxophone lines from Gary Bartz surrounding Hyman’s measured delivery.

A1. “You Know How to Love Me” (7:34)
A2. “Some Way” (5:08)
A3. “Under Your Spell” (4:40)
A4. “This Feeling Must Be Love” (3:43)

B1. “But I Love You” (3:05)
B2. “Heavenly” (4:30)
B3. “Hold On” (4:12)
B4. “Give a Little More” (4:04)
B5. “Complete Me” (5:22)

Sessions occurred at Sigma Sound Studios in New York, with James Mtume and Reggie Lucas producing, and Jim Dougherty engineering. Jay Mark handled mixing, and Ted Jensen mastered the album at Sterling Sound.

Art direction was handled by Donn Davenport, with photography by John Ford.

Two singles were issued: “You Know How to Love Me,” released in October 1979 with “Give a Little More” as the B-side, and “Under Your Spell,” released in February 1980 with “Complete Me” on the B-side. Both singles saw North American and international release, with extended 12″ formats in select territories.

The album reached No. 50 on the US Billboard 200 and No. 10 on the US Top R&B Albums chart.

Can’t We Fall in Love Again

Phyllis Hyman released her fifth album, Can’t We Fall in Love Again, on June 12, 1981, on Arista.

The album blends sophisticated R&B, quiet storm balladry, and restrained uptempo tracks, highlighting Hyman’s expressive voice across layered arrangements.

Norman Connors and Chuck Jackson produced Can’t We Fall in Love Again, which includes songs by Burt Bacharach, Carole Bayer Sager, Peter Allen, Peter Ivers, and Ashford & Simpson. The album features keyboardist Bobby Lyle, drummer Leon Ndugu Chancler, and backing vocals by Jean Carn and The Waters.

“You Sure Look Good to Me” opens with brisk, polished rhythms, bright horn stabs, and layered backing vocals. “Don’t Tell Me, Tell Her” moves through smooth Fender Rhodes chords, soft percussion, and gentle harmonies, giving the track a reflective, midtempo shimmer. “I Ain’t Asking” stretches out over airy Rhodes and percussion accents, with Hyman riffing over sparse lyrics while the instrumentation drifts around her voice. She duets with Michael Henderson on the title track, a ballad with select bass accents and soft synth textures framed by a Coral electric sitar theme.

“The Love Too Good to Last” spotlights warm orchestral strings and Gary Bartz’s floating sax, letting Hyman navigate abrupt lyrical turns with precision. “Tonight You and Me” rides a steady rhythm with delicate Rhodes and subtle layering, while “The Sunshine in My Life” balances smooth saxophone lines, string swells, and understated backing vocals. The closer, “Just Another Face in the Crowd,” layers percussion, sustained keyboard chords, and multi-part harmonies beneath Hyman’s commanding lead, ending the album with a measured, elegant intensity.

A1. “You Sure Look Good to Me” (4:15) Brian Potter, Rick Cordera
A2. “Don’t Tell Me, Tell Her” (4:18) Doug James, Sandy Linzer
A3. “I Ain’t Asking” (4:03) Nickolas Ashford, Valerie Simpson
A4. “Can’t We Fall in Love Again” (4:39) John Lewis Parker, Peter Iver

B1. “The Love Too Good to Last” (4:07) Burt Bacharach, Carole Bayer Sager, Peter Allen
B2. “Tonight You and Me” (3:45) Bruce Hawes, Peyton Scott
B3. “The Sunshine in My Life” (4:28) Larry Alexander, Phyllis Hyman
B4. “Just Another Face in the Crowd” (5:56) Dennis Caldirola, Joe Ericksen

Sessions occurred at Kendun Recorders in Burbank, MCA Whitney Recording Studios in New York, and Sigma Sound Studios in New York, where Norman Connors co-produced with Chuck Jackson, who co-engineered with Frank Kejmar.

Art direction was managed by Donn Davenport, with album design by Neal Pozner and photography by Kevin McDonald.

“Can’t We Fall in Love Again” promoted the album’s release (b/w “The Sunshine in My Life”) and reached No. 9 on the Billboard R&B chart. In October, “Tonight You and Me” became the second single and reached No. 22 R&B, followed with “You Sure Look Good to Me” (b/w “Just Another Face in the Crowd”).

The album reached No. 57 on the US Billboard 200 and No. 11 on the US Top R&B.

Goddess of Love

Phyllis Hyman released her sixth album, Goddess of Love, on May 9, 1983, on Arista.

The album split its production between Narada Michael Walden in San Francisco and Thom Bell in Philadelphia. The contrast set Hyman against two different backdrops: glossy uptempo cuts with Walden and orchestrated ballads under Bell. It marked her final release on Arista and a move away from the jazz-tinged material she had previously balanced with R&B.

Walden co-wrote three songs, including the opening pair “Riding the Tiger” and “Goddess of Love” with David Sancious and Jeffrey Cohen, and “Why Did You Turn Me On” with Allee Willis and Corrado Rustici. Bell arranged and conducted the second side with material co-written by Joseph B. Jefferson, Charles B. Simmons, and guitarist Bill Neale. Bell also partnered with Jefferson on “Just Me and You” and “Just Twenty Five Miles to Anywhere,” while George Merrill and Shannon Rubicam supplied “Your Move, My Heart” and “Falling Star.”

The first side favors Walden’s polished dance productions, with “Riding the Tiger” and the title track using contoured keyboard layers and heavy rhythm programming. “Why Did You Turn Me On” shifts to a slower pace, allowing Hyman to stretch phrases with sharper vocal turns. Bell’s side leans on mid-tempo and orchestral pieces, from the duet-styled “We Should Be Lovers” to the brass-touched “Falling Star.” The closing “Just Twenty Five Miles to Anywhere” pares back to a sparse arrangement where Hyman delivers her most direct performance.

A1. “Riding the Tiger” (6:20)
A2. “Goddess of Love” (5:51)
A3. “Why Did You Turn Me On” (4:11)
A4. “Your Move, My Heart” (4:40)

B1. “Let Somebody Love You” (4:45)
B2. “Falling Star” (3:47)
B3. “We Should Be Lovers” (3:56)
B4. “Just Me and You” (4:37)
B5. “Just Twenty Five Miles to Anywhere” (2:32)

Sessions occurred at the Automatt in San Francisco with Walden producing the first three tracks alongside engineer David Frazer. Bell produced the remaining cuts at Sigma Sound Studios in Philadelphia with engineer Jay Mark, assisted by a team that included Michael Tarsia and Jim Gallagher on overdubs.

Goddess of Love reached No. 20 on the Billboard R&B Albums chart.

Living All Alone

Phyllis Hyman released her seventh album, Living All Alone, on August 15, 1986, on Philadelphia International.

The album marked her return after three years of silence and her first for Philadelphia International following the label’s switch from CBS to Capitol. It paired her voice with producers Dexter Wansel, Thom Bell, Nick Martinelli, and Reggie Griffin across a blend of modern synth-based R&B and orchestrated soul ballads.

Wansel produced and co-wrote the title track with Kenny Gamble and Cynthia Biggs. Bell oversaw four numbers, including “First Time Together,” “Slow Dancin’,” and the Linda Creed collaboration “Old Friend.” Griffin produced and co-wrote “If You Want Me” with Junior Giscombe. Martinelli produced two cuts with Kae Williams and Randy Cantor, while Hyman herself co-produced the closing remake of Bobby Caldwell’s “What You Won’t Do for Love” with Terry Burrus.

The album combines electronic textures with ballads rooted in the Philly orchestral tradition. The title track opens with layered horns, whistled accents, and Hyman’s soaring cries. “First Time Together” and “You Just Don’t Know” continue in a mid-tempo framework with smooth, synthesizer-backed arrangements, while “If You Want Me” and “Screamin’ at the Moon” bring a sharper synthesized pulse. Bell’s “Old Friend” serves as the album’s closing ballad, arranged with piano and strings in a sparse setting.

A1. “Living All Alone” (5:09)
A2. “First Time Together” (4:02)
A3. “If You Want Me” (4:20)
A4. “Slow Dancin’” (4:30)

B1. “Old Friend” (4:52)
B2. “You Just Don’t Know” (4:15)
B3. “Ain’t You Had Enough Love” (4:08)
B4. “Screamin’ at the Moon” (4:02)
B5. “What You Won’t Do for Love” (4:03)

Sessions occurred at Sigma Sound Studios in Philadelphia. Wansel produced the title track, Bell handled four pieces with assistance from Casey James and LeRoi Bell, Griffin produced “If You Want Me,” Martinelli produced “Ain’t You Had Enough Love” and “Screamin’ at the Moon,” and Hyman co-produced the closing track with Burrus. Michael Tarsia engineered and mixed.

Living All Alone features cover art directed by Paula Scher with photography by Jean Pagliuso.

The title track reached No. 12 on the Billboard R&B Singles chart. The album itself peaked at No. 11 R&B and No. 78 on the Billboard 200.

Discography: