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"Spread Love"

EVELYN THOMAS “SPREAD LOVE”?

Evelyn Thomas is back with a vengeance! Few realize that the much
covered composition Spread Love was written by Ms. Thomas. Now she has
reclaimed her song and shown haw it was meant to be done. Tony Simpson
classic productions are complemented by the Deepness man himself Mark
Walker, producer and writer of her earlier hits on the E-SA label, One
World, Move your Body, and Tell The World. The High Energy Diva is
back! Contact info@deepnessmusic.com for booking info
- Tony Simpson


"The Diva is back!"

EVELYN THOMAS ”MY FUNNY VALENTINE”?

The Diva is back!

Spreading love to the world aided by remixes from Tony Simpson, E-SA's
Mark Walker and Stony Hill from Deepness Music. Serious House Music
with chill flava sprinkled in!
- Tony Simpson


"Have a little Faith in Me"

The original "High Energy" sound of Evelyn Thomas!

Long before 1984's worldwide smash, "High Energy", Evelyn Thomas and producer Ian Levine were creating musical magic. This, her first full length outing, was a major success in clubs (both gay & straight) across the states and a minor hit worldwide. Prominently featuring the (actual) high energy beat prevalent in 1978/1979 and the "sound" marketed by the musical marriage of Ian Levine and Fiachra Trench. The essential key to Evelyn's success is her incredible vocal range and usual voice, in which the listener never knows, whether it's a black or white female singing. The across the board hit was "I Wanna Make It On My Own". Although the other up-tempo tracks, "It's The Magic Of Your Touch", "Look No Further", and "Back to Reality" were club played as well. The other gem to this release, "Thanks For Being There", showcases Ms. Thomas' prowess at balladry and proves that she isn't/wasn't a "strictly disco" artist. One of my all time favorite albums, I was thrilled to see it released on compact disc. Added this to my ever expanding collection of "classic" disco releases that I have converted to owning on compact disc. If you enjoy other Levine-Trench classics, such as Seventh Ave., Barbara Pennington and James Wells then Evelyn Thomas is for you!
- Amazon.com


"High Energy"

Surely this has Evelyn's greatest hit ever, "High Energy", and the follow-up single "Masquerade" is really good too, but the album always felt a bit lackluster to me, especially when compared to such masterpieces as the efforts by her peers Miquel Brown and Barbara Pennington. - Tiger Soren


"Have a little Faith in Me"

Have A Little Faith In Me Review

07/13/2005 6:12 AM, AMG


With a robust set of pipes, dance diva Evelyn Thomas offered a wealth of bona fide disco and hi-NRG jammers from the mid-'70s through the mid-'90s. On this second full-length effort originally released on Avi in 1979, she is in her prime. The kinetic title cut is an all-out party via its vibrant vocal melodies and arrangements, perky strings, fluid, Latin-tinged percussion, and insinuating chord changes. Thomas's delayed attacks and anticipation are colorful here, too, as they are on the unique and beautiful "Love's Not Just an Illusion" and "My Head's in the Stars." Originally a four-cut album (all of the songs being in the six-and-a-half to eight-and-a-half-minute range), Hot Productions added five non-album tracks to its 1996 CD release of Have a Little Faith in Me. The singer's first two singles, "Weak Spot" and "Doomsday" (from 1975 and 1976, respectively), are included, as well as "Summer on the Beach," "Love in the First Degree," and the mostly instrumental "Sleaze." With the exception of the monotonous moaning and percussion of "Sleaze," it's an invigorating listen throughout. ~ Justin M. Kantor, All Music Guide
- AMG Review


"I Wanna Make It on My Own"

Album Details: I Wanna Make It on My Own
Release Date:
01/01/1979
Label:
Hot Productions
UPC:
053993668320

Pro Reviews
EXPERT RATING: From AMG ReviewsMerely five tracks long, Chicago crooner Evelyn Thomas' debut "album" is a thoroughly pleasant if not entirely remarkable effort. By this point, the singer had scored several Top 40 U.K. hits in the Northern soul vein; for I Wanna Make It on My Own, that focus was maintained -- but disco elements were added for commercial measure. But it's the simultaneously effervescent and mellow horn and string arrangements that set the songs apart from other typical dancefloor fodder. It's easy to relax or groove to "It's the Magic of Your Touch," especially with the distinctive stamp of Thomas' eager, down to earth vocal approach and the background singers' equally spirited musings. Meanwhile, "Back to Reality" is sublimely funky, and the title cut sets themes of freedom and imprisonment in love to a chirpy, pre-Hi-NRG background. Melodically, though, the songs aren't nearly as consistent and engaging as those found on the follow-up set, Have a Little Faith in Me. Tracks on the latter, such as "Love's Not Just an Illusion" and "My Head's in the Stars," have an energy that I Wanna Make It on My Own lacks. Here, the sound is less discernible from a handful of other projects crafted by producer Ian Levine around the same time -- for artists such as Barbara Pennington, L.J. Johnson, and Doris Jones. - Justin M. Kantor, All Music Guide
- All Music Guide


Discography

Evelyn Thomas / artists (E)
Profile: Born in 1953, Chicago. Evelyn grew up on Chicago's south side, an area rich in musical history.
URLs: http://www.discomuseum.com/EvelynThomas.html
Name Variations: All | Evelyn Thomas | E. Thomas

Releases:
Dolce Vita (Remix) / Hi Energy (CD, Maxi) Golden-Dance-Classics
High Energy (CD) Sakkaris Records
High Energy (12") Clever
Tell The World (2x12") E-SA Records
I Wanna Make It On My Own (12") Casablanca Records 1978
Have A Little Faith In Me (LP) AVI Records 1979
Heartless (12") Record Shack Records 1984
Heartless (12", Promo) Vanguard 1984
Heartless (7") Record Shack Records 1984
Heartless (12") Nunk Records 1984
Heartless (Vinyl) Vanguard 1984
Heartless (12") Ariola 1984
High Energy (12") Nunk Records 1984
High Energy (12") TSR Records 1984
High Energy (12") Ariola, Ariola 1984
High Energy (12") Record Shack Records 1984
High Energy (7") Nunk Records 1984
High Energy (7") Ariola 1984
High Energy (7") Record Shack Records 1984
High Energy (LP) In The Mix 1984
High Energy (12") Nunk Records 1984
High Energy (12") Ariola Eurodisc S.A. 1984
High Energy (LP) Record Shack Records 1984
High Energy (12") In The Mix 1984
High Energy (7") In The Mix 1984
High Energy (7") Record Shack Records 1984
Masquerade (12") Ariola 1984
Masquerade (12") Record Shack Records 1984
Masquerade (12") Nunk Records 1984
Masquerade (12") In The Mix 1984
Masquerade (7") In The Mix 1984
Cold Shoulder (12") Record Shack Records 1985
Reflections (12") Record Shack Records 1985
Reflections (12", Maxi, Promo) Zafiro 1985
Sorry, Wrong Number (12") Record Shack Records 1985
Sorry, Wrong Number / Second Best (7") Record Shack Records 1985
Cold Shoulder (12") Record Shack Records 1986
Cold Shoulder (12") Sakkaris Records 1986
Standing At The Crossroads (LP) Record Shack Records 1986
Tightrope (12") Nightmare Records 1986
High Energy (12") Unidisc 1987
High Voltage (12") Paris International Records 1987
No Win Situation (12") Nightmare Records 1987
Standing At The Crossroads (1987 Remix) (12") Nightmare Records 1987
The Golden Dance-Floor Hits Vol. 13 (12") ZYX Records 1987
Tightrope (12") Break Records 1987
Only Once In A Lifetime (12") Rams Horn Records 1988
High Energy (12") Rams Horn Records 1989
High Energy (Acid House Remix) (7") Rams Horn Records 1989
High Energy (Acid House Remix) (CD, Maxi) Rams Horn Records 1989
So Many Men - So Little Time / High Energy (12") Hot Associated Label 1989
This Is Madness (12") Megatone Records 1989
High Energy - '90 Remix (12") Passion Records 1990
High Energy / Masquerade (12") Old Gold (2) 1990
High Energy / On A Crowded Street / He's A Saint, He's A Sinner (CD) Old Gold (2) 1991
High Energy (CD) Unidisc 1992
Reflections (90's Remix) (12") Almighty Records 1992
High Energy (CD, Maxi) Almighty Records 1993
One World (CD, Maxi) X-Clusive Records 1994
One World (Part 1) (12") X-Clusive Records 1994
One World (Part 2) (12") X-Clusive Records 1994
High Energy '96 (Vinyl, Maxi) Max Music (Spain) 1996
High Energy (12") ARS Club 2001
High Energy / Without Your Love (CD, Maxi) Almighty Records 2003
High Energy / Masquerade (12") Simply Vinyl (S12) 2004
High Energy 2004 (CD, Maxi) Dance Street Records 2004
High Energy 2004 (12") Dance Street Records 2004
High Energy 2004 (12") Dance Street Records 2004
Appears On:
Move Your Body (12") E-SA Records 1991
100% Pure Underground Dance Vol. 1 & 2 (2xLP) One World X-Clusive Records 1994
One World (2x12") X-Clusive Records 1994
One World (2x12") E-SA Records 1994
Splice Of Life - Remixes Volume One (CD) One World (Hott Remix) Hott Records 1994
Max Mix USA 2 (CD) Tell The World Max Music & Entertainment Inc. 1996
Mega Dance Classix (CD) One World (Junior's So... Runaway Records 1996
Deeper Rhythms - The House Sessions Vol 1 (CD) One World (Victor Simo... Max Music & Entertainment Inc. 2000
Tiger Stripes / Move (12") Move (The Twelve West ... Tiger Stripes 2000
Atmoz 001 (CD) High Energy (NBG Club ... ARS Productions 2001
Deepness Miami (CD) Tell The World Max Music & Entertainment Inc. 2002
High Energy (CD, Maxi) Blanco Y Negro (2) 2002
High Energy (12") suSU 2003
Real Club 1 (The After Summer Edition) (2xCD) High Energy (Axwell Vo... Digidance 2003
Club suSU - Get Lifted! (2xLP) High Energy suSU 2005
Mastercuts Life Styles - Disco House (3xCD) High Energy (Axwell Du... Apace Music 2007
Tracks Appear On:
80 Hits Of The 80's - Volume Four (CD) Masquerade Tring International PLC
Best Disco Dance Hits (2xLP) High Energy Record Shack Records
Dance Sounds Of The Seventies (CD) Weak Spot, Doomsday Tring International PLC
Disco Classics - Get Up And Boogie (CD) High En

Photos

Bio

Evelyn Thomas

Born in Chicago (god I love this city!) in 1953. Evelyn grew up on Chicago's south side, an area rich in musical history. Evelyn, like most great black female singers, began singing in her local church. As a teenager she enjoyed music and was particularly inspired by the rising Motown sound and it's stable of divas and girl groups.
After finishing school and securing a bland office job, Evelyn started acting lessons and had her eye on a career in performing. Her first chance at recording came in 1973 when her church choir recorded "Something Special" with Reverend Anne Crockett Ford. A second album "Share The Bread Of Presence" by the Centre For Contemporary Celebration was released in 1974.
By 1974, having her voice in place and the desire to make it, Evelyn left for New York. Answering an audition notice for talented singers for an upcoming Broadway show, Evelyn, with her incredible voice easily landed a part in the chorus. After a brief run on Broadway and an appearance on the 1975 original cast album of "The Wiz" she returned home to Chicago.
Having acquired a manager while in New York Evelyn was poised for secular success. While back home Evelyn was notified by her manager that a young Englishman was in town searching for "soul" singers.
In 1975 Ian Levine was a disc jockey from England. He was one of the founders of England's "northern soul" explosion and his success at Blackpool Mecca is legendary. Ian, whose parents were quite wealthy, would often make record-buying junkets to the U.S. and his love of Motown, R&B, and soul would eventually spur him into record producing. Levine had come to America to discover talent for his newly formed Voltafine Production Company. His goal was to record American soul singers and lease the masters to major U.S./U.K.record companies. Thomas sang in a plain, unemotional voice that masked her ethnicity; Thomas is a black singer who sounds white, by design or by chance. Impressed by her voice and willingness, Levine cut some tracks and secured a deal for her with 20th Century Records. During this period, Levine was a constant victim of rip-offs and threats, but persevered to realize his dream, often having to call up friends and relatives for loans via Western Union for payoffs and to complete sessions.
Levine and Danny Leake produced Thomas' first 45 single, "Weak Spot," which was arranged by Paul Wilson. It soon entered the U.K.'s Top 50 and became a minor hit. The success of Thomas' record and others ("Running In Another Direction"-Barbara Pennington "My Destination Is Love"-L.J. Johnson) prompted Voltafine to fly their American artists to England to appear on Top Of The Pops, in hopes of breaking the recordings on Britain's pop charts. Thomas came over with her fellow Chicagoans and Voltafine artists Barbara Pennington and L.J. Johnson. The appearances went well but the records never crossed to the pop charts, nor did they chart in the States. Still, "Weak Spot" sold 70,000 copies, pretty good for a debut.
After returning to Chicago, the threesome was soon flown back to England to tour the Northern soul clubs; this event was promoted by Terry King and was called the Chicago Soul Review. 20th Century records welcomed Thomas with open arms and did all they could to help her while she was in England. Thomas went over well at the clubs, being blessed with a perpetual smile and a bluesy voice that Levine and Leake could transform to pop/disco in a New York minute. Financially, the tour was a failure, drawing well in the northern areas but failing miserably in London proper. "Doomsday," Thomas' follow-up, didn't do as well as her debut, entering the chart and dropping out, only to re-enter again for a pit stop before disappearing completely; it sold less than half of what "Weak Spot" did.
Back in the studios, Levine cut the Gloria Gaynor-influenced "Love Is Not Just An Illusion" and "My Head's In The Stars" for Thomas, both would not be released for three years. Then came problems with an ex-manager who informed Levine that he was Thomas' manager under contract, and demanded that Thomas' royalties and contracts go through him. Levine insisted he had a valid contract, that is, until he was taken on a scary car ride in a Mercedes with Thomas' ex-manager, who now wanted $2,000 for compensation. After some scurrying around and many phone calls, the ex-manager was satisfied and Thomas was again Levine's artist.
By now it was 1977 and Thomas had still not had a hit Stateside. Ian had persuaded Evelyn to move to England, Danny Leake had moved on and Levine had found a new partner, Fiachra Trench, who would share in his greatest successes. Trench-Levine-Thomas began recording tracks for a proposed upcoming album, or at least a single release. Seven tracks were produced by Levine and co-written and arranged by Trench. Two wouldn't see the light of day till over a decade later and the other five were licen