In 'loving' memory of Pamela Hutchinson, lead singer of The Emotions, I will break my rule and do a song that was released just on the cusp of the 70s but, crucially was not in it. It was their debut radio hit, So I Can Love You, deservedly the title cut of their first album; it is by far one of the best arranged soul jams I've ever heard. Featuring Isaac Hayes on organ and David Porter as producer it was bared a Memphis edge, while on Stax it could've easily been a Hi-Records record too with it's watery organ, though the Steve Cropper like guitar strikes place it as a Stax Volt production.
It starts with a gliding guitar chord and Isaac Haye's glistening organ striding in, striking a really sharp organ note at exactly 2 seconds in; the key is hit so hard that it almost clips, but at least will jolt you awake for the spiralling tune you're about to hear.. if that note didn't already deafen you.
The organ now screeches in a wishy-washy, slurpy manner like a wolf whistle and continues to interject through out; meanwhile the Hutchinson sisters' coo and pant over the luxurious backing track. The slow verses show off their lovely soft harmonies while the organ continues to creep in while the stroller drum beat, popular with many late 60s soul songs, keeps things ticking over. The highlight of the track is when the beat picks up for the chorus hook where the interplay by the younger and older, tougher sister contrast nicely, Pamela's delicate vice becomes emboldened on the line "Don't walk away from me baby". Her voice sounds small and filled with yearning, while her sisters chime in "Like That!" in a deeper brogue to bolster her demands like any big sister should. Then they bark the order "Don't turn your Back!" with some sass before the final plea from Pamela that the cheating male should "tell her today" that he is choosing her. Pamela's timid voice almost sounds like it's on the brink of tears in this paean to being 'the other woman' , the ease of these sweet melodies with the drums ramping up in anticipation with the crescendo being her final ultimatum; "that I mean what I say, when I say..stay right here, so I can love you"
The dynamic of Pamela's earnest falsetto and her throatier sisters symbolises the shy, inexperienced lead singer who struggles with standing up for herself and being heard with her bolshie sisters; you would see this relationship between backing and lead vocalists frequently in the early 60s groups like the Shangri-las. The breathy singing of 'ah ha yeah' is also very sensual and adds to the smoothness of the song and is a hint of their later success at the end of the decade where their cascading harmonies would be in great demand.
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