The ghostly whisper of “Money, money, money, money…” echoing into a funky, driving bassline – instantly, The O’Jays’ “For the Love of Money” grabs your attention. More than just a catchy hook, this 1974 hit became an anthem of the Philadelphia Sound, a testament to the songwriting genius of Gamble and Huff, and a stark commentary on the seductive yet corrupting power of money. Recorded at the legendary Sigma Sound Studios, this track wasn’t just a song; it was a sonic and lyrical statement that resonated deeply then and continues to today.
Philadelphia’s Musical Renaissance: The Birthplace of a Sound
While cities like New York and Los Angeles often dominate the narrative of American music history, Philadelphia holds a unique and vital chapter. In the mid-20th century, the “City of Brotherly Love” blossomed into a vibrant music hub, initially spurred by Dick Clark’s nationally syndicated show, American Bandstand. Originating from local Philadelphia station WFIL-TV, Bandstand‘s national debut in 1957 ignited a pop music explosion in the city.
This era saw the rise of teen idols like Frankie Avalon and Chubby Checker, all hailing from Philly. Record labels such as Swan Records, Cameo Parkway, and Chancellor Records thrived, and the Schubert Building at 250 South Broad Street became Philadelphia’s answer to New York’s Brill Building, teeming with songwriters, managers, and burgeoning record companies. It was within this fertile ground that Kenny Gamble and Leon Huff, destined to become one of pop music’s most influential songwriting and production duos, began their careers. Joe Tarsia, who honed his skills as chief engineer at Cameo Parkway’s studio, witnessed this golden age firsthand.
However, the musical landscape shifted dramatically with the British Invasion. Dick Clark relocated Bandstand to Los Angeles, and the surge of rock bands signaled a decline in the teen idol phenomenon. Yet, Philadelphia’s musical spirit persevered, channeling its energy into the burgeoning soul music scene. As Tarsia observed, “What remained, though, was a core of music from the streets.” The mid-1960s saw Philadelphia soul artists like The Intruders, with hits like “Cowboys to Girls,” and The Soul Survivors, known for “Expressway to Your Heart,” gaining traction. Producer Thom Bell further enriched the scene with The Delfonics and their hit “La-La Means I Love You.” Gamble and Huff, along with Bell, were initially creating music for other labels – Dusty Springfield, Wilson Pickett, and Jerry Butler all benefited from their Philadelphia magic.
By the late 1960s, as independent labels like Cameo Parkway faded, Joe Tarsia seized the opportunity to establish his own studio. Sigma Sound Studios opened its doors in 1968 and quickly became a magnet for Gamble and Huff, and Thom Bell. Sigma’s initial 8-track setup rapidly evolved, mirroring the ambition and growth of the Philadelphia Sound itself. Fueled by the success of Gamble, Huff, and Bell, Philadelphia reclaimed its position as a major recording center, rivaling Motown, particularly after Motown’s move to Los Angeles in the early 1970s. This era witnessed the rise of the “Philadelphia Sound,” characterized by lush orchestrations, sophisticated arrangements, and socially conscious lyrics, with Gamble and Huff’s Philadelphia International Records leading the charge. A collective of immensely talented musicians became the backbone of this sound, including Ronnie Baker, Earl Young, Norman Harris, Bobby Eli, and many others, contributing to the signature richness and depth of countless hits, including those by The O’Jays.
From Ohio to Philly: The O’Jays Find Their Sound
The O’Jays, while synonymous with the Philadelphia Sound, actually originated in Canton, Ohio, in the late 1950s. Initially a doo-wop group called The Mascots, they rebranded as The O’Jays in 1961, a tribute to Cleveland DJ Eddie O’Jay, who provided crucial early support. They experienced minor R&B chart success in the mid-60s, but by 1967, the group faced uncertainty and considered disbanding. Their fortunes shifted in 1968 when they signed with Gamble and Huff’s Neptune label.
By 1971, The O’Jays had solidified into a trio – Eddie Levert, Walter Williams, and William Powell – just as Neptune Records folded. However, this setback proved to be a springboard. Gamble and Huff, undeterred, launched Philadelphia International Records, distributed by Columbia, and forged an even stronger creative partnership with The O’Jays. The early 1970s marked their breakthrough with chart-topping hits “Back Stabbers” and “Love Train” in 1972. These hits, recorded at Sigma Sound with the signature Philadelphia musicians, paved the way for their next significant release: “For the Love of Money.”
Decoding “For the Love of Money”: A Masterclass in Production and Message
“For the Love of Money,” recorded in the fall of 1973 at Sigma, was another socially charged composition from Gamble and Huff, perfectly tailored for The O’Jays’ raw and powerful vocal delivery. Gamble and Huff’s meticulous production process typically involved multiple sessions spread across days or weeks. The initial sessions at Sigma, overseen by Joe Tarsia, focused on capturing the rhythm tracks with a large ensemble, often ten or eleven musicians strong. Tarsia recalls the scale of these productions: “On a typical Gamble and Huff record, if you count doubling, we would have 54 to 60 people—that’s almost a symphony orchestra.”
These rhythm sessions could yield several tracks in a day, or, if perfection was elusive, a single track might be revisited and recut the next day. Gamble and Huff would then meticulously refine the arrangements, crafting background vocals and vocal parts. The O’Jays would typically arrive for dedicated vocal sessions, lay down their parts, and then depart, leaving room for instrumental sweetening like additional guitar or solo parts. Strings and horns were recorded in separate sessions, culminating in a final mixing day.
By 1973, Sigma Sound had upgraded to a 32-input Electrodyne console and 16-track Scully recorders, moving to 24-track the following year. Despite the console being, in Tarsia’s words, “primitive” with limited EQ and effects sends, the studio compensated with outboard gear, including API and Orban equalizers, EMT reverbs, and a live chamber.
“For the Love of Money” stands out for its innovative use of effects. Anthony Jackson’s unforgettable bassline, so integral that he received a co-writer credit, is subtly but effectively altered with a wah-wah pedal and phasing. The haunting background vocal refrain, “Money, money, money,” is created using reverse echo, lending a sinister air that reinforces the song’s thematic core: money as a corrupting influence.
Tarsia credits Todd Rundgren, another Philadelphia music luminary, with inspiring his experimentation with effects. Rundgren’s early work with The Nazz exposed Tarsia to unconventional techniques, such as using a Leslie cabinet as a sound processor and creating stereo effects through double-miking. This “sponge-like” absorption of new techniques led Tarsia to experiment with a recently acquired Eventide phaser during the “For the Love of Money” sessions. Hearing Anthony Jackson’s wah-wah infused bassline during a run-through, Tarsia cautiously applied phasing to both the bass and drum tracks. He recorded two versions, one with and one without the effect, unsure of Gamble’s reaction. To his delight, Gamble embraced the phased version. Another key effect was the use of Kepex noise gates on the vibes, initially disliked by Gamble but salvaged by Tarsia’s creative gating triggered by the snare drum, adding a percussive texture.
The iconic reverse echo on the background vocals was a post-session innovation. After The O’Jays had completed their vocal parts, Tarsia ran the tape backward and recorded echo onto separate tracks, creating the eerie effect of the echo preceding the vocal. This and other effects, initially applied tentatively, became integral to the final mix. The opening of the track, with Gamble manually manipulating the echo pot on the bass, a move Tarsia initially disliked but now appreciates, exemplifies the spontaneous creativity that defined the song’s sonic landscape.
The album version of “For the Love of Money” extends to over seven minutes, featuring a richer horn arrangement and interplay between the lead trumpet and rhythm section, crafted in a sweetening session with Gamble, Rocco Benie, and Michael Pedicine Jr. While the single version is more concise, it retains the song’s raw power and message.
“For the Love of Money”‘s Enduring Legacy
“For the Love of Money” became a massive hit, reaching the Top 10 in the spring of 1974, peaking at Number 9 on the pop charts and Number 3 on the R&B charts. It propelled The O’Jays’ Ship Ahoy album to Gold status and solidified their position as soul music icons. The O’Jays continued to deliver Gamble and Huff-produced hits throughout the 1970s, including “Give the People What They Want” and “I Love Music,” despite the tragic loss of William Powell in 1977. Sammy Strain joined the group, and they achieved further success, even with their 1978 album So Full of Love.
Though their partnership with Gamble and Huff eventually concluded, The O’Jays, led by the inimitable Eddie Levert, remain active, touring and recording, inviting generations to experience the enduring power of their music. “For the Love of Money,” however, stands as a timeless testament to their artistry, the Philadelphia Sound, and the complex, often cautionary, relationship between humanity and money itself. It’s a classic track that continues to resonate, its message as relevant today as it was in 1974.
