Soul man, Paul Laurence, is more known as a producer and keyboardist than for his solo efforts. I always found it surprising that he didn't break out given his impeccable bonafides. The keyboard and bass-driven funk. Propulsive boogie dance music even when mellow. Even the ballads groove.
An interesting Rhythm & Blues column by Nelson George in Billboard 1985 discusses the roots of Paul Laurence's dilemma. Long story short: timing is everything.
1985 was Paul Laurence's triumphant year. Having written Rock Me Tonight For Old Times Sake for Freddie Jackson, he'd essentially assured himself a Grammy and a firm place in the black music pantheon. Entire careers never reach such heights.
By then, he'd paid his dues writing for the likes of Melba Moore and Evelyn Champagne King. The success of Rock me Tonight meant he'd finally get his shot at his solo debut album, Haven't You Heard. Only, then, for the first single, She's Not A Sleaze to stall on radio play.
Why, then, was She's Not a Sleaze not a greater hit?
It features both Freddie Jackson and Lilo Thomas on vocals having fun over an infectious beat. Sonically, it sounds like an SOS Band joint guaranteeed to fill dancefloors. What happened here? Why would Nelson George call Paul Laurence a 'victim of circumstance'?
The pull quote: "'Sleaze'-y lyrics create a problem for Paul Laurence". In a sign of the times, a few musical directors - browbeaten by the scrutiny of the Parents Music Resource Center, misintepreted an innocuous lyric, "They called her Loose Lucy", and pulled the track from airplay.
As Paul Laurence rightly noted at the time:
"Guys like Prince have made a fortune out of suggestiveness, saying things on record I would never say. Yet because of the fallout, I and other artists, are going to take the weight".
And yes, even as The Purple One smiled his way through those years and never looked back, Paul Laurence was, indeed, collateral damage.
He was not wrong.
Darling Nikki, and perhaps
Erotic City, the previous year, famously aroused Tipper Gore causing the furore that lead to those explicit content stickers you still see on cd covers or the Scarlett E letter on your streaming services. Moral panics and such prompted by Prince.
But perhaps the damage wasn't so bad. The royalty checks he started cashing from Rock me Tonight were very real. The
For Old Times Sake guaranteeed nostalgia. You don't always win everything in the creative arts. And as a palate cleanser, he then produced
Putting A Rush On Me for Stephanie Mills.
Furthermore, he also topped that by taking Prince's Do me Baby and produced
Meli'sa Morgan's cover version and album of the same. He wasn't resting on his laurels and, in tipping his hat to Prince, proved that game recognizes game.
1985 was before Nelson George would turn to calling the music that made his fame
Rhythm and Bull. It was a time when he actually paid close attention to that strand of musicianship. Perhaps it was the shenanigans of the record companies that irked him rather than the music...
Also note Nelson George's
scoop in his column: "
Janet Jackson is recording part of her next album in Minneapolis with Jimmy Jam and Terry Lewis"
Paul Laurence's craft is immense; his is a solid body of work. Evelyn Champagne King, Melba Moore, Freddie Jackson, Meli'sa Morgan, Kashif, Howard Johnson, Keith Washington... Legends like George Benson, Smokey Robinson, Stephanie Mills.
And when it was the dawn of the New Jack Swing era, he came hard,
I Ain't Wit It remains one of my favorite swingbeat joints. The album title, however, does say it all however; it would be his second, and last, solo album:
Underexposed.
In later years, he would continue writing for Freddie Jackson and
others, producing much of the same quality.
So Fine by Howard Johnson would be an exemplar. Along with Kashif he would blaze a trail in the vein of soul music with the songcraft, always tailoring things for the artists he produced.
And he's still bringing heat these days (see
No Matter How You Rock It featuring Vincent Matthew). Again, however, that track was lost in our covidious lockdown. Foiled by the pandemic, a victim of circumstance once again.
In a sense, Paul Laurence could be considered in the same mold as Leon Ware, a legend more renowned for his production (and gifts to the like of Marvin Gaye) than for his solo releases even though those are no less excellent.
{And perhaps like Leon Ware, the singers he produced were better vocalists than him. Although I'd counter that I quite like when he deploys his falsetto - and I'm an aficionado of
falsettos)
To conclude, Paul Laurence is not exactly unsung, but he was certainly underexposed. As a soul man who lives and breathes music, he deserves all the plaudits. He's also a minor victim of circumstance, perhaps, in terms of fame, but then timing is everything.
A
soundtrack for this note, a poor man's discography. Sadly I can't see any music videos so you'll just have to soak in the sounds of Paul Laurence. (a less comprehensive
spotify version)
This note is part of a series, One Track Mind. See previously:
Baby Me by Chaka Khan
File under: music, soul, appreciation, review, culture, observation, perception, adoption, One Track Mind, toli
Writing log: June 4, 2025
