Vernon Burch -

Vernon Burch (1955–2022) was an American soul singer and songwriter, best known for the Billboard R&B hits “Changes (Messin’ with My Mind)” and “Do It to Me.” Between 1975 and 1981, he made six albums and produced records by Lea Roberts, Eric Mercury, and Albert King.

Background

He was born Vernon Darrell Burch on July 28, 1955, in Washington, D.C. In 1974, he sang backing vocals on “She Will Break Your Heart,” Lea Roberts’ feminine adaptation of the 1960 Jerry Butler hit “He Will Break Your Heart.” Lea’s version appeared as the b-side to her cover of Neil Sedaka’s recent comeback hit “Laughter In the Rain.”

At age 19, Burch landed his first recording deal with United Artists.

I’ll Be Your Sunshine

Vernon Burch released his debut album, I’ll Be Your Sunshine, in 1975 on United Artists.

Burch wrote eight titles and co-wrote “Loving You Gets Better With Time” with Jeffrey Marmelzat and Spencer Proffer. The album uses a divided studio band around bassist Phil Kelsey: drummers Ed Greene, Alvin Hunter, and Michael Moore rotate across the program, while Joe Sample and Reggie Andrews handle the keyboard chair. Joe Clayton adds congas to “Loving You Gets Better With Time” and “Frame of Mind.”

“Changes” adds clarinetist John Rotella, saxophonist Plas Johnson, trombonist Lew McCreary, and trumpeter Ollie Mitchell. Carolyn Willis supplies backing vocals along with Kim Carnes, Susaye Greene Brown, and the Waters sisters. “Loving You Gets Better With Time” steps through a measured mid-tempo pocket, with Burch’s lead set inside a smooth, restrained line.

A1. “Loving You Gets Better With Time” (3:31) – Burch, Marmelzat, Proffer
A2. “Ain’t Gonna Tell Nobody” (2:35) – Burch
A3. “Dreamin’” (5:12) – Burch
A4. “Frame of Mind” (3:32) – Burch
A5. “I’ll Be Your Sunshine” (2:56) – Burch

B1. “Sit, Sigh and Wonder Why” (3:10) – Burch
B2. “And You Call That Love” (3:55) – Burch
B3. “Give Love a Try” (3:54) – Burch
B4. “Changes (Messin’ With My Mind)” (6:07) – Burch

Burch recorded I’ll Be Your Sunshine at Angel City Sound and Devonshire Studios with engineers Frank Byron Clark and Ron Malo. Denny Diante and Spencer Proffer join Burch on “Loving You Gets Better With Time,” “Frame of Mind,” and “Changes.” Tom Wilson produced the other six titles with Diante as associate producer and Proffer as co-producer.

Jimmie Haskell arranged “Loving You Gets Better With Time,” “Frame of Mind,” and “Changes.” H.B. Barnum arranged the remaining six titles, and Susaye Greene Brown arranged the backing vocals.

I’ll Be Your Sunshine appeared in a sleeve designed by Bob Cato, who shared the photography credit with Doug Metzler. The cover shows a close color portrait of Burch in a gray turtleneck, with reflective sunglasses above his eyes and white corner typography.

United Artists issued “Changes (Messin’ With My Mind)” in February 1975 with a 6:07 side and a 3:43 edit. The single reached No. 15 on the R&B chart. “Ain’t Gonna Tell Nobody” followed in May 1975 with “Loving You Gets Better With Time” on the reverse side. “Frame of Mind” appeared in October 1975 with the same reverse title and reached No. 99 on the R&B chart. I’ll Be Your Sunshine reached No. 46 on the US R&B album chart.

When I Get Back Home

Vernon Burch released his second album, When I Get Back Home, in June 1977 on Columbia.

Burch produced and arranged the album with co-producer Gene Dozier after his move from United Artists to Columbia. When I Get Back Home contains five Burch-only titles, three Susaye Greene Brown co-writes, and two Howard Redmon co-writes.

Burch recorded with bassists Ed Brown and Nathan Watts, drummer-percussionist Joe Blocker, pianists John Jarvis and Greg Phillinganes, saxophonist Hank Redd, and trumpeters Ray Maldonado and Raymond Lee Brown. He adds synthesizer across the album and bass on “Leave Your Spirit Behind.” Stevie Wonder appears on selected keyboard parts. Susaye Greene Brown, Kathy Collier, and Shirley Brewer provide backing vocals.

“Sexasonic” struts through wah-wah guitar, cooed backing replies, brass punctuations, and Burch’s sassy lead. “Mr. Sin” softens around Stevie Wonder’s keyboards, tender harmonies, and a church-tinted lyric. “Paradise” brightens an understated opening with dramatic brass bursts before Burch eases into a smoother central line. “Good To Me” vamps through a tougher vocal attack, hard-edged lead figures, and brassy accents. “When I Get Back Home” opens with street dialogue, then pushes a road narrative through full harmonies and a needy lead.

“Leaving You Is Killing Me” locks synth banks to stomping percussion and sweet backing answers. “To Make You Stay” pleads across stabbing horn accents, piano pressure, and a late saxophone push. “Leave Your Spirit Behind” suspends space around cymbals, slow vocal phrasing, and a rasping reed solo. “Bye, Bye, Baby” saunters through samba-tinted movement, cascading female replies, and short brass flares. “Ghetto Penthouse” scatters a party-room opening, scat harmonies, and a tougher lead over stacked key figures.

A1. “Sexasonic” (4:05) – Burch, Redmon
A2. “Mr. Sin” (3:20) – Burch, Greene Brown
A3. “Paradise” (3:29) – Burch
A4. “Good to Me” (2:49) – Burch
A5. “When I Get Back Home” (5:28) – Burch, Greene Brown

B1. “Leaving You Is Killing Me” (3:27) – Burch
B2. “To Make You Stay” (3:23) – Burch
B3. “Leave Your Spirit Behind” (5:26) – Burch
B4. “Bye, Bye, Baby” (2:34) – Burch, Greene Brown
B5. “Ghetto Penthouse” (4:28) – Burch, Redmon

Burch recorded When I Get Back Home at Crystal Sound and Sun West in Los Angeles with engineers Larry Miles, Tyrone Williams, and Bob Mocklet. The album was mixed at Village Recorders in Hollywood. Allen Zentz mastered the album.

When I Get Back Home uses a studio portrait sleeve: Burch stands in a black jacket and open white shirt against a tan field, with red artist type above the stacked title.

Columbia lifted “Leaving You Is Killing Me” in June 1977 with “Bye, Bye, Baby” on the reverse side. The single reached No. 95 on the R&B chart. “Sexasonic” followed in 1977 with “Mr. Sin” on the reverse side.

When I Get Back Home reached No. 74 on the US R&B album chart. Big Break reissued the album in 2013 with single versions of “Leaving You Is Killing Me” and “Sexasonic.”

Love-A-Thon

Vernon Burch released his third album, Love-A-Thon, in 1978 on Chocolate City.

Love-A-Thon starts Burch’s Chocolate City period and places him in the producer role with co-producer Tony Sobel. The album retains Brown, Watts, Blocker, and Phillinganes from the Columbia sessions; new players include bassist Dave Rodriguez, drummer George Sanders Jr., drummer Raymond Pounds, pianist Michael Asadorian, and pianist Byetta. Rusty Crutcher adds saxophone to “Baptized in Your Love” and “Let’s Make Love.”

The title track adds saxophonists Jackie Kelso and William Perkins, trombonist Lew McCreary, trumpeter Steve Madaio, and the Sid Sharp string section. Brooklyn Dreams appear on “Caught Wild, Tamed Sexy Sweet,” and three backing vocalists (Petsye Powell, Dani McCormick, Patti Brooks) appear across the album.

“Brighter Days” stomps through a percussive mid-section break and a bright, funk-edged tune line. “Baptized in Your Love” roughens the program with grittier attack. “Love-a-Thon” stays in the same hard-cut lane. “Mama” lowers the pressure into a laid-back vocal setting. “Let’s Make Love” glides through the softer side of the record.

A1. “Brighter Days” (5:15) – Burch
A2. “Love Is” (4:35) – Burch, Redmon
A3. “Mama” (4:12) – Burch, Redmon
A4. “Baptized in Your Love” (4:21) – Burch, Redmon

B1. “Caught Wild, Tamed Sexy Sweet” (5:15) – Burch, Redmon
B2. “When the Summer’s Over” (2:10) – Burch
B3. “Let’s Make Love” (4:21) – Burch, Redmon
B4. “Love-A-Thon” (4:03) – Burch, Redmon

Burch recorded Love-A-Thon at Magic Wand Studios and Blue Dolphin Studios with engineer Bob Incorvaia and assistant Gary Gorman. Mixing occurred at Magic Wand Studios. Chris Bellman mastered the album at Allen Zentz Mastering.

Chuck Schmidt designed the sleeve with photography by Ron Slenzak. The cover places red Vernon script over a black field with a green neon heart-and-rose outline.

Chocolate City lifted “Love Is” in November 1978 (b/w “When the Summer’s Over”), and the single reached No. 32 on the R&B chart. “Brighter Days” followed in February 1979 (b/w “Love-A-Thon”) and reached No. 41 on the R&B chart.

Get Up

Vernon Burch released his fourth album, Get Up, in 1979 on Chocolate City.

Get Up pairs Burch with producer-drummer James Gadson and narrows the rhythm core to bassist David Shields, drummer James Gadson, and keyboardist Mike Thompson. The Waters provide backing vocals. Tom Tom 84 arranges “Never Can Find the Way (Hot Love)” and “Arrogant Lady,” while Richard Evans arranges “For You” and “Once Again in My Life.”

Burch covers “Try a Little Tenderness,” a 1930s song by Jimmy Campbell, Reg Connelly, and Harry Woods. Fred Wesley arranged that track and “Sammy-Joanne (One Half Woman One Half Man).”

“Get Up” chugs through a rattling break with a short whistle flicker. “Never Can Find the Way (Hot Love)” jitters through a quick dance cut. “Sammy Joanne (One Half Woman One Half Man)” works a steady beat-driven line. “For You” lopes with a lighter, lilting motion. “Dr. Do It Good” snaps into a brisk cut. “Try a Little Tenderness” recasts the familiar song with a faster dance treatment. “Arrogant Lady” struts through hard-smacked accents. “Once Again in My Life” slows into the album’s lone soft vocal setting.

A1. “Never Can Find the Way (Hot Love)” (5:58) – Burch, Redmon, Gadson
A2. “Sammy-Joanne (One Half Woman One Half Man)” (5:21) – Burch, Redmon
A3. “For You” (3:20) – Burch, Redmon
A4. “Dr. Do It Good” (3:40) – Burch, Redmon

B1. “Get Up” (5:59) – Burch, Redmon
B2. “Try a Little Tenderness” (3:42) – Campbell, Connelly, Woods
B3. “Arrogant Lady” (4:04) – Burch, Zahir
B4. “Once Again in My Life” (4:17) – Burch, Redmon, Gadson

Burch recorded Get Up at Magic Wand Studios with engineers Robert Incorvia and Tyrone Williams.

Phyllis Chotin directed the sleeve art; David Fleming designed the cover with photography by Olivier Ferrand. The cover shows Burch in yellow and pink clothing on a pool surface, with outstretched arms beneath yellow script typography.

Chocolate City issued “Never Can Find the Way (Hot Love)” in September 1979 (b/w “Dr. Do It Good”), and the single reached No. 27 on the R&B chart. In November 1979, “Sammy-Joanne (One Half Woman One Half Man)” appeared with “Get Up” on the reverse side; “Get Up” reached No. 35 on the R&B chart. “Once Again in My Life” followed in March 1980 (b/w “For You”). Deee-Lite later sampled the title track on “Groove Is in the Heart.”

Steppin’ Out

Vernon Burch released his fifth album, Steppin’ Out, in September 1980 on Chocolate City.

Steppin’ Out closes Burch’s Chocolate City period and retains James Gadson in the producer role after Get Up. Burch co-produced the album and played guitar. Gadson produced the album and remained the principal drummer. David Shields anchors the bass parts, while Melvin Webb and Paulinho Da Costa add percussion. Ray Jackson arranged “Steppin’ Out,” “Stiffin, Stuffin, Ain’t Sho Nuffin,” and “Baby Love.” Ernie Fields arranged “Special Rhyme.” The Waters return on backing vocals.

“Fun City” spaces hard accents with open gaps built for mix-point impact. “Steppin’ Out” jitters through a clipped title-track beat. “Hot and Sexy” opens with sparse impact before the cut thins out. “Special Rhyme” stays in a taut dance setting.

A1. “Steppin’ Out” (4:01) – Burch, Redmon, Rey
A2. “Hot and Sexy” (4:29) – Burch, Redmon
A3. “Broken Wing” (3:54) – Burch, Poree
A4. “Special Rhyme” (3:35) – Burch

B1. “Fun City” (4:56) – Burch, Redmon, Rey
B2. “Stiffin, Stuffin, Ain’t Sho Nuffin” (4:58) – Burch, Redmon
B3. “Family and Friends” (4:45) – Burch, Redmon
B4. “Baby Love” (3:30) – Burch

Burch recorded Steppin’ Out at the Sound Factory in Hollywood. Allen Zentz Mastering in Los Angeles cut the lacquer.

Steppin’ Out features photography by Scott Hensel. The cover crops glossy red lace-up shoes against a tan floor, with the artist name and title set in small black type.

Chocolate City issued “Fun City” in September 1980 (b/w “Stiffin, Stuffin, Ain’t Sho Nuffin”), and the single reached No. 54 on the R&B chart.

Playing Hard to Get

Vernon Burch released his sixth album, Playing Hard to Get, in 1982 on Spector Records International.

Playing Hard to Get transfers Burch from Chocolate City to Spector Records International and restores him as the sole producer-arranger. Burch wrote all eight titles. He recorded with bassist Ready Freddie Washington, drummer Melvin “Fatburger” Webb, conductor William “Snoopy” Bryant, and tenor saxophonist Rusty Crutcher. Crutcher takes the tenor feature on “Once in a Lifetime Thing.” The Waters return with Julia Tillman Waters and Luther Waters in the backing-vocal credits.

“Do It To Me” snaps around vocoder lines and robot-voice color. “Lovely Lady” glides as a mid-tempo dancer. “Playing Hard To Get” tightens the title phrase into a compact dance cut. “Joy and Pain” brightens into a longer dance-side focal track. “Simply Love” stays in a sleek dance register. “Born To Love You” closes the supported set with a direct dance-floor cut.

A1. “Do It to Me” (5:11)
A2. “Lovely Lady” (3:12)
A3. “Once in a Lifetime Thing” (4:07)
A4. “Playing Hard to Get” (5:30)

B1. “Joy and Pain” (5:05)
B2. “Always Sometime for Love” (3:25)
B3. “Simply Love” (2:52)
B4. “Born to Love You” (3:42)

Burch produced and arranged Playing Hard to Get. Capitol Mastering handled the master.

Playing Hard to Get uses front-cover photography by Paul Farrara. The cover places Burch in a black jacket and red shirt against a black field, with white artist type above a large cursive title.

SRI issued “Do It to Me” in November 1981 (b/w “There’s Always Sometime for Love”), and the single reached No. 18 on the R&B chart. “Playing Hard to Get” followed in March 1982 (b/w “Simply Love”) and reached No. 46 on the R&B chart. SRI also issued “Once in a Lifetime Thing” in 1982 (b/w “Joy and Pain”).

Playing Hard to Get reached No. 50 on the US R&B albums chart.

Discography: