The Philly Sound’s “Waitin’ for the Rain” has been called the first ever disco record. It came before “TSOP” but has a genetic link to it, having been written and performed by the same group that ended up as MFSB. It was produced for Johnny Corley, who recorded as The Fantastic Johnny C, after he left Jesse James, his original producer of “Boogaloo Down Broadway” and his original batch of outstanding records.
The Philly Sound consisted of the Philly session musicians who later evolved into MFSB, comprised of guitarist Normal Harris, bassist Ronnie Baker, and drummer Earl Young. They cut the tracks for Johnny C for his 1973 single, “Waitin’ for the Rain” and “Don’t Depend on Me.” The Fantastic Johnny C’s vocal sides were released on Phil-LA of Soul, as had been his previous hit releases.
The group basically consisted of guitarists Norman Harris and Bobby Eli, bassist Ronnie Baker, drummer Earl Young, and vibist/percussionist Vince Montana. Leon Huff was often on keyboards. Kenny Gamble’s myriad talents were utilized on several fronts as he and Huff gained invaluable studio experience prior to doing their own thing working in sessions with Baker, Harris and Young.
This world-class rhythm section developed indigenously and worked for other local labels too. Unlike Motown’s Funk Brothers, no label held an exclusive on them (granted, the Funk Brothers engaged in surreptitious moonlighting). It all started, both for the Philly Sound and the developments that led to Philadelphia International, when Bobby Eli brought Ronnie Baker into a Bob Finiz session for Brenda & the Tabulations. Baker brought his girlfriend’s brother Norman Harris into the fold. Earl Young came a little bit later on, via the Volcanos. Earl was a Volcano, and apparently there was a drummer who didn’t show up for a session one night, and Earl volunteered his services. Right after that was Barbara Mason’s "Yes, I’m Ready" session. The same crew was pictured on the back cover of the Ambassadors’ Arctic album several years later, their ranks augmented by tenor saxist Sam Reed’s horn section and the Don Renaldo Strings.
Earl Young recalled, “When I started out, I didn’t really know how to read music. But I had feeling, and I knew how to keep perfect time. They say it’s better to have perfect time and not know how to read than to know how to read and not have perfect time. I used to sit next to Ron Baker, the bass player, and Norman on the other side, and I couldn’t read music. But they said, ‘Look, every time a space comes, I want you to make a fill. When I nod my head, you make a fill,’” says Earl. “Norman Harris and Ronald Baker, who were like my brothers, and I miss them dearly, they taught me a lot. And by the three of us being together all the time, we knew exactly what the next person was going to do. I mean, that’s incredible. I knew what he was going to play, how he was going to sound.” Which all started with the Philly Sound--and ended up there too.
