Thelma Houston -

Thelma Houston is an American soul singer who emerged with a pair of 1966/67 Capitol singles, followed by the 1969 ABC release Sunshower, produced by Jimmy Webb. In 1972, she cut a self-titled album on MoWest. After multiple stop-gap singles, she fronted the jazz-funk big band Pressure Cooker on the 1975 Sheffield Lab title I’ve Got the Music in Me.

In 1976, Thelma reemerged with the Tamla/Motown release Any Way You Like It, which spawned the No. 1 crossover hit “Don’t Leave Me This Way,” a disco-funk anthem first recorded by Harold Melvin & the Blue Notes. She scored further hits on the Billboard Hot R&B chart with her 1977–79 singles “If It’s the Last Thing I Do,” “I’m Here Again,” and “Saturday Night, Sunday Morning.” Motown paired her with Jerry Butler for the collaborative album Thelma & Jerry.

Thelma next surfaced on RCA with the 1980/81 albums Breakwater Cat and Never Gonna Be Another One; the latter generated hits with “If You Feel It” and a new wave cover of Question Mark & The Mysterians “96 Tears.” She jumped to MCA for the 1983/84 albums Thelma Houston and Qualifying Heat, which spawned the Billboard Dance hits “You Used to Hold Me So Tight” and “I’d Rather Spend the Bad Times with You Than Spend the Good Times with Someone New.”

After six quiet years, Thelma returned with the 1990 disc Throw You Down. She later guested on solo albums by Tribal Tech guitarist Scott Henderson.

Background

Thelma Houston (née Jackson) was born on May 7, 1946, in Leland, Mississippi. She spent most of her youth in Long Beach, California. At age 20, she joined the soul/gospel Art Reynolds Singers and sang on their 1966 debut album, Tellin’ It Like It Is. That same year, she issued two singles on Capitol: “Baby Mine” (b/w “The Woman Behind Her Man”) and “Don’t Cry My Soldier Boy” (b/w “Let’s Try To Make It (Just Once More)”).

In 1968, Houston signed to ABC/Dunhill and entered the studio with writer/producer Jimmy Webb.

Sunshower

Thelma Houston released her debut album, Sunshower, on August 21, 1969, on ABC Dunhill.

The album moves between orchestral soul and soft pop, highlighting Houston’s expressive voice over carefully arranged, piano- and organ-driven backings. Its twelve tracks reveal a balance of introspective ballads, dramatic mid-tempo numbers, and one cover with a rock-leaning edge.

Jimmy Webb composed everything apart from “Jumpin’ Jack Flash,” a Rolling Stones cover.

Thelma Houston interprets Webb’s songs with emotive phrasing, giving prominence to spoken-word passages on “To Make It Easier on You” and layered harmonies on “Someone Is Standing Outside.” Ballads like “If This Was the Last Song” carry extended emotional arcs, whereas “Jumpin’ Jack Flash” contrasts with a driving, staccato pace. Up-tempo tracks like “Pocketful of Keys” and “This Is Where I Came In” maintain angular rhythmic shifts alongside backing vocals and rich instrumental textures.

A1. “Sunshower (From His Own Dark City)” (3:17)
A2. “Everybody Gets to Go to the Moon” (4:16)
A3. “To Make It Easier on You” (4:42)
A4. “Didn’t We” (3:10)
A5. “(Crazy) Mixed Up Girl” (4:15)
A6. “Someone Is Standing Outside” (3:27)

B1. “Jumpin’ Jack Flash” (Mick Jagger, Keith Richards) (3:25)
B2. “This Is Where I Came In” (3:15)
B3. “Pocketful of Keys” (3:03)
B4. “This Is Your Life” (3:42)
B5. “Cheap Lovin'” (3:30)
B6. “If This Was the Last Song” (3:20)

Thelma Houston sings over drums by Hal Blaine, bass by Joe Osborn, guitars by Fred Tackett and Mike Deasy, and keyboard work by Larry Knechtel on harpsichord, organ, and piano. Sid Sharp leads the strings, with backing vocals from Sherlie Matthews, Ginger Blake, and Patrice Holloway. Webb arranged all original tracks while Elton “Skip” Mosher arranged “Cheap Lovin’.”

Sessions occurred at studio locations in Los Angeles with producer Jimmy Webb and engineers Armin Steiner and Phil Yeend.

The album generated four singles: “Everybody Gets to Go to the Moon,” “Sunshower (From His Own Dark City),” “If This Was the Last Song,” and “Jumpin’ Jack Flash.”

Sunshower reached No. 50 on the Billboard R&B chart. The album’s 2010 CD reissue by SoulMusic.com adds six songs from her three 1970 standalone singles:

A. “Save the Country” (2:47) Laura Nyro
B. “I Just Can’t Stay Away” (2:16) Harvey Price, Dan Walsh

A. “I Just Gotta be Me” (2:23) Dennis Lambert, Brian Potter
B. “Crying in the Sunshine” (2:51) Moogy Klingman

A. “(The) Good Earth” (3:01) Karen O’Hara, Denny McReynolds
B. “Ride Louis, Ride (Change in Louise)” (2:38) Joe Cocker, Chris Stainton

Thelma Houston (1972)

Thelma Houston released her self-titled second album in 1972 on Mowest.

The album blends soul ballads, pop interpretations, and contemporary covers, emphasizing Houston’s clarity and range over orchestrated arrangements. US and European editions differ in sequencing, with the UK pressing adding four additional tracks to the core ten-song set.

The album primarily draws from outside songwriters, including Patti Dahlstrom, Kris Kristofferson, Fred Foster, Barry White, and Dino Fekaris. Arrangers Artie Butler, Michael Omartian, Gene Page, and John Myles provided layered orchestrations across tracks, and production was handled by Jerry Marcellino, Mel Larson, Al Cleveland, Edward Langford, and Joe Porter.

Houston delivers the country-pop “Me and Bobby McGee” with expressive phrasing, while Dahlstrom’s compositions such as “What If” and “I’m Letting Go” highlight intimate vocal contours. Up-tempo and socially pointed songs like “Black California” and “Stealing in the Name of the Lord” feature rhythmically varied backing and piano- and string-led textures.

A1. “What If” (2:58)
A2. “There’s No Such Thing as Love” (3:00)
A3. “Me and Bobby McGee” (3:01)
A4. “I’m Letting Go” (3:40)
A5. “Do Something About It” (2:27)

B1. “There Is a God” (4:57)
B2. “Black California” (3:00)
B3. “And I Never Did” (3:00)
B4. “Blackberries” (3:07)
B5. “And I Thought You Loved Me” (2:45)

Sessions occurred at studios in Los Angeles with producers Jerry Marcellino, Mel Larson, Al Cleveland, Edward Langford, and Joe Porter, and engineers associated with the MoWest label. The album generated the single “Me and Bobby McGee.”

UK/German editions include five tracks not found on the US version:
“No One’s Gonna Be a Fool Forever”
“I Ain’t Going Nowhere”
“Nothing Left to Give”
“Stealing in the Name of the Lord”
“I Ain’t That Easy to Lose”

In July 1973, “No One’s Gonna Be a Fool Forever” surfaced as the b-side of “Do You Know Where You’re Going To,” a promo 7″ of a ballad by lyricist Gerry Goffin and composer Michael Masser. Diana Ross popularized the song as the theme to her 1975 dramatic vehicle Mahogany.

In August 1974, Thelma released a standalone Motown single: “You’ve Been Doing Wrong For So Long” backed with “Pick of the Week.” Simultaneously, First Choice recorded the a-side (written by Frank Johnson and Terry Woodford) for their second album, The Player.

I’ve Got the Music in Me (w/ Pressure Cooker)

Thelma Houston and Pressure Cooker released their collaborative album, I’ve Got the Music in Me, in 1975 on Sheffield Lab.

The album captures live, rhythmically varied performances emphasizing disco, funk, and R&B textures over tight, instrumentally rich arrangements. The record foregrounds Houston’s vocals against a band of accomplished session players, blending instrumental passages with layered brass, keyboards, and percussion across both original material and covers.

Songs draw from outside writers including Bias Boshell, Andy Fairweather Low, Syreeta Wright, Gordon Parks, and the Lennon–McCartney catalog. Arrangements by Mike Melvoin and Michael Omartian integrate keyboards, horns, and percussion, while Lincoln Mayorga conducts the ensemble.

Houston delivers the title track with assertive phrasing, and covers such as “To Know You Is to Love You” and the medley of “Got to Get You into My Life” with the reprise of “I’ve Got the Music in Me” interweave vocal interpretation with dynamic instrumental sections. Instrumentals including “Reggae Tune,” “Pressure Cooker,” “Step in Time,” and “Dish Rag” showcase angular keyboard lines, layered percussion, and brass interplay.

A1. “I’ve Got the Music in Me” (2:44)
A2. “Reggae Tune” (3:21)
A3. “To Know You Is to Love You” (3:57) originated on Syreeta’s 1972 debut album, co-written by her then-husband, Stevie Wonder.
A4. “Pressure Cooker” (4:24)

B1. “Don’t Misunderstand” (3:21)
B2. “Step in Time” (3:22)
B3. “Dish Rag” (3:35)
B4. “Got to Get You into My Life”/”I’ve Got the Music in Me” (Reprise) (4:15)

Thelma Houston sings over keyboards from Larry Knechtel, Lincoln Mayorga, Mike Melvoin, and Michael Omartian; guitars by Larry Carlton and Dean Parks; bass by Reinie Press; and drums by Jim Gordon and Jim Keltner. Horns include Chuck Findley, Paul Hubinon, Dick Hyde, Lew McCreary, Jim Horn, Tom Scott, and Richard Perissi. Background vocals come from Morgan Ames, Jim Gilstrap, Myrna Matthews, Marti McCall, Lisa Roberts, and Jackie Ward.

Sessions occurred live to master disc at Sheffield Lab Studios in Hollywood, California, February 24–26, 1975, with producer Bill Schnee, executive producers Doug Sax and Lincoln Mayorga, and recording engineer Bill Schnee.

I’ve Got the Music in Me features artwork by Christina Farley and a cover illustration by Pat Nagel.

In 2025, the album was inducted into the National Recording Registry.

Any Way You Like It

Thelma Houston released her third album, Any Way You Like It, on October 28, 1976, on Tamla/Motown.

The album opens with high-energy disco tracks and funk-driven rhythms, showcasing Houston’s commanding vocals on the first three songs. Side two shifts toward ballads and slower-tempo material, highlighting nuanced phrasing and expressive phrasing in her performances.

Primary songwriters include Michael Lovesmith and Anthony D. Jones, with additional contributions from Cary Gilbert, Kenny Gamble, Leon Huff, Don Hunter, Lula Hardaway, Paul Riser, Stevie Wonder, Don Daniels, Jermaine Jackson, Kathy Wakefield, Andrew Porter, Harold Johnson, Sammy Cahn, Saul Chaplin, and Ralph Graham.

Side one features rhythmic disco tracks, including the breakout hit “Don’t Leave Me This Way,” a reworking of the Harold Melvin & the Blue Notes song. “Any Way You Like It” and “Don’t Know Why I Love You” (Stevie Wonder) continue the high-energy dance emphasis. Side two presents five tracks of slower tempo, ballad-oriented material, with “Come to Me” highlighting co-writing by Jermaine Jackson and “If It’s the Last Thing I Do” demonstrating expressive jazz-leaning phrasing.

A1. “Any Way You Like It” (6:13)
A2. “Don’t Leave Me This Way” (5:39)
A3. “Don’t Know Why I Love You” (5:04)

B1. “Come to Me” (4:09)
B2. “Don’t Make Me Pay (For Another Girl’s Mistake)” (3:56)
B3. “Sharing Something Perfect Between Ourselves” (3:48)
B4. “If It’s the Last Thing I Do” (3:06)
B5. “Differently” (3:49)

Sessions occurred at Motown/Hitsville U.S.A. Studios in Los Angeles with producers Hal Davis, Michael B. Sutton, Michael Lovesmith, Joe Porter, Harold Johnson, Clayton Ivey, Terry Woodford, and Michael Omartian. Engineers and arrangers varied by track, including Paul Riser, Arthur G. Wright, and Perry Botkin Jr.

Arrangements by Arthur G. Wright, Michael Lovesmith, Harold Johnson, Paul Riser, Clayton Ivey, Ted Stovall, Michael Omartian, Perry Botkin Jr., and Terry Woodford provide layered instrumentation and dynamic horn sections.

The album cover features photography by Harry Langdon.

Singles from the album include “Don’t Leave Me This Way,” which topped the US Billboard Hot 100 and R&B charts, reached No. 1 on the disco chart, and peaked at No. 13 in the UK, and “If It’s the Last Thing I Do,” issued as a follow-up single in the US.

The album reached No. 18 on the Australian Kent Music Report albums chart in 1977.

Thelma & Jerry

In 1977, Motown issued Thelma & Jerry, an album of duets between Thelma Houston and Jerry Butler. Two outtakes from the sessions (along with prior tracks by each singer) appear on the 1978 followup Two to One.

Thelma & Jerry balances duet performances with layered vocal arrangements and mid-tempo R&B instrumentation. Arrangers Paul David Wilson, Art Wright, and Dave Blumberg provide strings, horns, and rhythmic accents, while backing vocals reinforce harmonies across the album. Side one opens with Houston and Butler trading lead lines on tracks like “Only the Beginning” and “And You’ve Got Me,” while side two mixes ballads and funk-leaning numbers, including Stevie Wonder’s “Joy Inside My Tears” and the mid-tempo “Sweet Love I’ve Found.”

Primary songwriters include Lawrence Hanks, Rodney G. Massey, Homer Alexander Talbert III, Keithen Carter, Michael Ward, Don Daniels, Michael B. Sutton, Kathy Wakefield, Zane Grey, Len Ron Hanks, and Skip Scarborough, with covers of Peter Cetera and the Bee Gees appearing in a medley.

A1. “Only the Beginning” (5:05)
A2. “And You’ve Got Me” (4:12)
A3. “It’s a Lifetime Thing” (4:11)
A4. “Medley: If You Leave Me Now / Love So Right” (5:04)

B1. “I Love You Through Windows” (3:43)
B2. “Joy Inside My Tears” (4:08)
B3. “Sweet Love I’ve Found” (3:23)
B4. “(Play the Game of) Let’s Pretend” (3:24)
B5. “Let’s Get Together” (3:04)

Sessions occurred at Chicago Recording Company with vocal overdubs at MRI Recording Studio in Hollywood, California. Hal Davis, Homer Alexander Talbert III, Jerry Butler, and Michael B. Sutton produced the album, with Hank Neuberger engineering, assisted by Larry Giometti, and mixing by Russ Terrana.

Backing vocals feature Brenda Sutton, Jesse Richardson, Judy Cheeks, Keithen Carter, Mattie Butler, Patricia Henley, and Sue Conway, with additional handclaps and voices on select tracks. Instrumentation includes David Shields, Henry Davis, and Ron Harris on bass; Brian Grice, Ed Greene, James Gadson, and Steve Cobb on drums; Larry Hanks, Michael B. Sutton, John Barnes, Clarence McDonald, and Terry Friar on keyboards; Byron Gregory, Danny Leek, and David T. Walker on guitar; and percussion by Melvin Sparks and Eddie “Bongo” Brown. Horn and brass sections are arranged throughout by the credited arrangers.

Two to One extends the collaboration with solo and co-written tracks from both artists. Notable contributions include Van McCoy-produced numbers such as Houston’s “Don’t Pity Me” and Jerry Butler’s “Never Gonna Get Enough.” Arrangements by Dave Blumberg, Van McCoy, Willie Hutch, Clayton Ivey, Terry Woodford, and Sam Brown III provide polished orchestration across the album.

A1. “If It Would Never End” (4:47)
A2. “Find a Way” (3:37)
A3. “We Owe It to Ourselves” (3:53)
A4. “I’m Not Strong Enough (To Love You Again)” (3:24)

B1. “Never Gonna Get Enough” (3:31)
B2. “Don’t Pity Me” (3:27)
B3. “Chicago Send Her Home” (4:03)
B4. “You Gave Me Love” (4:26)

Sessions occurred at Chicago Recording Company and produced for McCoy-Kipps Productions, Wishbone, Inc., and Gold Coast Productions. Design and photography were handled by Norm Ung, Cindy Marsh, and David Alexander.

The albums highlight a blend of duet interplay, solo showcases, and funk-leaning arrangements, with Van McCoy, Hal Davis, and Jerry Butler contributing key production and songwriting support.

The Devil in Me

Thelma Houston released her fourth solo album, The Devil in Me, on October 18, 1977, on Tamla/Motown.

The Devil in Me continues Houston’s mix of uptempo R&B tracks and ballads. Side one leans on brisk, rhythmically driven songs with horn and string arrangements, while side two focuses on more contemplative, contoured ballads. The album combines the work of several arrangers and producers, highlighting both her energetic and nuanced vocal range.

Primary songwriters include Brenda and Michael B. Sutton, Pam Sawyer, Brian and Edward Holland, Greg Wright, Karin Patterson, Michel Rubini, Bob Siller, Harold Beatty, Barbara Wyrick, Mickey Buckins, and Michael Masser, with secondary contributions noted on tracks like “Triflin'” and “Your Eyes.”

The album opens with the rhythmically assertive “I’m Here Again” and the Sutton-produced “It’s Just Me Feeling Good,” pairing brisk percussion with layered backing vocals. Holland’s “I Can’t Go On Living Without Your Love” adds mid-tempo depth, while Greg Wright’s staccato, strutting “Triflin'” and Rubini’s “Give Me Something to Believe In” sustain momentum. Ballads such as “Memories,” “Baby, I Love You Too Much,” and the closing track “Your Eyes” showcase Houston’s expressive phrasing and controlled, contoured lines.

A1. “I’m Here Again” (6:31)
A2. “It’s Just Me Feeling Good” (4:23)
A3. “I Can’t Go On Living Without Your Love” (4:32)
A4. “Triflin'” (4:01)
B1. “Give Me Something to Believe In” (3:59)
B2. “Memories” (4:12)
B3. “I’ve Got the Devil in Me” (6:26)
B4. “Baby, I Love You Too Much” (2:52)
B5. “Your Eyes” (3:11)

Sessions occurred at Studio Hitsville U.S.A. in Hollywood, California, with Brenda and Michael B. Sutton, Brian Holland, Greg Wright, Michel Rubini, Clayton Ivey, Terry Woodford, and Michael Masser producing across different tracks. Kim Richmond, James Carmichael, Gordon C. Berg, Greg Wright, Michel Rubini, and Michael Omartian arranged instrumentation, including horns, strings, and rhythm sections, while engineers captured and mixed the sessions.

The cover photograph was taken by Tom Kelley.

The lead single, “I’m Here Again,” became a notable R&B and club hit, while “I Can’t Go On Living Without Your Love” appeared as a double-sided 12-inch release alongside Diana Ross’ “Your Love Is So Good to Me.”

Between albums, Thelma Houston recorded “Love Masterpiece,” an Art Posey/Josef Powell composition produced by Hal Davis for the soundtrack to Thank God It’s Friday, the 1978 disco comedy.

Ready to Roll

Thelma Houston released her fifth solo album, Ready to Roll, on October 20, 1978, on Tamla.

Ready to Roll blends uptempo disco-driven numbers with introspective ballads. The album follows the template of Houston’s prior two Motown efforts, balancing rhythm-heavy productions with slower, voice-centered pieces. Hal Davis oversaw the project, with rhythm arrangements and additional production from Greg Wright.

Wright collaborated with Karin Patterson and Ronnie Vann on multiple tracks, including “Love Is Comin’ On” and “Midnight Mona,” while also co-writing “Strange” with Patterson and Olivia Foster. Sandra Crouch and Sharon Anton supplied two songs, “I Wanna Start My Life All Over Again” and “Everybody’s Got a Story.” Other contributions include Mitch Botler and Norma Helms (“Saturday Night, Sunday Morning”), Alfred McCrary and Sundray Tucker (“Pardon Me”), Curtis Nolen, Dana Meyere, Maureen Bailey, and Raymond Crossley (“Am I Expecting Too Much”), and Ken Hirsch with Ron Miller (“Can’t We Try”).

The album opens with the brisk disco number “Saturday Night, Sunday Morning,” which became the set’s only single. Wright’s “Love Is Comin’ On” sustains the pace with extended instrumental passages, while “Midnight Mona” closes side one with an assertive, rhythmically stacked arrangement. Houston shifts into reflective balladry on “I Wanna Start My Life All Over Again” and “Am I Expecting Too Much,” offset by lighter fare such as “Pardon Me” and the shuffling “Can’t We Try.”

A1. “Saturday Night, Sunday Morning” (3:56)
A2. “Love Is Comin’ On” (6:13)
A3. “I Wanna Start My Life All Over Again” (5:01)
A4. “Midnight Mona” (4:22)

B1. “Pardon Me” (2:53)
B2. “Everybody’s Got a Story” (4:04)
B3. “Strange” (4:36)
B4. “Am I Expecting Too Much” (3:39)
B5. “Can’t We Try” (3:41)

She’s backed by multiple guitarists (“Wah Wah” Watson, Crusader Roland Bautista, Raydio‘s Ray Parker Jr.), percussionists (Eddie “Bongo” Brown, Alan Estes, Gary Coleman), and keyboardists (Greg Phillinganes, Clarence McDonald, John Barnes, Sonny Burke). Her rhythm section features drummer James Gadson and bassists Eddie Watkins Jr. and Tony Newton.

Sessions occurred at Motown studios in Los Angeles with Hal Davis producing and Greg Wright contributing additional production and arrangements. Art Stewart, Russ Terrana, Barney Perkins, and others engineered the sessions, with Jack Andrews handling mastering.

Ride to the Rainbow

Thelma Houston released her sixth album, Ride to the Rainbow, in May 1979 on Tamla.

The album continues her late–1970s disco direction with extended arrangements, orchestrated ballads, and material split between covers and original compositions. It followed just seven months after Ready to Roll and opens with the 12″ version of its key track “Saturday Night, Sunday Morning.”

Producer Hal Davis oversaw the project with contributions from Bobby Belle, who co-wrote two songs: “I Wanna Be Back in Love Again” and “Imaginary Paradise.” Ride to the Rainbow also includes covers of Syreeta (“Just a Little Piece of You”) and The Miracles (“Love Machine”). Backing vocalists include Venetta Fields, Patti Brooks, Jessie Richardson, Monalisa Young, and The Waters.

The elongated “Saturday Night, Sunday Morning” layers lush strings across clipped rhythm accents. “I Wanna Be Back in Love Again” runs at a brisk pace with sharp instrumental turns. “Love Machine” features extended vocal refrains and lengthy breaks that spotlight percussion and choir interplay. “Imaginary Paradise” folds stacked harmonies into lavish orchestrations. Houston applies a fervent delivery “Just a Little Piece of You,” her second Syreeta cover. The title track rises on broad chordal layers and punctuated brass. “Paying for It With My Heart” and “Give It to Me” close the set with steadier rhythms and terse instrumental backdrops that allow her voice to dominate.

A1. “Saturday Night, Sunday Morning” (6:19)
A2. “I Wanna Be Back in Love Again” (3:49)
A3. “Love Machine” (7:39)

B1. “Imaginary Paradise” (3:42)
B2. “Just a Little Piece of You” (3:43) originated on Stevie Wonder Presents: Syreeta.
B3. “Ride to the Rainbow” (3:46) Brian Holland, Greg Poirot, and Mike Simmons
B4. “Paying for It With My Heart” (3:54)
B5. “Give It to Me” (3:43) Raynard Wilson

She’s backed again by “Wah Wah” Watson and the Gadson/Watkins rhythm section. The album also features guitarist Spencer Bean, bassist David Shields, and drummer Larry Tolbert. ARP synthesist Alan Oldfield arranged “Love Machine.” Keyboardists Reginald Burke and Sylvester Rivers also appear alongside percussionists Gary Coleman and Melvin Webb.

Sessions occurred at Motown Recording Studios, Paramount Recording Studios, and One Step Up Recording Studios with producer Hal Davis and engineers Robert Robitaille and Sye Mitchell. Dennis Moody engineered “Love Machine.” Russ Terrana mixed the album.

Ride to the Rainbow features a shadowy neo-noir image of Thelma by photographer Ed Caraeff.

“Saturday Night, Sunday Morning” reached No. 33 on the Billboard Hot 100, No. 34 on the R&B chart, No. 19 on the Dance chart, and No. 14 in New Zealand.

Breakwater Cat

Thelma Houston released her seventh album, Breakwater Cat, in February 1980 on RCA.

The album marked her reunion with songwriter Jimmy Webb, who had overseen her 1969 debut Sunshower. Here, Houston’s voice fronts a mix of orchestrated ballads, disco-inflected pop, and string-laden soul arrangements.

Webb wrote the entire first side and co-produced the sessions with James Gadson and Michael Stewart. Side two contains covers of Elvis Presley (“Suspicious Minds”), Eric Mercury (“Down the Backstairs of My Life”), Alan Gordon (“Understand Your Man”), Daniel Moore (“Lost and Found”), and Shelby Flint (“Something We May Never Know”).

The title track, “Long Lasting Love,” and “Before There Could Be Me” showcase Webb’s dramatic orchestral style with contoured piano and brass parts. “What Was That Song” balances his writing with denser string charts. Side two pivots to interpretive material: Houston tackles “Suspicious Minds” with disco pacing, contrasts it with the gospel-shaded “Down the Backstairs of My Life,” and closes on Flint’s reflective ballad “Something We May Never Know.”

A1. “Breakwater Cat” (3:55)
A2. “Long Lasting Love” (5:30)
A3. “Before There Could Be Me” (3:12)
A4. “Gone” (3:43)
A5. “What Was That Song” (4:19)

B1. “Suspicious Minds” (4:15) originated as a 1968 single by songwriter Mark James; popularized as a 1969 rock anthem by Elvis Presley, who scored a major comeback with the song.
B2. “Down the Backstairs of My Life” (3:00) originated on the 1975 fourth album by Canadian R&B musician Eric Mercury; also covered by Dianne Brooks, Kenny Rankin, and Yvonne Elliman.
B3. “Understand Your Man” (3:27) originated on Alley & The Soul Sneekers, the 1978 album by songwriter Alan Gordon.
B4. “Lost and Found” (4:20)
B5. “Something We May Never Know” (3:38)

Houston recorded with Gadson and guitarist David T. Walker. Bass duties alternate between Eddie Watkins Jr., Keni Burke, Scott Edwards, Reggie McBride, and Dennis Belfield. Pianist Sonny Burke plays on most tracks, with contributions from Webster Lewis and Jerry Peters. Guitarists Steve Beckmeier, Tim May, Steve Hunter, Fred Tackett, Carlos Rios, and Greg Poree appear in rotation. Paulinho da Costa adds percussion, Jerry Hey appears as horn soloist, and Gary Morse plays steel guitar. Backing vocalists include Clydie King, Tom Kelly, Greg Wright, and Oren Waters.

Sessions occurred at Producers Workshop, Redwing, Cherokee, Golden Sound, Hollywood Sound, and Devonshire Studios. John Arias mixed the album at Sound Labs, Hollywood. Webb served as executive producer.

Ron Slenzak photographed the cover, which depicts Houston in profile against a muted backdrop.

RCA lifted “Suspicious Minds” as the album’s lone single.

Never Gonna Be Another One

Thelma Houston released her eighth album, Never Gonna Be Another One, in April 1981 on RCA.

The album embraced a club-oriented sound with extended rhythm structures, synthesizer accents, and layered backing vocals. It marked Houston’s shift toward dance-floor arrangements, aligning her voice with uptempo tracks and ballad interpretations.

Guitarist and associate producer Mike Piccirillo shaped the set with contributions on guitar, synthesizer, percussion, and backing vocals. Bassists Keni Burke and Scott Edwards, keyboardists Bill Cuomo and Stewart Levine, and drummer Ed Greene formed the instrumental core, with percussion by Gary Goetzman and Mark Wolfson and saxophone by Joel Peskin. Julia Tillman Waters and Maxine Willard Waters supported Houston on harmonies.

A1. “Never Give You Up” (4:49)
A2. “Too Many Teardrops” (4:00)
A3. “96 Tears” (3:27) is a new wave/funk remake of the 1966 organ-rock classic by ? and the Mysterions.
A4. “There’s No Runnin’ Away From Love” (3:46)

B1. “Never Gonna Be Another One” (2:58)
B2. “If You Feel It” (5:57)
B3. “Don’t Make Me Over” (3:44)
B4. “Hollywood” (3:21)

Sessions occurred in 1980–81 at Studio Sound Recorders in North Hollywood with Piccirillo as associate producer.

RCA lifted three singles: “If You Feel It” reached No. 6 on the Billboard Dance chart, “Never Give You Up” peaked at No. 17, and “96 Tears” charted at No. 22.

Reachin’ All Around

In 1982, Motown issued Reachin’ All Around. It features ten unearthed Thelma Houston cuts recorded during her 1975–79 Motown tenure.

The collection spans orchestrated ballads, mid-tempo soul numbers, and uptempo material, reflecting the range of Houston’s sessions during that period.

The writing and production credits include Van McCoy and Charles Kipps (“You Never Were My Friend”), Larry Brown and Terri McFaddin (“Reachin’ All Around My Love” and “Lies”), Ron Miller and Terry Etlinger (“I Can’t Go Home Again”), and Leonard Caston (“Don’t Wonder Why”). Hal Davis produced three tracks, including “I Never Took No for an Answer” and “(I’ve Given You) The Best Years of My Life.” Michael Masser oversaw “Little Bit of Heaven and a Little Bit of Hell.” The closing medley combines the lounge standard “Stormy Weather” with the Ann Peebles number “I Can’t Stand the Rain.”

A1. “You Never Were My Friend” (4:01)
A2. “Reachin’ All Around My Love” (3:10)
A3. “I Can’t Go Home Again” (3:24)
A4. “Lies” (3:21)
A5. “Don’t Wonder Why” (3:38)

B1. “I Never Took No for an Answer” (3:43)
B2. “Rhythm of Love” (4:15)
B3. “(I’ve Given You) The Best Years of My Life” (3:34)
B4. “Little Bit of Heaven and a Little Bit of Hell” (2:52)
B5. “Medley: Stormy Weather / I Can’t Stand the Rain” (5:33)

Sessions occurred at Motown Recording Studios in Los Angeles with production by Hal Davis, Michael Masser, Van McCoy, Charles Kipps, Larry Brown, Terri McFaddin, Ron Miller, Eddie Langford, Suzanne de Passe, John Myles, and Michael Rubini.

Thelma Houston (1983)

Thelma Houston released her self-titled ninth solo album on March 19, 1983, on MCA.

The album pairs streamlined pop arrangements with brassy, uptempo numbers and slower keyboard-led ballads. Houston fronts layered backing vocals, crisp rhythm lines, and accented horn parts throughout.

Keyboardist Jai Winding and producer John Arrias oversaw the sessions. Winding also composed “Say Goodbye to Love,” while Bob Esty and lyricist Michele Aller supplied “Just Like All the Rest” and the closing track “Working Girl.” The album also includes new material by Barry Mann and Cynthia Weil (“Handsome Dudes”) and contributions from writers Michael Caronia, Richard Ferrone, Richard McNeil, Paul Henderson, and others.

A1. “Make It Last” (4:44)
A2. “Say Goodbye to Love” (3:58)
A3. “Running in Circles” (3:48)
A4. “What For” (4:50)
A5. “Givin’ It All” (3:30)

B1. “Standing in the Light” (3:41)
B2. “Take Me Through Your Lifetime” (4:02)
B3. “Just Like All the Rest” (4:10)
B4. “Handsome Dudes” (4:18)
B5. “Working Girl” (4:53)

Backing vocalists include Sharon Robinson, Michele Aller, Bunny Hull, Clifford Frazier, and the Waters family. Winding splits keyboard tracks with Bob Esty and Paul Fox. Thelma Houston also features drummer Ed Greene, percussionist Michael Fisher, and multiple bassists (Neil Stubenhaus, Eddie Watkins Jr.), guitarists (Dennis Herring, Michael Landau, Paul Jackson Jr.), and horn players (Chuck Findley, David Boruff, Slyde Hyde, Steve Madaio, Tom Saviano).

Sessions occurred in Los Angeles with Winding and Arrias as producers and Charles Koppelman as executive producer. Herb Ritts supplied the photography.

MCA lifted two singles: “Working Girl” and “Just Like All the Rest.”

Qualifying Heat

Thelma Houston released her tenth album, Qualifying Heat, on September 9, 1984, on MCA.

The album embraces modern hi-tech production with programmed percussion, sequenced synthesizers, and brassy horn arrangements. Side one emphasizes extended, dance-focused tracks built on layered rhythm programming, while side two divides between slick ballads and uptempo band-driven pieces.

Keyboardist Monte Moir wrote and produced “(I Guess) It Must Be Love” and “Fantasy and Heartbreak.” He also co-produced “You Used to Hold Me So Tight” and “I’d Rather Spend the Bad Times With You Than Spend the Good Times With Someone New” with Jimmy Jam and Terry Lewis, who co-wrote those two tracks. Ballard and Clif Magness co-wrote and produced “Shake You,” while Dennis Lambert handled “Generate Love” and “Love Is a Dangerous Game.” Romeo Blue and Derek Nakamoto produced “What a Woman Feels Inside,” written by John Lewis Parker and Marti Sharron.

“I Guess It Must Be Love” stretches to seven minutes with vocal exchanges over programmed percussion, saxophone lines, and stacked backing harmonies. “You Used to Hold Me So Tight” and “Fantasy and Heartbreak” continue in the same electronic style, while “Shake You” brings a fuller horn section with trumpet lines from Jerry Hey and Gary Grant. Side two closes with “What a Woman Feels Inside,” a keyboard-led number accented by layered background vocals and additional guitar textures.

A1. “(I Guess) It Must Be Love” (7:20)
A2. “You Used to Hold Me So Tight” (5:42)
A3. “Fantasy and Heartbreak” (5:04)
A4. “I’d Rather Spend the Bad Times With You Than Spend the Good Times With Someone New” (6:00)

B1. “Shake You” (4:04)
B2. “Generate Love” (4:34)
B3. “Love Is a Dangerous Game” (4:09)
B4. “What a Woman Feels Inside” (4:19)

Sessions occurred at Creation Audio in Minneapolis with Jam, Lewis, and Moir; at Sound Castle and Can-Am Recorders in Los Angeles with Lambert, Magness, and Ballard; and at Larrabee Sound Studios with mixing by Steve Hodge. Steve Hall mastered the album at Future Disc.

Qualifying Heat features art direction by Kathe Schreyer with day-glo artwork by Rick Elden and photography by Aaron Rapoport. Ola Hudson designed Houston’s clothing for the cover.

MCA issued four singles: “(I Guess) It Must Be Love,” “You Used to Hold Me So Tight” (No. 7 R&B, No. 13 Dance) “Fantasy and Heartbreak,” and “I’d Rather Spend the Bad Times With You Than Spend the Good Times With Someone New” (No. 4 R&B). Qualifying Heat reached No. 30 on the Billboard R&B Albums chart.

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