The Trammps -

The Trammps were an American soul group from Philadelphia, formed in 1972. Early on, the group released a string of singles later compiled on the 1975 Buddah release The Legendary Zing Album. In 1975, the group released a self-titled album on Golden Fleece, followed by six albums on Atlantic between 1976 and 1980. The members previously recorded together in the mid-1960s vocal act The Volcanos.

Members: Jimmy Ellis, Harold Wade, Stanley Wade, Earl Young, Dave Dixon, Robert Upchurch

Background

The Trammps formed in Philadelphia in 1972 around lead vocalist Jimmy Ellis, drummer and bass vocalist Earl Young, and vocalists Harold “Doc” Wade and Stanley Wade. Philadelphia vocal unit the Volcanos supplied the direct roots: lead vocalist Gene Jones, vocalist Steve Kelly, guitarist Stanley Wade, bassist Harold “Doc” Wade, keyboardist John Hart, and drummer Earl Young formed the group in 1964. Within months, the Volcanos signed with Arctic and released “Baby” with “Make Your Move.” The group placed “Storm Warning” on the R&B chart in 1965. Kenny Gamble and Leon Huff then wrote “Help Wanted,” and the Volcanos later cut Harthon singles before Jones left for a solo career as Gene Faith.

Jimmy Ellis was born James Thomas Ellis II on November 15, 1937, in Rock Hill, South Carolina. Ellis sang in a local church and formed the Four Knights with his brother Johnny before his late-1950s move to New Jersey. He sang weekend dates in Atlantic City and later relocated to Philadelphia, where he recorded with the Cordells, the Whirlwinds, and the Exceptions. Young entered the Trammps from the Volcanos and from regular Sigma Sound studio work with Philadelphia recording groups. The Wade brothers carried the Volcanos line into the Trammps as singers and instrumentalists. Later classic-lineup vocalist Robert Upchurch reached the group after early Philadelphia club work and the Golden Fleece single “The Devil Made Me Do It.”

Ellis’s Philadelphia R&B work brought him into contact with Young, bassist Ronnie Baker, and guitarist Norman Harris. Baker, Harris, and Young placed the Trammps at Sigma Sound Studios for “Zing! Went the Strings of My Heart” in 1972. Buddah issued the single with Young’s bass lead and Ellis in the vocal exchange, and the record reached No. 17 on the R&B chart and No. 64 on the pop chart that summer. The same production circle carried the group into “Sixty Minute Man,” “Love Epidemic,” “Where Do We Go from Here,” and the Golden Fleece material that preceded the 1975 Trammps album.

Trammps

The Trammps released their self-titled debut album in April 1975 on Golden Fleece. The program joins six Ronnie Baker solo credits with songs by Melvin and Mervin Steals, Norman Harris with Leroy Green, the Baker–Harris–Young team, and the Isley Brothers song “Shout.”

Trammps joins orchestrated vocal-group tracks, slow ballads, and a compact instrumental theme. “Stop and Think” opens with group-response phrasing over brass and string punctuation. “Trusting Heart” gives Jimmy Ellis a broad lead against full orchestral backing. “Every Dream I Dream Is You” slows for a spoken-bass entry before Ellis takes the lead. “Love Epidemic” lifts the first side with a faster dance track.

“Trammps Disco Theme” emphasizes the group’s orchestral and rhythmic backing sections. “Where Do We Go from Here” brightens the second side with easy chorus replies. “Down Three Dark Streets” returns to spoken-bass setup and gives Ellis a harder upper-register lead. “Shout” closes the album with a rhythmic reading of the Isley Brothers song.

A1. “Stop and Think” (3:10) – Baker
A2. “Trusting Heart” (3:20) – Melvin Steals, Mervin Steals
A3. “Every Dream I Dream Is You” (3:57) – Baker
A4. “Love Epidemic” (4:48) – Harris, Green
A5. “Save a Place” (5:03) – Baker

B1. “Trammps Disco Theme” (3:25) – Baker, Harris, Young
B2. “Where Do We Go from Here” (3:45) – Baker
B3. “Down Three Dark Streets” (5:01) – Baker
B4. “I Know That Feeling” (3:11) – Baker
B5. “Shout” (3:33) – O’Kelly Isley Jr., Rudolph Isley, Ronald Isley

The Trammps recorded the album at Sigma Sound in Philadelphia with producers Ronnie Baker, Norman Harris, and Earl Young. The credits list lead singer Jimmy Ellis, bassist and singer Stan Wade, drummer and singer Young, guitarists Harold “Doc” Wade and Dennis Harris, keyboardists John Hart and Ron Kersey, drummer Michael Thompson, trumpet player Roger Stevens, saxophonist John Davis, trombonist Fred Jointer, and MFSB.

“Love Epidemic” appeared as an October 1973 single (b/w “I Know That Feeling”) and reached No. 75 on Hot Soul Singles. “Where Do We Go from Here” followed in April 1974 (b/w “Shout”) and reached No. 44 on Hot Soul Singles. “Trusting Heart” followed in October 1974 (b/w “Down Three Dark Streets”) and reached No. 101 on the Billboard Hot 100, No. 72 on Hot Soul Singles, and No. 13 on Hot Dance Club Play. “Stop and Think” reached No. 5 on Hot Dance Club Play.

Trammps reached No. 159 on Billboard Top LPs and No. 30 on Billboard Top Soul LPs.

The Legendary Zing Album

The Trammps released their second album, The Legendary Zing Album, in June 1975 on Buddah.

Zing works as a compact early-singles collection with medleys, vocal novelties, and orchestral pieces. “Penguin at the Big Apple” leads into “Zing Went the Strings of My Heart” with a brisk vocal-group treatment of the standard. “Pray All You Sinners” glides on a bright lead and group-reply pattern.

“Sixty Minute Man” splits the bass voice against the main vocal line. “Scruboard” recasts “Hold Back the Night” as an instrumental. “Rubber Band” rides the album’s tauter side-two cut. “Hold Back the Night” gives the collection its most direct chorus and cleanest vocal charge.

A1. “Penguin at the Big Apple” / “Zing Went the Strings of My Heart” (Medley) (4:52) – Harris, Baker, Young / Hanley
A2. “Pray All You Sinners” (5:24) – Harris, Baker
A3. “Sixty Minute Man” (4:54) – Ward, Marks
A4. “Scruboard” (3:12) – Harris, Baker, Young

B1. “Tom’s Song” (3:14) – Harris, Baker, Young
B2. “Rubber Band” (5:14) – Baker, Felder, Harris
B3. “Hold Back the Night” (3:54) – Baker, Harris, Felder, Young
B4. “Penguin at the Big Apple” (3:24) – Harris, Baker, Young

The Trammps recorded the album at Sigma Sound in Philadelphia with producers Baker, Harris, and Young.

“Zing Went the Strings of My Heart” appeared as a May 1972 single (b/w “Penguin at the Big Apple”) and reached No. 64 on the Billboard Hot 100 and No. 17 on Hot Soul Singles.

“Sixty Minute Man” followed in September 1972 (b/w “Scrub-Board”). “Pray All You Sinners” followed in December 1972 (b/w “Rubber Band”) and reached No. 34 on Hot Soul Singles.

“Hold Back the Night” appeared as a December 1975 single (b/w “Tom’s Song”) and reached No. 35 on the Billboard Hot 100 and No. 10 on Hot Soul Singles. Graham Parker & The Rumour covered “Hold Back the Night” on their pink-vinyl 1977 EP The Pink Parker.

Where the Happy People Go

The Trammps released their third album, Where the Happy People Go, on April 15, 1976, on Atlantic. The album credits Robert Upchurch alongside Ellis, Young, Stan Wade, and Doc Wade, a five-name Trammps configuration retained through Slipping Out.

Where the Happy People Go presents long-form dance tracks with broad orchestration, group vocals, and fewer ballad breaks than the first two albums. “Soul Searchin’ Time” opens with a large beat and full orchestral sweep. “That’s Where the Happy People Go” starts with a stately introduction, then widens into forceful group-vocal drive.

“Can We Come Together” pulls the first side into a more measured stance. “Disco Party” extends the second side into an eight-minute club piece. “Ninety-Nine and a Half” hardens the rhythm track and adds horn punctuation. “Hooked for Life” uses big-band sweep behind the lead. “Love Is a Funky Thing” closes with a more restrained instrumental bed, guitar shading, and a drum-machine undercurrent.

A1. “Soul Searchin’ Time” (6:03) – Green, Harris
A2. “That’s Where the Happy People Go” (7:50) – Baker
A3. “Can We Come Together” (5:33) – Conway, Gray, Felder

B1. “Disco Party” (8:11) – Conway, Gray
B2. “Ninety-Nine and a Half” (5:07) – Pickett, Cropper, Floyd
B3. “Hooked for Life” (4:42) – Sigler, Harris, Felder
B4. “Love Is a Funky Thing” (3:16) – Baker

The Trammps recorded the album at Sigma Sound in Philadelphia with producers Baker, Harris, Young, T.G. Conway, Bruce Gray, Allan Felder, and Kersey. The player credits add bassist Michael Foreman, guitarist Bobby Eli, and conga player Larry Washington to Harris, Kersey, Gray, Conway, and Baker.

“Hooked for Life” appeared as a July 1975 single (b/w “It’s Alright”) and reached No. 70 on Hot Soul Singles and No. 6 on Hot Dance Club Play.

In March 1976, “That’s Where the Happy People Go” appeared as a single (b/w “That’s Where the Happy People Go (Long Version)”) and reached No. 27 on the Billboard Hot 100, No. 12 on Hot Soul Singles, and No. 1 on Hot Dance Club Play. “Disco Party” reached No. 1 on Hot Dance Club Play.

“Soul Searchin’ Time” followed in July 1976 (b/w “Love Is a Funky Thing”) and reached No. 67 on Hot Soul Singles. “Ninety-Nine and a Half” followed in October 1976 (b/w “Can We Come Together”) and reached No. 105 on the Billboard Hot 100, No. 76 on Hot Soul Singles, and No. 8 on Hot Dance Club Play.

Where the Happy People Go reached No. 50 on Billboard Top LPs and No. 13 on Billboard Top Soul LPs.

Disco Inferno

The Trammps released their fourth album, Disco Inferno, in January 1977 on Atlantic, after a December 1976 discothèque premiere.

Disco Inferno concentrates the group into six extended tracks with dense strings, hard brass, urgent backing vocals, and Ellis at full lead strength. “Body Contact Contract” opens with growling horns, strings, keyboard figures, and Robert Upchurch’s baritone replies around Ellis. “Starvin’” rides a broad string line and turns Ellis’ lead into repeated pleading phrases. “I Feel Like I’ve Been Livin’ (On the Dark Side of the Moon)” enters through hi-hat pressure, bass speed, guitar figures, handclaps, and rising group vocals.

“Disco Inferno” stretches the title chant across an eleven-minute track with brass bursts, rushing strings, and a preacher-like Ellis lead. “Don’t Burn No Bridges” places social-advice lyrics over a flowing orchestral arrangement. “You Touch My Hot Line” closes with guitar licks, brass accents, and a vamped group finish.

A1. “Body Contact Contract” (6:55) – Harris, Gray, Hendricks
A2. “Starvin’” (7:05) – Felder, Tyson, Harris, Young
A3. “I Feel Like I’ve Been Livin’ (On the Dark Side of the Moon)” (6:59) – Baker

B1. “Disco Inferno” (10:59) – Green, Kersey
B2. “Don’t Burn No Bridges” (6:00) – Felder, Tyson, Conway
B3. “You Touch My Hot Line” (4:23) – Akins, Bellmon, Drayton, Turner

The Trammps recorded the album at Sigma Sound in Philadelphia with producers Harris, Baker, Kersey, and Young. The player credits add guitarist T.J. Tindall, keyboardist Carlton Kent, conga player Robert Cupit, and tambourine players Felder and Ron Tyson. The vocal credits add background singers Barbara Ingram, Carla Benson, and Evette Benton. The ensemble credits add Don Renaldo and His Strings and Horns plus MC Flash Wilson.

“Disco Inferno” appeared as a February 1977 single (b/w “You Touch My Hot Line”) and reached No. 53 on the Billboard Hot 100, No. 9 on Hot Soul Singles, and No. 1 on Hot Dance Club Play.

“I Feel Like I’ve Been Livin’ (On the Dark Side of the Moon)” followed in May 1977 (b/w “Don’t Burn Your Bridges”) and reached No. 105 on the Billboard Hot 100 and No. 52 on Hot Soul Singles.

In January 1978, “Disco Inferno” reappeared as a single (b/w “That’s Where the Happy People Go”) and reached No. 11 on the Billboard Hot 100, spurred by its inclusion on the Saturday Night Fever soundtrack.

Disco Inferno reached No. 46 on Billboard Top LPs, No. 16 on Billboard Top Soul LPs, and No. 65 on the Australian Albums chart.

The Trammps III

The Trammps released their fifth album, The Trammps III, on November 10, 1977, on Atlantic. The album places eight songs across two sides, with three Baker–Tyson credits grouped after “Seasons for Girls.”

Trammps III splits between an extended first side and shorter vocal-group material on side two. “The Night the Lights Went Out” turns the July 1977 New York blackout into a forceful opening track. “Love Per Hour” adds the raunchy brass of the Fred Wesley horn section. “People of the World, Rise” expands into a long peace-and-party track with Jimmy Ellis and Robert Upchurch sharing lead focus.

“Living the Life” opens side two with choral setup and a slower emotional lead. “Seasons for Girls” gives Upchurch the main ballad lead over strings, guitar touches, and close group backgrounds. “Life Ain’t Been Easy” returns to a bouncing rhythm track. “I’m So Glad You Came Along” places Ellis over flute, strings, and compact phrasing. “It Don’t Take Much” closes with Upchurch in a slow vocal setting.

A1. “The Night the Lights Went Out” (7:06) – Felder, Harris, Tyson
A2. “Love Per Hour” (5:11) – Green, Kersey
A3. “People of the World, Rise” (9:24) – Gray, Conway, Harris

B1. “Living the Life” (3:50) – Baker, Tyson
B2. “Seasons for Girls” (7:56) – Akins, Bellmon, Turner
B3. “Life Ain’t Been Easy” (3:12) – Baker, Tyson
B4. “I’m So Glad You Came Along” (2:55) – Baker, Tyson
B5. “It Don’t Take Much” (3:18) – Baker, Tyson

The Trammps recorded the album at Sigma Sound in Philadelphia with producers Harris, Kersey, and Baker. The player credits add bassist Sugar Bear Foreman and horn players Fred Wesley and the Horny Horns on “Love Per Hour.”

“The Night the Lights Went Out” appeared as a November 1977 single (b/w “I’m So Glad You Came Along”) and reached No. 104 on the Billboard Hot 100, No. 80 on Hot Soul Singles, and No. 6 on Hot Dance Club Play.

“Seasons for Girls” followed in January 1978 (b/w “Life Ain’t Been Easy”) and reached No. 50 on Hot Soul Singles.

The Trammps III reached No. 85 on Billboard Top LPs and No. 27 on Billboard Top Soul LPs.

The Whole World’s Dancing

The Trammps released their sixth album, The Whole World’s Dancing, in 1979 on Atlantic. The seven-song program includes two Baker solo credits, two Harris–Green or Harris–Gray titles, and single-song credits for Gray, Kersey with Green, and Harris with Tyson and Felder.

Dancing carries the long-track format into a shorter seven-song program with added Hollywood sessions. “Love Insurance Policy” opens with a comic lyric over a full dance arrangement. “Teaser” runs as an uptempo single cut. “The Whole World’s Dancing” maintains the extended chorus drive of the Atlantic period.

“My Love, It’s Never Been Better” turns toward a harder rhythm-bed and brighter brass. “Soul Bones” adds Stevie Wonder harmonica to a punchier studio track cut in Hollywood. “Love Magnet” advances the second side with a fast rhythmic charge. “More Good Times to Remember” closes with a nostalgic vocal-group slant.

A1. “Love Insurance Policy” (7:02) – Harris, Gray
A2. “Teaser” (6:16) – Harris, Tyson, Felder
A3. “The Whole World’s Dancing” (6:03) – Baker

B1. “My Love, It’s Never Been Better” (5:36) – Gray
B2. “Soul Bones” (5:35) – Kersey, Green
B3. “Love Magnet” (4:41) – Harris, Green
B4. “More Good Times to Remember” (3:05) – Baker

The Trammps recorded the album at Sigma Sound in Philadelphia and Total Experience in Hollywood with producers Harris, Gray, Baker, and Kersey. The rhythm-section credits add Charles Ellerbee, Eugene Curry, James Walker, Keith Benson, Jimmy Williams, and Mikki Farrow. The horn credits add Artie Williams, Harold Watkins, and Reuben Henderson. Stevie Wonder plays harmonica on “Soul Bones.”

“Soul Bones” appeared as a November 1978 single (b/w “Love Magnet”) and reached No. 91 on Hot Soul Singles and No. 31 on Hot Dance Club Play. “Teaser” followed in May 1979 (b/w “More Good Times to Remember”) and reached No. 75 on Hot Dance Club Play.

The Whole World’s Dancing reached No. 184 on Billboard Top LPs.

Mixin’ It Up

The Trammps released their seventh album, Mixin’ It Up, in 1980 on Atlantic. Earl Young wrote six of the eight songs, with Kersey and Green credited on “Let Me Dance Real Close” and Baker credited on “Wake Up from Yesterday.”

Mixin’ It Up updates the Trammps format with sharper guitars, leaner rhythm beds, and more synthetic accents. “Hard Rock and Disco” opens with a testifying chant and wailing guitars over a dance beat. “You Can Make It” cuts the arrangement down to a fast, stripped track. “Music Freek” adds hip-hop-style percussion to the group’s usual vocal placement.

“Dance Contest” returns to a larger arrangement with a bass line that recalls the title-track drive of Disco Inferno. “Everybody Boogie” brings synthesizers into the front of the track. “V.I.P.” pares the band down for a spare workout. “Let Me Dance Real Close” slows for a conventional ballad setting. “Wake Up from Yesterday” folds guitar emphasis into a backward-looking R&B form.

A1. “Hard Rock and Disco” (6:44) – Young
A2. “You Can Make It” (3:53) – Young
A3. “Music Freek” (4:58) – Young
A4. “Dance Contest” (4:07) – Young

B1. “Everybody Boogie” (5:21) – Young
B2. “V.I.P.” (5:09) – Young
B3. “Let Me Dance Real Close” (4:15) – Kersey, Green
B4. “Wake Up from Yesterday” (3:25) – Baker

The Trammps recorded the album at Sigma Sound in Philadelphia and Total Experience in Hollywood with producers Young, Kersey, and Baker. The player credits add guitarist Roland Chambers, bassist Vince Fay, keyboardist Lenny Pakula, vibraphonist Vincent Montana Jr., percussionist Weldon McDougall, and horn player Joseph Smithers Jr. The string and horn credits also add Paul Schorr & His Strings and Maurice Spears & His Horns on “Let Me Dance Real Close.”

“Hard Rock and Disco” appeared as a March 1980 single (b/w “Dance Contest”) and reached No. 76 on Hot Dance Club Play. “Music Freek” followed in June 1980 (b/w “V.I.P.”).

Slipping Out

The Trammps released their eighth album, Slipping Out, in 1980 on Atlantic. Mass Production wrote or co-wrote the nine-song program, with Gregory McCoy, LeCoy Bryant, Ricardo Williams, James Drumgole, Tyrone Williams, Emmanuel Redding, Larry Marshall, Kevin Douglas, and Agnes Kelly credited across the album.

Slipping Out removes much of the Philadelphia studio stamp and uses shorter songs, sparer backing, and outside song material. “Loveland” opens in a laid-back ballad setting with Robert Upchurch on lead. “Trained-Eye” adopts a harder post-disco band track. “Mellow Out” loosens the arrangement with a lighter rhythmic feel. “Groove All Mighty” supplies the album’s most active first-side cut.

“Looking for You” brings brass reinforcement to the second side. “Our Thought (Slipping Away)” acts as a brief prelude before “I Don’t Want to Ever Lose Your Love.” “Is There Any Room for Me” starts with guitar focus before it returns to an older club-track outline. “Breathtaking View” closes with a fast final single.

A1. “Loveland” (4:36) – McCoy
A2. “Trained-Eye” (5:40) – Bryant, Williams, Drumgole
A3. “Mellow Out” (4:06) – Tyrone Williams, Drumgole
A4. “Groove All Mighty” (3:50) – McCoy, Drumgole

B1. “Looking for You” (4:30) – Tyrone Williams, Ricardo Williams
B2. “Our Thought (Slipping Away)” (1:05) – Kelly, Marshall, Bryant, Douglas, Tyrone Williams, Ricardo Williams, Redding, McCoy, Drumgole
B3. “I Don’t Want to Ever Lose Your Love” (4:31) – Tyrone Williams, Ricardo Williams
B4. “Is There Any Room for Me” (5:33) – Marshall, Bryant, Ricardo Williams
B5. “Breathtaking View” (3:49) – Redding, Drumgole

Mass Production produced the album at Atlantic Studios in New York City. The player credits introduce guitarists LeCoy Bryant and Danny Harrs, bassist Kevin Douglas, percussionist Emanuel Redding, trumpet and flugelhorn player James Drumgole, reedist and keyboardist Gregory McCoy, drummer Samuel Williams, drummer and keyboardist Ricardo Williams, and keyboardist Tyrone Williams.

“Looking for You” appeared as a November 1980 single (b/w “Mellow Out”). “Breathtaking View” followed in February 1981 (b/w “I Don’t Want to Ever Lose Your Love”).

Slipping Out and both singles did not chart.

Discography: