Alex Henderson

Process & the Doo Rags              

Too Sharp

The late 1970s and early to mid-1980s were an incredibly busy time for Rick James—not only because of the late funk/soul star’s own albums and international tours, but also, because of the albums he produced for other artists. James’ most famous outside projects were the albums he produced for Teena Marie and the Mary Jane Girls: in 1979, James (b. February 1, 1948, d. August 6, 2004) produced Marie’s debut album, Wild and Peaceful, and did most of the songwriting (although by her third album, 1980’s Irons in the Fire, the Ivory Queen of Soul was doing most of her own producing and songwriting). And James enjoyed considerable success with the Mary Jane Girls, producing the female vocal quartet’s two albums for Motown Records (1983’s The Mary Jane Girls and 1985’s Only Four You) and helping them score major hit singles with “All Night Long,” “In My House” and “Wild and Crazy Love” (all of which he wrote). 

On top of that, James produced three albums for his Stone Girl Band: 1980’s In ‘n’ Out, 1981’s The Boys Are Back (which contained a cover of the Kinks’ “All Day and All of the Night”) and 1983’s Meet the Stone City Band: Out from the Shadow (whose front cover mimicked the Beatles’ Meet the Beatles cover). And James produced former Brides of Funkenstein member Val Young’s 1985 solo hit “Seduction.”

James, more often than not, had the Midas touch during his commercial heyday. But one James-associated act that fell through the cracks commercially was the Buffalo, NY-based vocal quintet Process & the Doo Rags, whose debut album, Too Sharp, was released by Columbia Records in 1985. The intriguing concept of the group was to combine 1980s funk with classic soul and doo-wop. James “Process” Hawkins, a former background singer for Rick James, was the quintet’s leader—and his stage name was a humorous reference to the way some African-American doo-wop singers had processed hair in the 1950s. Hawkins and the group’s four other members (Michael Gibson, Stacy Lattimore—not be confused with female singer Stacy Lattisaw of “Dynamite” and “Let Me Be Your Angel” fame—Henry Graham and Dennis “Shorty” Andrews) made a point of looking like a 1950s doo-wop group. 

Some reviewers compared Process & the Doo Rags to the Force MDs, another vocal group that had one foot in the 1980s and the other in the 1950s and 1960s. But the Force MDs had a much stronger hip-hop influence (they were into Run-D.M.C. and the Platters), while Process & the Doo Rags had only a slight hip-hop influence and were much closer to the punk funk of their mentor Rick James. And James’ influence is impossible to miss on this reissue; it comes through loud and clear on funk smokers that include the single “Stomp and Shout” (a minor hit that made it to #73 on Billboard’s R&B singles chart) and “Serious Freak” as well as “Come Into My Life,” “Dance the Way You Want (Party Freaks)” and the title track (which sounds like a cross between the Miracles’ and James’ punk funk). But James’ inspiration asserts itself on the romantic ballads as well.

 James’ roots ran deep. Although he is best remembered for rowdy, in-your-face, rock-influenced funk gems like “Super Freak,” “Love Gun,” “Ghetto Life” and “Give It to Me, Baby,” James was also a superb ballad singer and wrote some great romantic soul ballads (including “Fire and Desire,” “Ebony Eyes,” “Dream Maker” and “Happy”). James obviously shared Process’ love of romantic soul and romantic doo-wop, and Too Sharp reflects that. This album underscores not only their passion for funk, but also, for classic doo-wop vocal groups like the Five Satins, the Penguins, the Moonglows and the Platters and classic northern soul vocal groups such as the Delfonics, Smokey Robinson & the Miracles, the Temptations and the Impressions.

 “Searching for Love” and “Ooh Wee” are romantic medium-tempo grooves that combine mid-1980s urban contemporary with a strong passion for 1970s northern soul. The doo-wop influence is impossible to miss on a cover of Shep & the Limelights’ 1961 hit “Daddy's Home,” and Process & the Doo Rags’ celebrate the legacy of Motown Records and Detroit soul with an inspired performance of “The Bells” (which was co-written by the late Marvin Gaye and became a major hit for the Originals in 1970). “The Bells” has also been covered by everyone from Color Me Bad in 1994 to Laura Nyro in 1971 (Nyro’s version contained background vocals by none other than Patti LaBelle).

Back in 1985, the original LP version of Too Sharp concluded with a brief a cappella cover of the Persuaders’ 1971 smash “Thin Line Between Love and Hate.” But on FunkyTownGrooves’ 2013 reissue of Too Sharp, “Thin Line Between Love and Hate” is followed by three alternate versions of “Stomp and Shout” (including two instrumental versions).

Rick James (who was 56 when he died of heart and lungs failure on August 6, 2004) favors a very hands-on approach throughout Too Sharp. In addition to producing and arranging the album and writing “Stomp and Shout,” “Serious Freak,” “Come into My Life,” “Ooh Wee” and “Dance the Way You Want (Party Freaks)” by himself, James co-wrote “Searching for Love” and the title track (the latter with Stone City Band keyboardist Levi Ruffin, Jr.). In fact, the only songs on this reissue that James didn’t write or co-write are the three covers.

After Too Sharp, Process & the Doo Rags went on to record a second album: Colorful Changes, which Columbia released in 1987. That album wasn’t the commercial breakthrough that the quintet was hoping for, but it did contain two minor hits: “Call Me Up” (a #71 hit on Billboard’s R&B singles) and “I Promise to Remember” (which peaked at #80 on that chart).

Although Process & the Doo Rags never achieved the stardom of the Mary Jane Girls or the late Teena Marie, they were an interesting footnote in 1980s R&B. They weren’t afraid to be unorthodox, and their risk-taking spirit is evident on Too Sharp.

—Alex Henderson, June 2013

Alex Henderson’s work has appeared in Billboard, Spin, Creem, The L.A. Weekly, JazzTimes, Jazziz, AlterNet, Cash Box, HITS, CD Review, Skin Two, Black Beat, The Pasadena Weekly, Black Radio Exclusive (BRE), Music Connection, Latin Style, The New York City Jazz Record and many other well-known publications. Henderson (alexvhenderson.com) has also contributed several thousand CD reviews to The All Music Guide’s popular website and series of music reference books.