The Manhattans -

The Manhattans were an American soul group from Jersey City that released fourteen singles and two albums between 1964 and 1969 on Carnival, followed by a pair of 1970–72 albums on DeLuxe. Between 1973 and 1986, they cut twelve albums on Columbia and had crossover hits with “Kiss and Say Goodbye” (1976) and “Shining Star” (1980).

Members: Edward “Sonny” Bivins (tenor vocals, 1962-2014), Winfred Lovett (bass vocals, 1962-90, 1994-2014), Kenny “Wally” Kelley (tenor vocals, 1962-90), Richard “Ricky” Taylor (baritone vocals, 1962-76), George “Smitty” Smith (lead vocals, 1962-70), Gerald Alston (lead vocals, 1970-88)

Background

The Manhattans formed in Jersey City, NJ, in 1962 when two graduates of Snyder High School, George “Smitty” Smith (1939–1970) and Richard “Ricky” Taylor (1940–1987), teamed with three alumni of nearby Lincoln High School: Edward “Sonny” Bivins (1936–2014), Winfred “Blue” Lovett (1936–2014), and Kenny “Wally” Kelley (1941–2015). They each enlisted in the military and regrouped after discharge.

In 1964, they released “I’ve Got Everything But You” (b/w “For the Very First Time”), their first of 14 singles on New Jersey soul-press Carnival Records. Most of these sides are included on their two albums for the label, Dedicated to You (1966) and Sing For You and Yours (1967).

In 1969, they switched to Linden soul-press DeLuxe, starting with the single “The Picture Became Quite Clear” (b/w “Oh’ Lord I Wish I Could Sleep”). Their first DeLuxe long-player, With These Hands, appeared in 1970. That December, Smith succumbed to a brain tumor a fortnight shy of his 31st birthday. The Manhattans hired singer Gerald Alston (nephew of Shirelles vocalist Shirley Alston-Reeves) as their new lead vocalist.

A Million to One

The Manhattans released their fourth album, A Million to One, in 1972 on DeLuxe.

A Million to One blends original compositions from group members with outside material, balancing traditional vocal group ballads and up-tempo tracks. It was the first album to feature Gerald Alston as lead vocalist, following the death of George “Smitty” Smith, and showcased the group’s unusual practice of writing half the songs themselves, a rarity for early-’70s soul ensembles. Ballads like the title track, “It’s the Only Way,” and “Do You Ever” contrast with dance-oriented numbers including “Back Up,” “Fever,” and “I Can’t Stand for You to Leave Me,” while “Blackbird” and “Teenage Liberation” channel psych-soul textures reminiscent of Norman Whitfield productions.

Four of the five members contributed to songwriting. Lovett wrote two tracks including “It’s the Only Way” and “One Life to Live.” Richard Taylor penned “Strange Old World,” and Bivins co-wrote “Teenage Liberation” with Kelly and K. Nash. Kelly wrote “Back Up,” while Alston did not contribute any compositions. The album also includes outside material: covers of Teddy Randazzo and Victoria Pike’s “A Million to One,” Eddie Cooley and John Davenport’s “Fever,” Myrna March’s “Do You Ever,” Ronnie Hayes’ “Blackbird,” Bert Keyes and Myrna March’s “Cry If You Wanna Cry,” and Martha Taylor’s “I Can’t Stand for You to Leave Me.”

A1. “A Million to One” (3:25) — penned by Teddy Randazzo and Victoria Pike, a breezy soul ballad with Alston displaying his vocal range; previously issued as a single in 1971 (b/w “Cry If You Wanna Cry”)
A2. “It’s the Only Way” (2:50) — written by Winfred Lovett, features horns with a subtle Mexican flair and group harmonies; also appeared as B-side to “One Life to Live”
A3. “Back Up” (2:38) — written by Kenneth Kelly, up-tempo track driven by prominent bass lines
A4. “You On My Mind” (1:59) — written by Edward Bivins, short ballad with light, contoured backing vocals
A5. “Fever” (2:41) — written by Eddie Cooley and John Davenport, a spirited remake of the classic, previously released as a single (b/w “Back Up”)
A6. “Do You Ever” (2:40) — written by Myrna March, delicate ballad previously issued as B-side to “I Can’t Stand for You to Leave Me”

B1. “Strange Old World” (2:22) — written by Richard Taylor, funkiest track on the album with a distinctive guitar riff
B2. “One Life to Live” (2:24) — written by Winfred Lovett, features an opening spoken rap and smooth group harmonies; released as a single in 1970 (b/w “It’s the Only Way”)
B3. “Blackbird” (3:03) — written by Ronnie Hayes, orchestration and socially conscious lyrics evoke Whitfield-style psych-soul
B4. “Cry If You Wanna Cry” (2:41) — written by Bert Keyes and Myrna March, gentle ballad; B-side to “A Million to One”
B5. “Teenage Liberation” (2:36) — written by K. Nash, Carl Reid, Edward Bivins, and Kenneth Kelly, features wah-wah guitar and complex harmonies
B6. “I Can’t Stand for You to Leave Me” (2:34) — written by Martha Taylor, upbeat Northern-soul styled tune; first recording with Alston, previously issued as a single in 1971 (b/w “Do You Ever”)

Sessions occurred at DeLuxe Studios under producers Hal Neely, Bob Riley, Bobby Smith, and Hoss Allen.

The album was reissued in 1980 by LEA-P Records under the title It’s the Only Way.

Record label promoted A Million to One with “A Million to One” (b/w “Cry If You Wanna Cry”), “Fever” (b/w “Back Up”), “I Can’t Stand for You to Leave Me” (b/w “Do You Ever”), and “One Life to Live” (b/w “It’s the Only Way”).

There’s No Me Without You

The Manhattans released their fifth album, There’s No Me Without You, in July 1973 on Columbia.

There’s No Me Without You presents a polished soul and R&B sound, highlighting Gerald Alston as the established lead vocalist and featuring strong contributions from group members in songwriting. The album blends romantic ballads with mid-tempo tracks driven by Philadelphia session players, including guitarists Norman Harris, Bobby Eli, and Roland Chambers; organist Lenny Pakula; vibraphonist Vincent Montana Jr.; bassist Ronnie Baker; drummer Earl Young; conga player Larry Washington; and a horn and string section led by Don Renaldo.

Edward Bivins wrote the title track, the only solo composition among twelve tracks. Winfred Lovett contributed three songs, including “We Made It” and “Wish That You Were Mine.” Teddy Randazzo co-wrote two tracks with Roger Joyce and with Victoria Pike and Souren Mozian, while Kenneth Kelly wrote one. Gerald Alston co-wrote “The Other Side of Me” with Lovett. The album includes only original material, no covers.

The collection opens with ballads such as the title track and Lovett’s “We Made It,” featuring contoured harmonies and subtle instrumental interplay, while mid-tempo numbers like “Soul Train” and “You’d Better Believe It” utilize dense arrangements with vibraphone and layered horns, offering sharp rhythmic turns. “Wish That You Were Mine” and “Falling Apart at the Seams” balance lyrical introspection with driving instrumental textures.

A1. “There’s No Me Without You” (3:38) — written by Edward Bivins, romantic ballad with Alston’s lead soaring over rich string and horn lines, reached No. 3 on Hot Soul Singles and No. 43 on Hot 100
A2. “We Made It” (4:13) — written by Winfred Lovett, smooth, mid-tempo track with layered harmonies
A3. “Wish That You Were Mine” (4:17) — written by Winfred Lovett, features subtle instrumental interplay, reached No. 19 on Hot Soul Singles
A4. “I’m Not a Run Around” (3:14) — written by Teddy Randazzo and Roger Joyce, soft ballad with rounded vocal phrasing
A5. “Soul Train” (4:40) — written by Winfred Lovett and Little Harlem, mid-tempo track propelled by vibraphone and brass arrangements

B1. “You’d Better Believe It” (4:26) — written by John Fowlkes and Roger Genger, rhythmic mid-tempo with intricate horn arrangements, reached No. 18 on Hot Soul Singles and No. 77 on Hot 100
B2. “It’s So Hard Loving You” (2:30) — written by Charles Reed, intimate ballad featuring gentle organ
B3. “The Day the Robin Sang to Me” (3:43) — written by Kenneth Kelly, tender narrative ballad with layered harmonies
B4. “Falling Apart at the Seams” (2:17) — written by Teddy Randazzo, Victoria Pike, and Souren Mozian, short, rhythmically contoured track
B5. “The Other Side of Me” (3:09) — written by Gerald Alston and Winfred Lovett, reflective mid-tempo number with subtle vibraphone textures

Sessions occurred at Sigma Sound Studios in Philadelphia and Columbia 30th Street in New York City with producer Bobby Martin overseeing recording and arrangements.

Record label promoted There’s No Me Without You with “There’s No Me Without You” (b/w —), which reached No. 3 on the Hot Soul Singles chart and No. 43 on the Billboard Hot 100. “You’d Better Believe It” followed as the second single (b/w —), reaching No. 18 on Hot Soul Singles and No. 77 on the Hot 100. “Wish That You Were Mine” was also issued as a single, peaking at No. 19 on Hot Soul Singles.

The album peaked at No. 19 on the Billboard Top Soul LPs chart and No. 150 on the Billboard 200.

That’s How Much I Love You

The Manhattans released their sixth album, That’s How Much I Love You, in 1974 on Columbia.

That’s How Much I Love You blends lush Philadelphia soul with early-’70s rhythm and blues, featuring Gerald Alston on lead vocals and significant songwriting contributions from group members. The album balances newly recorded tracks with selections carried over from their DeLuxe sessions, creating a mix of contemporary Philly-style arrangements and older soul textures. Key session players include guitarists Norman Harris and Bobby Eli; pianist Ron Kersey; vibraphonist Vincent Montana Jr.; bassist Ronnie Baker; drummer Earl Young; conga player Larry Washington; and a horn and string section led by Don Renaldo.

Winfred Lovett wrote or co-wrote three tracks, including the single “Summertime in the City.” Teddy Randazzo co-wrote two songs with Victoria Pike and collaborators. Richard Taylor contributed “Strange Old World,” and Ronnie Hayes wrote “Blackbird.” The album includes covers of Sam Cooke’s “A Change Is Gonna Come” and the standard “Fever” (originally by Little Willie John, written by Eddie Cooley and John Davenport). Gerald Alston did not contribute to songwriting.

Side one features Philly soul ballads like the lush “Don’t Take Your Love” and the title track, both with contoured harmonies and layered instrumentation. Mid-tempo numbers including “Summertime in the City” and “Save Our Goodbyes” employ sharp rhythmic turns and textured brass and vibraphone arrangements. Side two mixes older DeLuxe-era recordings with covers, contrasting the refined Philly arrangements with more traditional soul interpretations, as on “Blackbird,” “Fever,” and “A Change Is Gonna Come.”

A1. “Summertime in the City” (4:50) — written by Winfred Lovett, mid-tempo track with driving rhythm and layered instrumental textures, reached No. 45 on Hot Soul Singles
A2. “Don’t Take Your Love From Me” (3:28) — written by Allan Felder, Bunny Sigler, Ron Kersey, lush Philly soul ballad, reached No. 7 on Hot Soul Singles and No. 37 on Hot 100
A3. “Save Our Goodbyes” (3:11) — written by Teddy Randazzo, Victoria Pike, Iran Koster, mid-tempo soul with contoured vocal interplay
A4. “I Don’t Want to Pay the Price of Losing You” (3:14) — written by Teddy Randazzo, Victoria Pike, Souren Mozian, reflective ballad with layered harmonies
A5. “That’s How Much I Love You” (2:57) — written by Allan Felder, Bunny Sigler, Norman Harris, smooth, rounded Philly-style ballad

B1. “Blackbird” (3:03) — written by Ronnie Hayes, rhythmically textured and reminiscent of early O’Jays recordings
B2. “A Change Is Gonna Come” (4:17) — written by Sam Cooke, cover of Cooke’s 1964 classic, socially conscious ballad reflecting the Civil Rights era
B3. “Strange Old World” (2:10) — written by Richard Taylor, funk-tinged soul with crisp instrumental arrangement
B4. “Fever” (3:04) — written by Eddie Cooley and John Davenport, cover of Little Willie John’s 1956 R&B single, uptempo reinterpretation with subtle harmonic shifts
B5. “Nursery Rhymes” (3:29) — written by Winfred Lovett, mid-tempo track with rhythmic variations and layered backing vocals

Sessions occurred at Sigma Sound Studios in Philadelphia, Pennsylvania, with Bobby Martin and The Manhattans Productions, Inc. overseeing production.

Record label promoted That’s How Much I Love You with “Don’t Take Your Love” (b/w —), which reached No. 7 on Hot Soul Singles and No. 37 on the Hot 100. “Summertime in the City” followed as a second single (b/w —), peaking at No. 45 on Hot Soul Singles.

The album reached No. 59 on the Billboard Top Soul LPs chart and No. 160 on the Billboard 200.

The Manhattans (1976)

The Manhattans released their self-titled seventh album in 1976 on Columbia.

The Manhattans pairs smooth Philly soul arrangements with the sextet’s refined R&B vocals, anchored by Gerald Alston’s lead and Winfred “Blue” Lovett’s distinctive bass. The album combines uptempo numbers with orchestrated ballads, demonstrating the group’s control over layered harmonies and rhythmic variation. Key session players include MFSB on instrumentation, arranged and produced under Bobby Martin and Bert deCoteaux, with background vocals by Barbara Ingram, Evette Benton, and Carla Benson alongside the group.

Winfred Lovett wrote or co-wrote three tracks, including the narrative centerpiece “Kiss and Say Goodbye.” Secondary contributions include Al Jacobs and Jimmie Crane on “Hurt,” Maurice White, Charles Stepney, and Philip Bailey on “Reasons,” and Teddy Randazzo, Victoria Pike, and Roger Joyce on “La La La Wish Upon a Star.” The album blends originals with covers, notably “Hurt” (popularized by Roy Hamilton) and “Reasons” (Earth, Wind & Fire).

Side one opens with uptempo numbers like “Searching for Love” and “How Can Anything So Good Be So Bad for You?,” featuring angular instrumental interplay, and mid-tempo tracks such as “Take It or Leave It” and “We’ll Have Forever to Love,” which rely on layered vocal textures. Side two emphasizes orchestrated ballads, led by “Kiss and Say Goodbye,” a spoken-intro narrative of romantic closure supported by contoured harmonies, and includes reflective covers like “Hurt” and “Wonderful World of Love.”

A1. “Searching for Love” (4:38) — written by Mikki Farrow, Bruce Gray, Allan Felder, uptempo with rhythmic shifts
A2. “We’ll Have Forever to Love” (3:09) — written by Edward Bivins, orchestrated ballad with layered harmonies
A3. “Take It or Leave It” (3:17) — written by Ben Weisman, Evie Sands, Richard Germinaro, blues-tinged R&B with angular vocal turns
A4. “Reasons” (3:29) — written by Maurice White, Charles Stepney, Philip Bailey, cover of Earth, Wind & Fire’s 1975 track, exploring the aftermath of fleeting desire
A5. “How Can Anything So Good Be So Bad for You?” (3:10) — written by Winfred Lovett, mid-tempo track with sharp rhythmic accents

B1. “Hurt” (3:03) — written by Al Jacobs, Jimmie Crane, cover of Roy Hamilton’s 1954 R&B single, contemplative ballad reflecting emotional pain
B2. “Wonderful World of Love” (2:47) — written by Robert Riley Sr., soft ballad with rich backing vocals
B3. “If You’re Ever Gonna Love Me” (3:08) — written by Frank Johnson, smooth R&B with lyrical longing
B4. “La La La Wish Upon a Star” (3:27) — written by Teddy Randazzo, Victoria Pike, Roger Joyce, romantic orchestration reminiscent of Philadelphia International productions
B5. “Kiss and Say Goodbye” (4:28) — written by Winfred Lovett, narrative ballad opening with Lovett’s spoken introduction, detailing the end of a romantic relationship, featuring contoured string lines and the group’s layered vocal harmonies

Sessions occurred at Sigma Sound Studios, Philadelphia, and Columbia 30th Street, New York City, with production by The Manhattans, Bobby Martin, and Bert deCoteaux. Kenny Present engineered the sessions, with mastering by Stuart J. Romaine at Frankford/Wayne Mastering Labs.

Record label promoted The Manhattans with “Kiss and Say Goodbye” (b/w “Wonderful World of Love”), which reached No. 1 on both the Hot Soul Singles chart and the Billboard Hot 100, and achieved international chart-topping success. “Hurt” followed as a single (b/w —), peaking at No. 10 on Hot Soul Singles and No. 97 on the Hot 100.

The album reached No. 6 on the Billboard Top Soul LPs chart and No. 16 on the Billboard 200. The Manhattans has been certified Gold by the R.I.A.A.

It Feels So Good

The Manhattans released their eighth album, It Feels So Good, in February 1977 on Columbia.

It Feels So Good continues the sextet’s exploration of lush Philadelphia-style soul, emphasizing romantic ballads and polished R&B arrangements. Gerald Alston leads with smooth tenor, while Winfred “Blue” Lovett anchors the ensemble with his deep bass. The group recorded with MFSB musicians providing strings, horns, and rhythm, under Bobby Martin’s production.

Winfred Lovett wrote or co-wrote four tracks, including “I Kinda Miss You” and “It’s You.” Secondary contributions include Edward Bivins on “Up on the Street (Where I Live)” and “It Just Can’t Stay This Way,” Teddy Randazzo, Victoria Pike, and Roger Joyce on the title track, and Robert Riley Sr. on “Too Much for Me to Bear.” Gerald Alston co-wrote “We Never Danced to a Love Song” with Bivins.

Side one mixes reflective ballads and mid-tempo numbers, highlighted by the expansive “I Kinda Miss You” and the tender “Let’s Start It All Over Again.” Up-tempo touches appear in “Up on the Street (Where I Live),” while tracks like “It’s You” and “I’ll See You Tomorrow” maintain the group’s signature layered harmonies. Side two balances orchestrated love songs and narrative-driven material, led by the title track, which portrays the exhilaration and vulnerability of reciprocal romance, and “We Never Danced to a Love Song,” a contemplative recounting of missed intimacy.

A1. “I Kinda Miss You” (5:17) — written by Winfred Lovett, ballad with layered vocals and slow rhythmic shifts reflecting longing
A2. “Up on the Street (Where I Live)” (3:35) — written by Kenneth Kelly, mid-tempo track with rhythmic drive
A3. “Let’s Start It All Over Again” (5:15) — written by Edward Bivins, orchestral ballad with tight harmonies
A4. “It’s You” (4:02) — written by Winfred Lovett, contemplative R&B with contoured vocal lines
A5. “I’ll See You Tomorrow” (3:10) — written by Winfred Lovett, reflective ballad with layered harmonies

B1. “It Feels So Good to Be Loved So Bad” (4:35) — written by Teddy Randazzo, Victoria Pike, Roger Joyce, explores reciprocal romantic intensity with orchestral accompaniment
B2. “It Just Can’t Stay This Way” (5:17) — written by Edward Bivins, orchestrated mid-tempo with expansive string arrangements
B3. “We Never Danced to a Love Song” (4:20) — written by Gerald Alston, Edward Bivins, narrative ballad reflecting romantic regrets
B4. “Mind Your Business” (3:47) — written by Winfred Lovett, rhythmically accented R&B track
B5. “Too Much for Me to Bear” (3:41) — written by Robert S. Riley Sr., smooth ballad with layered backing vocals

Sessions occurred at Total Experience Studios, Hollywood, California, with production by Bobby Martin.

Columbia promoted the album with “I Kinda Miss You” (b/w —), which reached No. 7 on Hot Soul Singles and No. 46 on the Billboard Hot 100. “It Feels So Good to Be Loved So Bad” followed (b/w —), peaking at No. 6 R&B and No. 66 Hot 100. “We Never Danced to a Love Song” charted at No. 10 R&B and No. 93 Hot 100.

It Feels So Good reached No. 12 on the Billboard Top Soul LPs and No. 68 on the Billboard 200.

There’s No Good in Goodbye

The Manhattans released their ninth album, There’s No Good in Goodbye, in 1978 on Columbia.

There’s No Good in Goodbye blends smooth soul balladry with understated mid-tempo R&B, highlighting Gerald Alston’s tenor and Winfred “Blue” Lovett’s deep bass. The group recorded with MFSB-style studio musicians, and Bobby Martin co-produced with the ensemble, emphasizing polished strings and restrained percussion to frame the vocals.

Winfred Lovett wrote or co-wrote two tracks, including “Happiness” and “Movin’.” Teddy Randazzo and Roger Joyce contributed to “There’s No Good in Goodbye” and “You’re My Life,” while Alvin Fields, Barbara Morr, and Doug Stender wrote “Am I Losing You.” Bob Riley composed “Goodbye Is the Saddest Word,” and Gerald Alston co-wrote “We Never Danced to a Love Song.” The album features covers of John D. Loudermilk (“Then You Can Tell Me Goodbye”) and Charles Strouse/Martin Charnin (“Tomorrow”), both reinterpreted with The Manhattans’ harmonies. Billy Joel’s “Everybody Has a Dream” receives a narrative-driven, sermon-like treatment.

Side one opens with the tender title track, followed by the reflective “Then You Can Tell Me Goodbye” and theatrical “Tomorrow.” “Share My Life” and “Am I Losing You” maintain the group’s signature harmonized soul. Side two balances mid-tempo optimism and heartfelt ballads: “Happiness” and “You’re My Life” carry warm vocal layers, “Goodbye Is the Saddest Word” contrasts a buoyant rhythm with a melancholy premise, “Movin’” adds uptempo drive, and “Everybody Has a Dream” concludes with a motivational, impassioned delivery.

A1. “There’s No Good in Goodbye” (3:46) — written by Teddy Randazzo, Roger Joyce, conveys the emotional difficulty of ending a relationship
A2. “Then You Can Tell Me Goodbye” (4:20) — written by John D. Loudermilk, originally recorded by Don Cherry (1962) and The Casinos (1967), later a country hit by Eddy Arnold; The Manhattans smooth the song into soul context
A3. “Tomorrow” (4:00) — written by Martin Charnin, Charles Strouse, show tune from Annie reinterpreted as soul ballad
A4. “Share My Life” (4:02) — written by Glenn Crockwell, Lloyd Donnelly, introspective mid-tempo track
A5. “Am I Losing You” (3:48) — written by Alvin Fields, Barbara Morr, Doug Stender, understated ballad with emotive vocal layers

B1. “Happiness” (3:33) — written by Winfred Lovett, light mid-tempo with layered harmonies
B2. “You’re My Life” (4:10) — written by Teddy Randazzo, Victoria Pike, Roger Joyce, orchestrated ballad
B3. “Goodbye Is the Saddest Word” (3:42) — written by Bob Riley, buoyant mid-tempo despite melancholic title and spoken intro
B4. “Movin'” (3:52) — written by Winfred Lovett, uptempo R&B track with rhythmic drive
B5. “Everybody Has a Dream” (7:05) — written by Billy Joel, motivational piece delivered with sermon-like intensity

Sessions occurred at Total Experience Studios, Hollywood, California, with production by Bobby Martin and the Manhattans.

Columbia promoted the album with “Am I Losing You” (b/w —), which reached No. 6 on Hot Soul Singles and No. 101 on the Hot 100. “Everybody Has a Dream” followed (b/w —), peaking at No. 65 R&B.

There’s No Good in Goodbye reached No. 18 on the Billboard Top Soul LPs and No. 78 on the Billboard 200.

Love Talk

The Manhattans released their tenth album, Love Talk, in March 1979 on Columbia.

Love Talk blends mid-tempo soul, upbeat R&B, and reflective ballads, maintaining the group’s signature romantic and emotive style. Gerald Alston leads with expansive tenor, supported by Winfred “Blue” Lovett, Edward Bivins, and Kenneth Kelly, with layered background harmonies framing each track. Studio sessions drew on a mix of seasoned session musicians, including multiple guitarists, keyboardists, and horn players typical of late-70s soul production.

Winfred Lovett wrote or co-wrote three tracks, including “Love Talk,” “New York City,” and “We Tried.” Allan Felder, T.G. Conway, and Cary Gilbert wrote “Devil in the Dark,” while Frank Johnson composed “Here Comes the Hurt Again.” Doug Frank and Doug James wrote “After You,” Barbara Wyrick and Keith Lamb penned “The Right Feeling at the Wrong Time,” and Michael Price and Daniel Walsh composed “I Just Wanna Be the One in Your Life.” The album also features a medley of Barbra Streisand’s “The Way We Were” and Egbert Van Alstyne/Gus Kahn’s “Memories,” reinterpreted with The Manhattans’ smooth vocal layering.

Side one balances reflective ballads and soulful mid-tempo numbers, opening with “After You” and the sensual title track, followed by “The Right Feeling at the Wrong Time,” “Devil in the Dark,” and the contemplative “Here Comes the Hurt Again.” Side two blends romantic and uptempo material: “I Just Wanna Be the One in Your Life” and “New York City” provide movement, “That’s Not Part of the Show” is an expressive ballad, and the medley “The Way We Were / Memories” transforms classic pop standards into soul interpretations. “We Tried” closes with Lovett’s understated, melodic delivery.

A1. “After You” (3:58) — written by Doug Frank, Doug James, mid-tempo ballad on relational reflection
A2. “Love Talk” (4:33) — written by Winfred Lovett, sensuous and expressive, angular vocal turns
A3. “The Right Feeling at the Wrong Time” (3:45) — written by Barbara Wyrick, Keith Lamb, contemplative mid-tempo arrangement
A4. “Devil in the Dark” (4:06) — written by Allan Felder, T.G. Conway, Cary Gilbert, tension-filled lyrical narrative
A5. “Here Comes the Hurt Again” (4:56) — written by Frank Johnson, understated ballad with whispering background vocals

B1. “I Just Wanna Be the One in Your Life” (3:41) — written by Michael Price, Daniel Walsh, direct, intimate delivery
B2. “New York City” (4:29) — written by Winfred Lovett, uptempo, rhythmically assertive
B3. “That’s Not Part of the Show” (4:27) — written by Edward Bivins, emotive ballad
B4. “The Way We Were / Memories” (5:13) — affixes the early 20th-century standard “Memories” with Streisand’s 1973 cinematic ballad (written by Marvin Hamlisch), rendered here as a soul ballad
B5. “We Tried” (3:38) — written by Winfred Lovett, reflective closing ballad

Sessions occurred at Mediasound, New York City, and Sigma Sound, Philadelphia, with production by Bert deCoteaux, the Manhattans, Scorpicorn Music, Inc., and Jack Faith.

Columbia promoted the album with “Here Comes the Hurt Again” (b/w —), which reached No. 29 on the Hot Soul Singles chart. “The Way We Were / Memories” (b/w —) followed, peaking at No. 33 R&B.

Love Talk reached No. 20 on the Billboard Top Soul LPs and No. 141 on the Billboard 200.

After Midnight

The Manhattans released their eleventh album, After Midnight, in 1980 on Columbia.

After Midnight highlights the group’s refined soul and R&B approach, combining smooth ballads with rhythmically animated mid-tempo numbers. Gerald Alston leads with commanding tenor, supported by Winfred “Blue” Lovett, Edward “Sonny” Bivins, and Kenneth “Wally” Kelly, reinforced by a cadre of session musicians including multiple guitarists, keyboardists, and horn players customary in late-70s/early-80s soul production.

Leo Graham wrote or co-wrote four tracks, including “Shining Star” and “It’s Not the Same.” Gerald Alston co-wrote “I’ll Never Run Away from Love Again” with Barbara Morr, while Winfred Lovett contributed to “Just as Long as I Have You.” Additional writers include Dennis Lambert and Brian Potter (“It Couldn’t Hurt”), Estelle Levitt and Jerry Ragovoy (“Cloudy, with a Chance of Tears”), and Kenneth Kelly, Edward Bivins, and Alston (“The Closer You Are”).

The album balances celebratory and introspective moods. Side one opens with the luminous “Shining Star,” followed by mid-tempo rhythmers “It’s Not the Same” and “Girl of My Dream.” The contemplative ballad “Cloudy, with a Chance of Tears” leads to “The Closer You Are,” which frames relational intimacy with subtle background harmonies. Side two alternates medleys and ballads, starting with the medley “If My Heart Could Speak / One Life to Live,” moving through Lovett’s “Just as Long as I Have You” and Lambert/Potter’s “It Couldn’t Hurt,” to the reflective “Tired of the Single Life,” and closing with the tender “I’ll Never Run Away from Love Again.”

A1. “Shining Star” (4:40) — written by Leo Graham, Paul Richmond, R&B ballad with angular vocal lines, won the 1980 Grammy for Best R&B Performance by a Duo or Group with Vocals
A2. “It’s Not the Same” (4:40) — written by Leo Graham, Paul Richmond, Darryl Ellis, Ruben Locke Jr., mid-tempo arrangement with contoured vocal phrasing
A3. “Girl of My Dream” (5:00) — written by Leo Graham, James Mack, slow-tempo romantic ballad
A4. “Cloudy, with a Chance of Tears” (4:48) — written by Estelle Levitt, Jerry Ragovoy, introspective ballad
A5. “The Closer You Are” (3:19) — written by Kenneth Kelly, Winfred Lovett, Edward Bivins, Gerald Alston, relational mid-tempo

B1. “If My Heart Could Speak / One Life to Live” (5:35) — medley written by Kenneth Kelly, Eddie Jones / Winfred Lovett, lyrical and rhythmically fluid
B2. “Just as Long as I Have You” (3:50) — written by Winfred Lovett, slow, melodic ballad
B3. “It Couldn’t Hurt” (4:49) — written by Dennis Lambert, Brian Potter, mid-tempo with contoured vocal interplay
B4. “Tired of the Single Life” (4:00) — written by Robert Riley Sr., reflective, understated rhythm
B5. “I’ll Never Run Away from Love Again” (3:45) — written by Gerald Alston, Barbara Morr, tender closing ballad

Sessions occurred at Universal, Chicago; Jennifudy Studios, North Hollywood; Penny Lane, New York City; Mediasound, New York City; and Sigma Sound, Philadelphia, with production by Leo Graham, Dennis Lambert, Brian Potter, Bert deCoteaux, Norman Harris, and the Manhattans.

Columbia promoted After Midnight with “Shining Star” (b/w “I’ll Never Run Away from Love Again”), which reached No. 4 on the Billboard R&B chart and No. 5 on the Hot 100. “Girl of My Dream” followed, peaking at No. 30 R&B.

After Midnight reached No. 4 on the Billboard R&B albums chart and No. 24 on the Billboard 200. The album achieved Platinum certification from the R.I.A.A.

Black Tie

The Manhattans released their twelfth album, Black Tie, in 1981 on Columbia.

Black Tie continues the group’s polished soul and R&B approach, blending tender ballads with rhythmically poised mid-tempo numbers. Gerald Alston leads with expressive tenor, backed by Winfred “Blue” Lovett, Edward “Sonny” Bivins, and Kenneth “Wally” Kelly, supported by session musicians including multiple guitarists, keyboardists, and horn players common to early-80s soul productions.

Leo Graham wrote or co-wrote six tracks, including “Just One Moment Away,” “You Stand Out,” “Let Your Love Come Down,” and “I Wanta Thank You.” Gerald Alston co-wrote “Just Can’t Seem to Get Next to You” and “When I Leave Tomorrow” with Barbara Morr. Other contributors include Earl Kenneth King, Jr. (“Honey, Honey”), Winfred Lovett (“When You See Me Laughing”), and Jerry Ragovoy with Betsy Matthes (“I Was Made for You”).

The album divides into contemplative ballads and measured mid-tempo songs. Side one opens with the tender yet urgent “Just One Moment Away,” followed by the gently animated “You Stand Out” and “Let Your Love Come Down.” “Honey, Honey” balances sweet vocal interplay with restrained rhythm, while “When You See Me Laughing” closes the side with reflective warmth. Side two begins with the steady mid-tempo “I Wanta Thank You,” moves through the nuanced “Deep Water” and Alston/Morr ballad “Just Can’t Seem to Get Next to You,” into the Ragovoy/Matthes romantic “I Was Made for You,” and concludes with the intimate “When I Leave Tomorrow.”

A1. “Just One Moment Away” (4:29) — written by Leo Graham, Paul Richmond, mid-tempo number with contoured vocals and gentle harmonic shifts
A2. “You Stand Out” (4:12) — written by Leo Graham, James Mack, soulful rhythm with angular phrasing
A3. “Let Your Love Come Down” (3:45) — written by Leo Graham, Paul Richmond, measured pacing and layered background vocals
A4. “Honey, Honey” (3:46) — written by Earl Kenneth King, Jr., smooth ballad with tender vocal exchange
A5. “When You See Me Laughing” (3:40) — written by Winfred Lovett, reflective ballad

B1. “I Wanta Thank You” (3:50) — written by Leo Graham, Paul Richmond, Brian Hines, gentle mid-tempo with layered harmonies
B2. “Deep Water” (3:35) — written by Jon Lind, Nan O’Byrne, expressive ballad with lyrical contour
B3. “Just Can’t Seem to Get Next to You” (3:33) — written by Gerald Alston, Barbara Morr, intimate vocal performance
B4. “I Was Made for You” (4:11) — written by Jerry Ragovoy, Betsy Matthes, romantic slow ballad
B5. “When I Leave Tomorrow” (4:34) — written by Gerald Alston, Barbara Morr, contemplative closing track

Sessions occurred at Universal, Chicago, with production by Leo Graham.

Columbia promoted Black Tie with “Just One Moment Away” (b/w unspecified), which reached No. 19 on the Hot Soul Singles chart. “Let Your Love Come Down” followed, peaking at No. 77, and “Honey, Honey” reached No. 25.

Black Tie peaked at No. 21 on the Billboard R&B albums chart and No. 86 on the Billboard 200.

Discography: