The Dramatics Albums (13)
What The Critics Say
Having recorded some of their most essential work for Stax/Volt in the early '70s, the Dramatics were an obvious choice when Fantasy reactivated Volt in 1999. Although 1999's If You Come Back to Me isn't in a class with the Motor City soulsters' classic '70s output for Stax/Volt and ABC, it's a respectable outing that finds the voices of Ron Banks (the only remaining original member), L.J. Reynolds, Willie Ford, Wenzell Kelly, and Lenny Mayes, continuing to hold up nicely. No, there isn't another "Whacha See Is What You Get" or another "In The Rain," but diehard fans of the veteran group will be glad to hear how good they sound on such romantic ballads as "Hello Love" (which features Angel Sessions, one of the younger artists Volt signed in 1999), "Maddy," and "If You Come Back to Me." The most intriguing track, however, is an unlikely recording of the 16th Century British folk song "Scarborough Fair," which the Dramatics successfully give an R&B/pop makeover. Coincidentally, they weren't the only R&B artists to record "Scarborough Fair" in 1999 -- Samantha Siva, a very promising urban contemporary singer who grew up in Manchester, England but currently lives in New York, gives the classic her own unique and personal interpretation on her second album, Identity. While Siva's interpretation is more hypnotic and subtle, the Dramatics' version finds Reynolds doing some gritty, gospel-influenced belting that somehow manages to bring the African-American church to the English countryside. But, as satisfying as it is, If You Come Back to Me won't go down in history as one of the Dramatics' essential albums -- for casual listeners, The Best of the Dramatics (Fantasy's 16-song collection of their early '70s hits) would be a much better purchase. Even so, this CD demonstrated that they were still capable of delivering a meaningful album as they prepared to enter the 21st Century. ~ Alex Henderson, All Music Guide
What The Critics Say
This Fantasy release doesn't compare to their Volt or ABC releases, but it has some enjoyable moments. Original lead William "Wee Gee" Howard ("In the Rain") reunites with Ron Banks, Lenny Mayes, Willie Ford, and L.J. Reynolds for a new twist: every member gets to lead at least part of a song. "Somewhere In Time" contains a medley of the group's biggest hits, but like onstage medleys, it's disappointing. Still, it was an interesting idea. Lenny, Ron, and L.J. swap leads beautifully on "When Love Is Over," and Ron and Wee Gee shine on "One Love Ago." ~ Andrew Hamilton, All Music Guide
What The Critics Say
The Dramatics had been through many breakups and reunions by the time of this 1990 release. Their previous release didn't attract much attention for the revived Volt label, and unfortunately neither did this one. Ron Banks, L.J. Reynolds, Willie Ford, and company still sounded strong, and the harmonizing was marvelous, but there just wasn't much interest in '90 among the general urban contemporary/New Jack/hip-hop audience in classic '70s soul. ~ Ron Wynn, All Music Guide
What The Critics Say
After a lengthy absence, the Dramatics regrouped in 1989. The new personnel included longtime veterans Ron Banks, L.J. Reynolds, William Howard, Willie Ford, and Lenny Mayes. This was a well-produced, expertly sung soul work with a few urban contemporary production trappings, mostly drum tracks and synthesized backbeats. Sadly, the group found out that six years on the urban contemporary landscape was more like 60; they didn't get much response except from old fans happy they were back. ~ Ron Wynn, All Music Guide
What The Critics Say
Joy Ride featured three singles, the first being the dance track "Finger Fever." Ron Banks and L.J. Reynolds co-lead this gritty number with its multi-directional arrangement. The single peaked at number 23 on the R&B charts. The second release was the classic "Be My Girl." Simultaneously released with Michael Henderson's version, the Detroit quintet is in superior form on this soulful number. In addition to being the author of the song, Henderson also produced the Dramatics' version, which peaked at number three on the R&B charts. The final release was the grieving ballad "I Can't Get Over." Reynolds gives a breathtaking performance with his explosive baritone. This single also made the Billboard R&B Top Ten at number nine. While side one is more dance-oriented with moderately paced compositions, side two is more ballad-seasoned with mellow numbers. The group's sleek lead and background vocals remain consistent on every track, and not having any obvious album fillers is also a plus. ~ Craig Lytle, All Music Guide
What The Critics Say
Settled into their own groove, the Dramatics were burning on all cylinders. Their group harmonies were as solid as ever, and they demonstrated their vocal versatility by rotating lead on most of the tracks, including the bass of Willie Ford. This album featured two singles, the first being the sanguine Top Ten R&B hit "You're Fooling You." The follow-up was "Dramatic Theme/Treat Me Like a Man," fueled by a full orchestra and a mid-tempo groove. Ford's commanding bass opens the lyric, followed by other group members. "Just Shopping, Not Buying Anything" was never a release, but it's worthy of any radio. The song is introduced with a Latin-spiced guitar augmented by a spellbinding music arrangement in which Banks and L.J. Reynolds tenderly embrace the lyric. The Dramatics keep the vocal creativity flowing throughout the album, preventing monotony. ~ Craig Lytle, All Music Guide
What The Critics Say
One of their finest albums. The Dramatics had solidified their sound and personnel in the early '70s. L.J. Reynolds was now doing the leads, with Ron Banks' feathery falsetto and Willie Ford's booming baritone perfectly positioned at the top and bottom of the arrangements, and Reynolds and Lenny Mayes right in the center. Although they didn't generate much crossover success, they were on the R&B charts regularly with singles pulled from the album. ~ Ron Wynn, All Music Guide
'Whatcha See Is Whatcha Get'
Release Date 1/1/1973
Tracks 8
Label Volt
See Album Tracklist and Review
What The Critics Say
The Dramatics had been around in one form or another for nine years before the members got to release their first LP, and the result was a pair of breakthrough hits over the spring and summer of 1971, beginning with the title track, a Top Ten single that boasted not only extraordinary singing from bass to falsetto, but a soaring, punchy horn arrangement and some of the best fuzztone guitar heard on a hit record since the Rolling Stones' "Satisfaction." The Afro-Cuban-flavored "Get up and Get Down" followed it into the R&B Top 20, and the Whatcha See Is Whatcha Get album followed them both. It was the third hit off of the album, "In the Rain," a delicate ballad that was issued separately as a single in early 1972, topping the R&B charts and reaching number five on the pop charts, that solidified the group's reputation and elevated them to the front rank of '70s soul acts. The album showcased the group equally well doing up-tempo dance numbers ("Mary Don't Cha Wanna") and ballads ("Thank You for Your Love," "Fall in Love, Lady Love"), melding very attractive vocals to arrangements that instantly grabbed the listener, all of it pulled together by songwriter/producer Tony Hester. Even the lesser material, such as "Gimme Some (Good Soul Music)" -- on which Hester knew that one minute and 34 seconds was all that was needed to make its point -- were so attractive and rousing that they easily carried their portion of the album, whose short running time was its only flaw. All of the members, from Willie Ford's powerful bass to Ron Banks' airy falsetto, were presented to best advantage, but none more so than William "Wee Gee" Howard's lead vocals; ironically, this would be Howard's only completed album with the group, and their only album for two years to come because of the accompanying personnel problems. Still, it's a match for any soul album of its era. In 2002, ZYX Records of Germany issued a new CD edition of Whatcha See Is Whatcha Get with its original cover art re-created and remastered in 24-bit digital audio, which is so crisp that it has to be heard to be believed. ~ Bruce Eder, All Music Guide
What The Critics Say
Some fine love songs and excellent harmonizing, although the uptempo tunes are a bit weak and the production and material uneven. Few soul groups have ever done great live albums, and The Dramatics proved no different. ~ Ron Wynn, All Music Guide
