Biography
During the 1960s through the mid-1980s, Earl Young supplied percussion for a vast array of soul recordings that originated in Philadelphia. Serving as one member of the renowned Baker-Harris-Young rhythm section alongside bassist Ron Baker and guitarist Norman Harris, he contributed to chart successes by the Intruders, the O'Jays, Barbara Mason, Teddy Pendergrass, Harold Melvin and the Blue Notes, the Three Degrees, the Village People, and additional performers. The three musicians formed a core element of MFSB, the studio collective that served as the primary ensemble for Kenneth Gamble and Leon Huff’s Philadelphia International Records imprint. Young also appeared on many sides released by other Philadelphia-region companies and helped establish Baker-Harris-Young Productions, which scored successes with First Choice, Loleatta Holloway, Love Committee, and further acts on the Cayre Brothers’ New York-based Salsoul Records.
Although Young initially hoped to pursue singing, he studied drum manuals and developed his technique independently. As an adolescent he performed in the Elks marching band, yet financial considerations led him to focus on drumming because it offered stronger compensation. His first professional studio work occurred in the early 1960s with the Volcanos; the ensemble’s 1965 R&B single “Storm Warning” reached number 33 on the chart. They functioned as the house band at Philadelphia’s Uptown Theater, a venue comparable to New York’s Apollo Theater that hosted leading R&B and pop attractions throughout the decade. While appearing there Young supported artists including Jackie Wilson. In his early twenties he received an invitation from Stevie Wonder to join a Japanese tour; Wonder, who had studied under Motown drummer Benny Benjamin, shared useful drumming insights. Back in Philadelphia, Young joined guitarist Norman Harris and bassist Ron Baker for local club engagements. Harris secured the earliest session work among the three and subsequently brought in Young and Baker.
The trio’s performances can be heard on Barbara Mason’s “Yes I’m Ready,” which held the number-two R&B position for two weeks and reached number five on the pop chart during summer 1965, as well as the Delfonics’ “La La Means I Love You,” which occupied the number-two R&B slot for four weeks and peaked at number four pop around March 1968, and the million-selling “Didn’t I Blow Your Mind,” which attained number three R&B and number ten pop in January 1970. Beyond their tight interplay and instrumental skill, the group’s availability proved advantageous: when producers contacted Young he could secure Baker and Harris as well, providing a complete rhythm section in a single call and thereby reducing time and expense. In the late 1960s Kenneth Gamble recruited Harris for Intruders sessions on the Gamble label; Harris included Baker, though Young was unavailable because Karl Chambers, a former Romeos bandmate of Gamble’s from the track “Precious Memories,” already occupied the drum chair. Young appears on the gold-certified “Cowboys to Girls,” which topped the R&B chart and reached number six pop in spring 1968, “When We Get Married,” number eight R&B in summer 1970, and later Intruders hits such as “I’ll Always Love My Mama (Part 1),” number six R&B in spring 1973, and “I Wanna Know Your Name,” number nine R&B in fall 1973, in addition to the Three Degrees’ platinum single “When Will I See You Again,” number four R&B and number two pop in fall 1974. Sony Legacy, the U.K. label VCI, and PIR itself have reissued most of the Philadelphia International catalog.
The trio maintained a remarkable streak, contributing to million-selling recordings across the PIR roster and elsewhere, including Joe Simon’s gold-certified “Drowning in the Sea of Love,” number three R&B and number 11 pop in December 1971. Wilson Pickett in Philadelphia, a 1970 Atlantic album, exemplifies the period; it yielded “Engine Number 9,” number three R&B and number 14 pop in fall 1970, and the gold single “Don’t Let the Green Grass Fool You,” number two R&B for two weeks and number 17 pop in February 1971. Rhino reissued the set on CD in 1995. Their momentum led to engagements with visiting acts such as the Jacksons on their self-titled 1976 gold album, the Spinners’ “I’ll Be Around,” number one R&B for five weeks and number three pop in fall 1972, “Could It Be I’m Falling in Love,” number one R&B and number four pop in late 1972, and “One of a Kind (Love Affair),” number one R&B for four weeks and number 11 pop in spring 1973, B.B. King’s “To Know You Is to Love You,” co-written by Stevie Wonder and number 12 R&B in July 1973, plus “I Like to Live the Love,” number six R&B in December 1973, the Whispers’ “A Mother for My Children,” number 32 R&B in January 1974, and “Bingo,” number 40 R&B in summer 1974, Blue Magic’s “Sideshow,” number one R&B and number eight pop in spring 1974, and “Three Ring Circus,” number five R&B, and the Temptations’ “Think for Yourself.” As demands intensified and work with arranger Thom Bell increased, Baker and Harris instructed Young in music reading, a skill that became essential. Bell arranged “People Make the World Go Round” for the Stylistics—number six R&B and number 25 pop in summer 1972—on which Young navigated three shifting time signatures.
After extensive studio commitments, Baker-Harris-Young entered production and publishing by launching Golden Fleece Records and its affiliated publishing arm. At Sigma Sound Studios they secured donated time from owner Joe Tarsia and general manager Harry Tipitt. Young sang lead in a bass register on “Zing Went the Strings of My Heart,” a 1943 Judy Garland hit; Buddah executive Neil Bogart, later founder of Casablanca Records, acquired the master, and the single reached number 17 R&B in summer 1972. Three Trammps tracks appeared on Golden Fleece: “Love Epidemic,” number 75 R&B in late 1973, “Where Do We Go From Here,” number 44 R&B in spring 1974, and “Trusting Heart,” number 72 R&B in late 1974. Limited distribution prompted a move to PIR for two albums. Another Buddah success, “Hold Back the Night,” reached number ten R&B in late 1975. The track surfaced after the group had already signed with Atlantic, whose first charting Trammps single was “Hooked for Life,” number 70 R&B in fall 1975. When not touring with the Trammps, Young continued session work for PIR and other labels and recorded with drummer-singer Grady Tate. On Atlantic the Trammps generated R&B and disco hits including “That’s Where the Happy People Go,” number 12 R&B in spring 1976, and “Disco Inferno,” number nine R&B and number 11 pop in March 1977. The group achieved major crossover recognition when “Disco Inferno” appeared on the blockbuster Saturday Night Fever soundtrack starring John Travolta; the selection stemmed from the Trammps’ popularity at Brooklyn’s 2001 Odyssey disco, a venue used in the film. The movie’s success created widespread demand for the band wherever screenings occurred.
In the late 1970s Baker-Harris-Young Productions began writing, producing, and performing on disco and R&B releases for Salsoul artists Loleatta Holloway on “Hit and Run,” Double Exposure on “Ten Percent” and “My Love Is Free,” First Choice on “Armed and Extremely Dangerous,” and Love Committee on “Heaven Only Knows,” “Cheaters Never Win,” and “Law and Order.” The trio reunited with Eddie Holman, whom they had supported on “Hey There Lonely Girl,” number four R&B and number two pop in late 1969, for the 1977 album This Will Be a Night to Remember. Although primarily studio musicians, Baker-Harris-Young toured with MFSB and Vince Montana’s Salsoul Orchestra and also recorded with the latter ensemble. Their self-titled Salsoul album appeared in fall 1979 and later attained dance-classic status. Most Baker-Harris-Young tracks are included on Salsoul compilations and reissues through their own imprint as well as Capitol/Right Stuff and the U.K. label Charly Records. After Salsoul shifted focus to home video, the trio sustained session activity while Young continued touring with the Trammps. During the 1980s their collective profile diminished. Norman Harris died in 1987; Levert’s “My Forever Love,” number two R&B in fall 1987 from the Atlantic album The Big Throwdown, stands among the guitarist-songwriter-arranger-producer’s final completed recordings. Bassist Ron Baker died in 1991. Young subsequently reduced his schedule to sessions he deemed especially worthwhile. Rhino issued That’s Where the Happy People Go: The Best of the Trammps in 1994, and Collectibles reissued The Legendary Zing Album, Featuring The Fabulous Trammps as Golden Classics in 1992.
Young remains active, touring internationally with the Trammps, whose “Disco Inferno” continues to receive exposure on film and television soundtracks and in advertising campaigns. The current lineup includes “Hooked for Life” co-writer Bunny Sigler. The group has appeared on Oprah, The Ricki Lake Show, VH1’s Where Are They Now, and the Mike Douglas Show. Young also supported Jocelyn Brown on her version of the Ashford & Simpson composition “Ain’t No Mountain High Enough,” originally a 1967 hit for Marvin Gaye and Tammi Terrell; Brown had sung lead on Inner Life’s 1981 Salsoul remake. He is further involved with Salsoul on a Baker-Harris-Young tribute compilation. A plaque honoring the trio stands in front of Philadelphia’s Academy of Music.
Although Young initially hoped to pursue singing, he studied drum manuals and developed his technique independently. As an adolescent he performed in the Elks marching band, yet financial considerations led him to focus on drumming because it offered stronger compensation. His first professional studio work occurred in the early 1960s with the Volcanos; the ensemble’s 1965 R&B single “Storm Warning” reached number 33 on the chart. They functioned as the house band at Philadelphia’s Uptown Theater, a venue comparable to New York’s Apollo Theater that hosted leading R&B and pop attractions throughout the decade. While appearing there Young supported artists including Jackie Wilson. In his early twenties he received an invitation from Stevie Wonder to join a Japanese tour; Wonder, who had studied under Motown drummer Benny Benjamin, shared useful drumming insights. Back in Philadelphia, Young joined guitarist Norman Harris and bassist Ron Baker for local club engagements. Harris secured the earliest session work among the three and subsequently brought in Young and Baker.
The trio’s performances can be heard on Barbara Mason’s “Yes I’m Ready,” which held the number-two R&B position for two weeks and reached number five on the pop chart during summer 1965, as well as the Delfonics’ “La La Means I Love You,” which occupied the number-two R&B slot for four weeks and peaked at number four pop around March 1968, and the million-selling “Didn’t I Blow Your Mind,” which attained number three R&B and number ten pop in January 1970. Beyond their tight interplay and instrumental skill, the group’s availability proved advantageous: when producers contacted Young he could secure Baker and Harris as well, providing a complete rhythm section in a single call and thereby reducing time and expense. In the late 1960s Kenneth Gamble recruited Harris for Intruders sessions on the Gamble label; Harris included Baker, though Young was unavailable because Karl Chambers, a former Romeos bandmate of Gamble’s from the track “Precious Memories,” already occupied the drum chair. Young appears on the gold-certified “Cowboys to Girls,” which topped the R&B chart and reached number six pop in spring 1968, “When We Get Married,” number eight R&B in summer 1970, and later Intruders hits such as “I’ll Always Love My Mama (Part 1),” number six R&B in spring 1973, and “I Wanna Know Your Name,” number nine R&B in fall 1973, in addition to the Three Degrees’ platinum single “When Will I See You Again,” number four R&B and number two pop in fall 1974. Sony Legacy, the U.K. label VCI, and PIR itself have reissued most of the Philadelphia International catalog.
The trio maintained a remarkable streak, contributing to million-selling recordings across the PIR roster and elsewhere, including Joe Simon’s gold-certified “Drowning in the Sea of Love,” number three R&B and number 11 pop in December 1971. Wilson Pickett in Philadelphia, a 1970 Atlantic album, exemplifies the period; it yielded “Engine Number 9,” number three R&B and number 14 pop in fall 1970, and the gold single “Don’t Let the Green Grass Fool You,” number two R&B for two weeks and number 17 pop in February 1971. Rhino reissued the set on CD in 1995. Their momentum led to engagements with visiting acts such as the Jacksons on their self-titled 1976 gold album, the Spinners’ “I’ll Be Around,” number one R&B for five weeks and number three pop in fall 1972, “Could It Be I’m Falling in Love,” number one R&B and number four pop in late 1972, and “One of a Kind (Love Affair),” number one R&B for four weeks and number 11 pop in spring 1973, B.B. King’s “To Know You Is to Love You,” co-written by Stevie Wonder and number 12 R&B in July 1973, plus “I Like to Live the Love,” number six R&B in December 1973, the Whispers’ “A Mother for My Children,” number 32 R&B in January 1974, and “Bingo,” number 40 R&B in summer 1974, Blue Magic’s “Sideshow,” number one R&B and number eight pop in spring 1974, and “Three Ring Circus,” number five R&B, and the Temptations’ “Think for Yourself.” As demands intensified and work with arranger Thom Bell increased, Baker and Harris instructed Young in music reading, a skill that became essential. Bell arranged “People Make the World Go Round” for the Stylistics—number six R&B and number 25 pop in summer 1972—on which Young navigated three shifting time signatures.
After extensive studio commitments, Baker-Harris-Young entered production and publishing by launching Golden Fleece Records and its affiliated publishing arm. At Sigma Sound Studios they secured donated time from owner Joe Tarsia and general manager Harry Tipitt. Young sang lead in a bass register on “Zing Went the Strings of My Heart,” a 1943 Judy Garland hit; Buddah executive Neil Bogart, later founder of Casablanca Records, acquired the master, and the single reached number 17 R&B in summer 1972. Three Trammps tracks appeared on Golden Fleece: “Love Epidemic,” number 75 R&B in late 1973, “Where Do We Go From Here,” number 44 R&B in spring 1974, and “Trusting Heart,” number 72 R&B in late 1974. Limited distribution prompted a move to PIR for two albums. Another Buddah success, “Hold Back the Night,” reached number ten R&B in late 1975. The track surfaced after the group had already signed with Atlantic, whose first charting Trammps single was “Hooked for Life,” number 70 R&B in fall 1975. When not touring with the Trammps, Young continued session work for PIR and other labels and recorded with drummer-singer Grady Tate. On Atlantic the Trammps generated R&B and disco hits including “That’s Where the Happy People Go,” number 12 R&B in spring 1976, and “Disco Inferno,” number nine R&B and number 11 pop in March 1977. The group achieved major crossover recognition when “Disco Inferno” appeared on the blockbuster Saturday Night Fever soundtrack starring John Travolta; the selection stemmed from the Trammps’ popularity at Brooklyn’s 2001 Odyssey disco, a venue used in the film. The movie’s success created widespread demand for the band wherever screenings occurred.
In the late 1970s Baker-Harris-Young Productions began writing, producing, and performing on disco and R&B releases for Salsoul artists Loleatta Holloway on “Hit and Run,” Double Exposure on “Ten Percent” and “My Love Is Free,” First Choice on “Armed and Extremely Dangerous,” and Love Committee on “Heaven Only Knows,” “Cheaters Never Win,” and “Law and Order.” The trio reunited with Eddie Holman, whom they had supported on “Hey There Lonely Girl,” number four R&B and number two pop in late 1969, for the 1977 album This Will Be a Night to Remember. Although primarily studio musicians, Baker-Harris-Young toured with MFSB and Vince Montana’s Salsoul Orchestra and also recorded with the latter ensemble. Their self-titled Salsoul album appeared in fall 1979 and later attained dance-classic status. Most Baker-Harris-Young tracks are included on Salsoul compilations and reissues through their own imprint as well as Capitol/Right Stuff and the U.K. label Charly Records. After Salsoul shifted focus to home video, the trio sustained session activity while Young continued touring with the Trammps. During the 1980s their collective profile diminished. Norman Harris died in 1987; Levert’s “My Forever Love,” number two R&B in fall 1987 from the Atlantic album The Big Throwdown, stands among the guitarist-songwriter-arranger-producer’s final completed recordings. Bassist Ron Baker died in 1991. Young subsequently reduced his schedule to sessions he deemed especially worthwhile. Rhino issued That’s Where the Happy People Go: The Best of the Trammps in 1994, and Collectibles reissued The Legendary Zing Album, Featuring The Fabulous Trammps as Golden Classics in 1992.
Young remains active, touring internationally with the Trammps, whose “Disco Inferno” continues to receive exposure on film and television soundtracks and in advertising campaigns. The current lineup includes “Hooked for Life” co-writer Bunny Sigler. The group has appeared on Oprah, The Ricki Lake Show, VH1’s Where Are They Now, and the Mike Douglas Show. Young also supported Jocelyn Brown on her version of the Ashford & Simpson composition “Ain’t No Mountain High Enough,” originally a 1967 hit for Marvin Gaye and Tammi Terrell; Brown had sung lead on Inner Life’s 1981 Salsoul remake. He is further involved with Salsoul on a Baker-Harris-Young tribute compilation. A plaque honoring the trio stands in front of Philadelphia’s Academy of Music.
Albums
Singles
