Warm, cool, and tender his demeanor reflects, velvet-smooth harmony vocal, that captivates the mind.

He’s identity? Never to be misplaced – like an owl whispering in the night. Never being in contact with him but you submit yourself as he caresses your mind.
He’s created lingering images of love, human struggle, love for the younger generation with songs that are easily accepted by our minds and leaves one wondering deep inside–what does it mean?


How else does one express an emotional intensity when words like

"Take It To The Limits, Touch The Soul From There, All The Way From Heaven Down To The Earth, Somewhere…" are offered to you in a song? (Extract: Shadow Of Another Love 1988)
Aside recognizing the constant flow of a well manipulated and sincere voice.

He also creates awareness to the instrumentation supplied by his carefully assembled personnel , responding to Saxes, Guitars, Drums, Bass with a smooth blend affirmation of these identity utterances"hmmm, yeah, yeaahh, Ooh"!
So, who is James “D-Train” Williams? An accomplished vocalist, a core background session singer , vocal arranger, producer and songwriter. Well known for his vocal performance in the band “D”-Train alongside“ Hubert Eaves III.”
When “D”-Train disbanded, according to how infused I was to James’s solo work, I felt he was searching for a new musical tempo that would complement his vocal ability.

He wanted a sound he could call his own, a solo career that would tear him far away from "THE" D-Train - stereo typical rhythm heritage of the early 80s Disco and Dance music , his craft was ripe enough to be embraced as a soloist.

By the summer of 1986, Columbia records encouraged a solo project, hence, they played safe in suggested his debut solo

(Miracles Of The Heart – BFC-40465) trade under the band name, “D”-Train In other to attract the “D”-Train crusade. However, this resulted in getting a handful of fans misled.

Not only were they confused as to how to categories it in their record libraries because the vinyl itself was credited as..

James “D-Train” Williams, major record outlets followed suit - confused!
So, it was a case of sometimes filed under "W" or "D".

Nevertheless, this was no deterrent in the up-spring success of James “D-Train” Williams as a soloist.

The entire album was produced by the duo, crediting most well known house hold names ,Doc Powell, Audrey Wheeler, Ed "Tree" Moore, Cindy Mizelle, Norma Jean Wright, Curtis King, James Batton, Harim Bullock, Buddy Williams and Clifford Adams.
With "Miracles Of The Heart", James revealed a startlingly mature genre, determined to prove his interpretations equal to those of Peabo Bryson, Luther Vandross, Freddie Jackson, Howard Hewett and Alexander O’Neal.


At the drop of the first up-tempo single "Misunderstanding" it shot off straight in the charts peaking at #10 thus enjoyed a reasonable amount of weeks.
Whilst the initial single was being digested by fans and enjoying a firm ground, a follow-up release of the tender ballad ..

"Oh How I Love You (Girl)"

A well requested song at weddings - featured the Ex. Crown Height Affair guest vocalist and once a Prelude Record label colleague ..Audrey Wheeler.
This instantly confirmed James “D-Train” Williams’s segregation from “D”-Train and left fans hunting for more of his solo work.
His delivery on the other two lullabies were jazz-ily cool, catapulting the carefully crafted and mind-blowing words like..

"Touch Another Flower, See If It Grows In The Sunshine I will Buy The Hour…" (Extract: Miracle Of The Heart).

The formula worked once for the duo, so 2 years later, he and Hubert Eaves III retraced their footsteps and recorded what had to be the last recording for Columbia records.

This time, there was more attention placed on image, weight reduction, clean shave, well-trimmed haircut with curls and finishing up with a crew neck and blazer outfit!
The 1988 follow-up was branded "In Your Eyes", teeming with 11 beautiful cuts, 4 up-tempos, 2 mid fast, 2 slows, 1 tribute song and the outstanding lyrical content/vocal arrangement of "Child Of Love", I dare you to overlook the conspicuous background performance by Mr. Willfred (Will) Downing.

Time changes everything and the world danced to a new beat. By autumn 1989, James “D-Train” Williams’s trend of music progression began to falter,

As his mounting success would be rudely interrupted by a new era. It was obvious Teddy Riley & Gene G. had come to lead a new crusade in R&B with what was to be named (The New Jack Swing). Dr. Dre, Eze .E., Public Enemy, Monie Love, Queen Latifah emerged with (Hard Core Rap) and LA & Babyface dominated urban pop with compelling (Ballads).

They were able to flex authority through Karyn White's "Superwoman", Bobby Brown’s “Roni”, Mac Band & The MacCampbell Bros. “Roses Are Red”, Pebbles “Love Makes Things Happen” and Johnny Gill’s “My, My, My”.


Conversely, I had just turned 20yrs, a radio anchorman and a deep 80s soul man. Arguably, I could have been easily lured into compositions of the new age. Oh no! I managed to sustain a balance between the new beats and the smooth-soul of the early 80s.
Whilst each one became feeble to this new inclination, James “D-Train” Williams took a back seat and approached the music industry differently. Writing and recording as a session man for various artists became the new order of the day.
In the same year (1989) - George Duke had recorded what would be his best and last album for Elektra records; the album featured two of James “D-Train” Williams's most prolific songs ever. Suggesting that, at his best, the singer/songwriter and producer could be nothing less than compelling.
From the lyrical content of "You Are The Only One In My Life", George Duke confidently arrived at a title for the album called "Night After Night".

Although, James “D-Train” Williams’s solo aspiration never saw the light of day after 1988.

He has since remained real to his craft by maintaining a song writing genre, delivered by various artists.
Due to career fracture, James had time to offer assistance to old time friends, notably is Audrey Wheeler on (Oh How I Love You), after 6 years he featured on “If You Need Someone”.

His voice on this song was smoothly balanced between a duet and background vocalist, Will Downing – a heart-gripping rendition.. “I Don’t Want to Lose You” and The Late ..George Howard “If You Were Mine”.
Nowadays, James is well embraced by the fusion jazz personalities – utilising his underrated singing ability to its height. In 1994 & 95,

James performed lead vocals on both Donald Harrison and Michael Davis’ recordings, a duet with Sharon Bryant (Ex. Atlantic Star female vocalist), resurrecting Teddy Pendergrass “Close The Door, Burt Bacharachs’ The Look Of Love and Solitaire”.

His exceptional performance on these few tracks to me, was a test of fate for a Re-emerged solo career.

JAMES "D-TRAIN" WILLIAMS - THE VOICE THAT LINGERS...
I SALUTE!