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Muscle Shoals - The Movie

Muscle Shoals and in particular The Fame Recording Studios have a long and illustrious history, not just in Soul Music but other genres as well. Fame was founded by Rick Hall who overcame many obstacles in his path to bring musicians, both black and white together.




It would appear a movie is to be premiered later this month at the Sundance Film Festival.

http://filmguide.sun...7/muscle_shoals



You can read more and view the gallery at the Muscle Shoals Movie site:

http://www.muscleshoalsmovie.com




By Chalky in News Archives ·

Lou Wilson R.I.P.

It seems we have missed the passing of Lou Wilson, one of the Wilson Brothers who formed Mandrill. He died of cardiac arrest on the 7th January.
 
 

 
http://myblacknews.n...-71/01/09/2013/
 
 
*Fans are mourning the death of Lou Wilson of Mandrill, the afro-funk band who passed away from cardiac arrest. He was 71.
Details of a planned memorial celebration will be announced shortly. Below is a message to the public from Lou’s brothers and fellow band members:
The centerpiece of our music and our lives, eldest brother LOUIS WILSON, affectionately known as “Sweet Lou,” made his transition on Monday morning, January 7, 2013 in Southern California.
On behalf of the Wilson Family and Mandrill, we ask that you please light a candle, hum a song, play a drum or say a prayer in remembrance of him.
Lou would like that. . .
We will keep you posted on plans for a musical tribute in the near future and other information.
Best regards,
Ric, Carlos and Wolf
www.mandrillmusic.com
 

By Chalky in News Archives ·

Liz Lands R.I.P

Ian Levine asked me to pass on the following
 
Would you please post on Soul Source that Liz lands passed away this morning in Atlanta.
 
Added by site:
 
Born Elizabeth Lands 1939 in The Georgia Sea Islands, grew up in New York City. Lands supposedly had a five octave vocal range started her Motown career before Gordy decided to make a name for her in the R&B/Pop market, sadly it wasn't to be. She had a brief career away from Motown before disappearing altogether until Ian Levine recorded her for his Motorcity label in the late 80's early 90's.
 
No more details are known at this time.
 
 

 
Discography (Thanks to Dave Rimmer's SoulfulKinda Music)
 
Liz Lands (Born 1939 in The Georgia Sea Islands, grew up in New York City . Married Tommy Brown in the early 1950's)
 
Divinity 99008 - Trouble In The Land / We Shall Overcome - 1963 (This Was Issued On Motown's Short Lived Gospel Label)
 
Liz Lands / Rev. Martin Luther King
 
Gordy 7023 - We Shall Overcome / I Have A Dream - 1963
Gordy 7026 - May What He Lived For Live - 1963 (One-Sided Promo - White Label)
Gordy 7026 - May What He Lived For Live / He's Got The Whole World In His Hands — 1963
 
Liz Lands & The Temptations
 
Gordy 7030 - Midnight Johnny* / Keep Me - 1964
*Originally Titled "Midnight Lover." A slightly faster version with different lyrics in some places does exist on a Motown Acetate.
 
Liz Lands
 
One-Derful 4847 - One Man's Poison / Don't Shut Me Out — 1967
T & L 50 - Come In The Room / Someone Bigger Than You And I - ? (the T & L label was named after Liz and her husbands initials)
 
Liz Lands Paul Mitchell - Trio
T & L 201 - Silent Night (Part 1) / Silent Night (Part 2) (Instrumental) - 1967
Liz Lands
T & L 1001 - Echo In The Background (Of My Broken Heart) / Qualify For My Love - 1968
T & L 1002 - Cotton Fields / Let It Be Me — 1968
 
Ep's
 
T & L 118-68 - Let It Be Me / Cotton Fields /// Echo In The Background / Since I Met You Baby* - 1968 *duet with un-named vocalist.
By Pete S in News Archives ·

Mark Randle's Modern Soul Musings 2013

Modern Musings………news and grooves from the Modern Side with Mark Randle
I find myself tempted to start once again with mention of the weather here in the UK, but it’s all just a little too depressing so I’ll keep it brief. Suffice to say my thoughts go out to all those affected by the floods after the most recent round of deluges. Furthermore, we must of course spare a thought for our American friends in the wake of hurricane Sandy. It makes what we’ve had to contend with seem rather trivial. We’ll leave it at that as there’s lots to cover on the music front.
I was sad to hear recently of the passing of Chicago great Terry Callier, who left far too soon aged 67 after losing his battle with throat cancer. Of course “The Forgotten Prince Of Chicago Soul” is particularly well known on the UK soul scene for such gems as “Look At Me Now”, “Ordinary Joe” and of course “I Don’t Want To See Myself (Without You)” for Erect Records in ‘82. I remember well seeing Terry in concert at Trentham Gardens and in fact I actually met the guy there too. I then caught him again at Warwick Arts Centre so impressed was I by his live show. The man will be sadly missed but leaves us with a great legacy of music, and of course some great memories of those live appearances. R.I.P. Terry Callier.
We waxed lyrical about the return of the Prestatyn Weekender last issue, so we won’t overdo it this time around with lots to fit into these two pages. I can tell you however, that Richard Searling has started making plans on the schedule for a 24 hour a day radio station, to be broadcast into your chalets over the weekend. I’ll just remind you that tickets for the weekend, taking place 8-10 March 2013, are available on 0844 576 5949, 01745 881800 or at www.pontins.com. I did warn you last time not to leave it too late to book your place, as some standards of accommodation are already sold out. I’m not sure of the details, but I can tell you that the weekend has continued to sell well since then, with even more of the accommodation now gone. You have been warned……….twice!!
Our last Soul Purpose of the year, and in fact our last EVER Xmas All Dayer and indeed penultimate EVER Soul Purpose event, takes place this year on Sunday 30 December. Once again two rooms will be in operation throughout the evening, with 70’s/crossover soul in the small but perfectly formed Lounge and nu soul, jazz, soulful house and club classics across in the Bradgate Suite. Confirmed DJ’s so far are first timers Steve Guarnori and Dean Johnson alongside a returning Steve J, who will all be loaded up with dusty vinyl in the 70’s room, and all sure to be wearing their Christmas jumpers. Pete Haigh, Steve Hobbs and another Soul Purpose debutant Jamie Taylor, will be sporting a combination of vinyl and shiny silver disks in the Bradgate, and as if all that wasn’t enough, for the first time at Soul Purpose the excellent Glenn Worthington will be on hand with live percussion accompanying the DJ’s in the main room. We know that Glenn will add a new dynamic to the room, as witnessed previously by many of you I’m sure at Prestatyn, and at Lin Taylor’s Soul Underground events. We look forward to having Glenn with us and are sure that he will help create that electric Soul Purpose atmosphere we’ve come to expect. As is the norm with our All Dayers, the Lounge will be open for an early session throughout the afternoon, and will reverberate to whatever our DJ’s feel like playing, keeping the early birds happy as they meet and chew the fat with friends old and new. Afternoon DJ’s are still under negotiation, but as we go to print I can tell you that another debutant Louise (Louby) Mullen will be behind the wheels of steel for us. If you’ve been to previous Xmas All Dayers, then you won’t want to miss this last ever opportunity to attend one, but for the uninitiated, the place to be is Sketchley Grange Hotel, Hinckley, Leics. LE10 3HU, where we run from 2pm on the 30th, through to a 2am close early on New Years Eve. As ever, value for money is guaranteed at just £8 OTD, with no advanced tickets either available or necessary this time around. As always the resident supporting cast of Sam Evans, Mark Goddard and myself will be filling in the gaps at what will be a bit of a tear-jerker, being the last Xmas session after almost 8 years of fantastic events at this great venue. Just a reminder though, don’t get the wrong idea, as although this will be our last Xmas All Dayer it IS NOT the last event. That takes place around Easter 2013 and is going to be really extra special………..and I mean REALLY extra special!! Right then, onto some tunage……………
 
 
Angie Stone Most cuts (US Saguaro Road Rhythm CD “Rich Girl”)
It’s always great to have Angie Stone back with a new set, and her latest released on Suguaro Road Rhythm sees her right back to her best. Having tinkered with her sound over recent years she seems to have realized where she sounds best, and that’s on finger-snapping melodic new soul grooves. The first full cut on the set, and a good example, is lead-single “Do What You Gotta Do.” This is followed by what is probably the killer dancer from the album, the upbeat “Backup Plan”, with it’s driving beat, bubbling bass line and great rhythm guitar work as she declares “….every woman’s got a backup plan……” “Proud Of Me” takes the tempo down allowing her the room to stretch out those vocals. I really like this cut: simple but effective. “First Time” is a great mid tempo, hand-clap accompanied number with Angie declaring that every time her man lays her down it feels like the first time, with the expression in the vocal conveying the sincerity of the lyric: a girlish excitement so to speak. Slightly bluesy and old skool in arrangement is “Guilty”, followed after a spoken word male interlude by “Alright”, with that snapping style again courtesy of the prominent snare, and being a great example of the quality backing vocals evident on this set, much of which are multi-tracked vocals laid down by the lady herself. Nice production I think. “Livin’ It Up” takes the tempo up: nice enough but not one of the album’s highlights to these ears. The title cut is a nice mellow number using the love or loathe simulated crackly vinyl record sound, though it’s not too intrusive here in truth, with Angie explaining to her man that if she had a dollar for every time he lied she would be rich girl. “Right In Front Of Me” is another mid-tempo dancer which could joust with “Backup Plan” for needle time (laser, surely? — Ed) in your better soul clubs. As the set draws towards a close “I Can’t Take It” reverts to a slightly old skool feel. “Push ‘N’ Pull” is a nice mid-tempo with neat work on both guitar and keys, as is the tripping “U Lit My Fire” complete with some nice brass accompaniment. The set closes with the aptly titled “Sisters”, where Angie shares vocal duties with lots of female friends. Ms. Stone is back big time, with a contender for album of the year in an era where solid albums are very rare. Brilliant stuff from a lady who would have been a household name 30 years ago when proper soul music made the national charts. Get it on that Christmas list!!
 
Ralf GUM All cuts (EU GOGO Music CD “Never Leaves You”)
We’ve often mentioned on these pages that the music we love is truly international these days. Ralf GUM is testament to that. A native of Germany, now relocated to South Africa, Ralf has been turning out quality soulful dance for many a year via his GOGO Music imprint. This new set “Never Leaves You” is choc full of wonderful cuts, and really is a must for the collection, though is CD only which is a shame for you vinyl hounds. You really shouldn’t let that stop you purchasing this set though. The cast of support is a who’s who in the world of soulful dance. The album opens with the vocals of Jocelyn Matthieu on the piano intro’d “Everything”, which trips along nicely. This will throw you from the off, as those unaware will expect a female vocal but this Jocelyn is actually a fella! Next up is the deeper, haunting “Burning Star” featuring Kafele (Bandele) on both vocals and trumpet. I just love Kafele’s little boy lost vocals and the trumpet stabs interject nicely throughout. Up next for one of two cuts and needing no introduction, is the King Of Gospel House, the one and only Kenny Bobien to tell us that love is “The Only Way”. I detect more of that quality Kafele brass in here, with some nice mute-trumpet work. Jaidene Veda delivers the more restrained “Do It For Love” before long time Ralf collaborator Monique Bingham arrives with “Take Me To My Love”, not dissimilar to the aforementioned Veda outing. This has a haunting melody and you really can’t go wrong with Monique’s sassy, jazz inflected vocals. Check her work out folks, she’s top quality. “Linda” is the first cut which really reveals the influence that the South African house scene has had on Ralf, with Ohlule on vocals and having a slightly more tribal feel which I really can’t describe on paper. You’ll understand when you hear it!! Next up is one of the albums highlights and a previous 12” release I think, with the deep sound of “Fly Free” featuring long time house master Robert Owens on vocals. This will get right under your skin after a few plays I can assure you of that. Former Soul II Soul vocalist Caron Wheeler turns up on “So Good”, nice enough but actually my least favourite cut from this consistent set. The penultimate cut is the second offering from Kenny Bobien “Greater Love”, with more of that great brass and a nice guitar lick running throughout. Brilliant stuff! Just when you think it can’t get much better the set closes with Jon Pierce out of Chicago on the achingly soulful “Never”, with our man explaining he will never leave his baby. Clever multi-tracking here of Kafele’s wonderful mute and normal trumpet sounds and more of that guitar-licking run through this. Just so good, this is one of THOSE cuts which I’ll never forget hearing for the first time. For those of you who don’t normally get soulful dance music, if you can’t find something on this set then there really is no hope!!
Quasimode Most cuts (JAP Blue Note Records CD “Soul Cookin’”)
I can see we’re going to run out of room this time out, due to the abundance of quality releases as we approach year-end. Onwards! From the land of the rising sun, and therefore putting a slightly more serious hole in your already penniless record collector’s pocket, comes the latest set from Jap-Jazz outfit Quasimode entitled “Soul Cookin’”. Now I know there are many who don’t get the jazz thing, but it’s worth reviewing for you this, because as the title might suggest it has an altogether more soulful feel to it than their previous sets.
The title track is a good example of its crossover potential (no, not that kind of crossover!), being as much about the soul as it is the jazz, and is for me one of the highlights. The same can be said for the piano-led semi-vocal cut “Let’s Get Down Together”, with some deep baritone sax that doesn’t sound unlike the late Mike Terry on some of those Detroit sessions! Very nice indeed. “Febre Samba” is a real nice, more straight ahead instrumental jazz workout. “Summer Madness” is up next, and though you would never know it due to the Japanese text on the sleeve, features Crazy Ken on vocals. The vocal’s a bit of a love hate thing here, as the guy is clearly of Japanese origin, but I like it. Make your own minds up! “Another Sky” is another instrumental bar some female ad-lib vocals, with a punchy stop-start arrangement, and ably demonstrates both the instrumental prowess of the outfit, and the sonic nature of most Japanese releases. “Leaving Town” takes the tempo down and is a very much more soulful affair, with a 70’s feel not unlike those Leroy Hutson cuts of old like “Cool Off”. “Slow Motion” has an upbeat poppy feel and will understandably pass most by with its Japanese lyrics. “El Paso Twist” is a swing your pants latin influenced workout. “King Of Kings” maintains the tempo before the strings and piano laced “Still In The Night”, where the piano comes across all “supper-club” in parts. A nice female vocal, nifty flute and the ever present piano and brass create another album highlight in “Give It Up, Turn It Loose”, before the album closes out with another foot-tapping instrumental “Keep On Steppin’”. Not for everyone then, but there’s more chance of your soul boy ear being caught by this than by their previous sets. Try it, you might like it!!
Various All cuts (UK Expansion LP/CD “Soul Togetherness 2012”)
I think it’s a nice habit for me to get into, to review the yearly installment of the Soul Togetherness series of albums. There are a couple of good reasons for this. Firstly, they are always well thought out and put together, and contain pretty much the cream of the crop from any given year. This is particularly convenient for those that either cannot stretch to, or are not interested, in owning the cuts on their original format of release. Secondly, Expansion still offers a choice of CD and vinyl LP, making these compilations appealing to one and all. Presumably there’s a download option to, but when there’s a choice of physical format on an album of this consistent quality, I’m not too interested in downloading! To the music, and each year you think it can’t get much better, but somehow Richard Searling and Ralph Tee manage to surpass the previous release………maybe it’s just the music getting better each year? There are some cuts here that will be familiar to you, possibly from these pages. For starters, the album opens with that huge and in demand Big Brooklyn Red cut “Taking It Too Far”, which we covered last time out. The same is true of the killer dancer from R. Kelly “Share My Love” which we also featured last issue, as we did the massive Opolopo remix of Gregory Porter’s “1960 What?” a while back. Getting the picture? Of the big tracks which are new to this column, the otherwise download only Maurissa Rose “Thinking About You” stands out, and appears for the first time on CD. Already touted as number one soul cut of 2012 amongst the tastemakers on the EMS forum, being a top drawer mid-tempo dancer. Other cuts also suffering the download only fate until they were rescued by this set are Glen Goldsmith’s “Jammin’ In The Place”, borrowing from the Jones Girl classic “Nights Over Egypt” and Soulpersona featuring the wonderful Princess Freesia with a cover of Kleeer’s “You Did It Again”. Add to these, for the first time on CD Kenny Thomas “Turn It Up” and Aaries “Don’t Give It Up”, and “Woo” from Anthony Hamilton’s 2011 set for RCA “Back To Love”, and you have another essential purchase which nicely wraps up 2012 in one neat package. An interesting footnote: with the inclusion of the R. Kelly and Anthony Hamilton cuts, do we assume that Expansion are now able to do the more major-league licensing deals which may have eluded them in years past?………….or is it just be a one-off stroke of luck with Jive/RCA? Don’t know, but it’s a must buy kids: pick your format!!
On the downlow(d)……….
 
 
Considering the proliferation of it these days, we haven’t delved into the world of MP3’s on these pages for quite some time. It’s time to put that right because presently there are a few cuts that are right up there with anything released this year in the world of soulful house music. First up, a remix of a mid 90’s cut for King Street Records and the wonderful DJ Roland Clark pres. Urban Soul and the Sean McCabe mix of “Until We Meet Again”. Yes, it’s our man McCabe once again delivering the goods, with the pick of several new mixes of this wonderful track. Heavy on the synth-bass with great key chord stabs and electric piano, this really is one for those doubters in soulful house who think it’s just about beats. Think again folks, and check out the story being told is this piece of brilliance: soul music for the 21st Century for sure. This guy is talking us through a visit to the grave of his wife/partner and explaining how desperately lost he feels without her, “…..now what am I gonna do…….without you……….I tell myself, every night and day, just hold on tight, you’re gonna find your way, I loved you so, you were my only friend, I guess I have to let you go…………until we meet again……”. You simply have to hear this cut! It’s criminal that something this good won’t make it onto vinyl!! I can’t wax lyrical enough about this tune, it’s amazing!!
 
 
Next up is another remix of an old cut though this time we don’t have to look so far back to remember Arnold Jarvis’ “Make The Time”, from the Underground Dance Artists United For Life (UDAUFL) “Keep Hope Alive” compilation for King Street Sounds back in 2004. Once again the remix comes courtesy of a UK talent, this time Danny Clark of Solid Ground Recordings delivering his Solid Ground Vocal Mix on the King Street Sounds “Reformed Classics 2012 Sampler” EP. Credited here as “Take The Time” by UDAUFL pres. Blaze feat. Arnold Jarvis, I need to make it clear that this is totally essential. Once again it’s those key chords, along with organ stabs that weave in and out around Arnold’s well established, quality vocals. There’s a lovely instrumental passage in this with some great vibes helping to maintain the musicality, but you know it’s going to be top drawer with Blaze involved, as Arnold persuades us to “…..take the time, make the time for love….” in life, in the more plutonic sense on this occasion.
Finally, a brand new cut from Groove Junkies, who blew us away back in 2002 with the likes of Soloman Henderson “Inside My Soul” on their MoreHouse imprint, a Randle fave to this day. In truth, those earlier release aside, I think they have been slightly more hit and miss in recent years, but this latest release sees them right back on the money, back to their achingly soulful best on the GJ’s Main Mix of “I’m Dying Inside” featuring the ultra-soulful vocal of Diane Carter. Once again the lyrics are bang on, as she tells how she’s dying inside, observing the world and praying that one day we’re going to get it right and that happiness is just around the bend. Uplifting stuff and these three tunes really are as good as it gets in this genre. Judging by the quality of the songs here, we live in hope that we might just be getting back to the heady days of around 10 years ago, when I believe soulful house was at a musical peak.
SIMPLY SOUL MAIL ORDER Top 10 (November 2012)
 
1. Positive Flow — Flow Lines (EU Tokyo Dawn CD)
2. Rhonda Dorsey — Chocolate Sound (US Rhonda Dorsey CD)
3. Various — Soul Togetherness 2012 (UK Expansion LP/CD)
4. David Ruffin — David Unreleased LP & More (US Hip-O Select CD)
5. Oliver Cheatham — Don’t Pop The Question (UK Soul Junction 7”)
6. Various - The Hurst Selection Vol. 2 (UK Soul & Jazz CD)
7. Ms. Monique — She Motions (US Tate Music Group CD)
8. Maverick Gaither — Be My Music (US Mavmani Music CD)
9. Gregory Porter — 1960 What? (Gerardo Frisina Cuban Soul Mix) (UK Soul & Jazz 12”)
10. Millie Jackson - Something About You (Re-Edit) (Glenview Sessions Vol. 1) (US Glenview 12”)
Tel - 0116 237 5461
Email - sales@firstexperiencerecords.com
Web - www.firstexperiencerecords.com
Mark
Special thanks to Soul Up North.
  A Soul Music Fanzine, Written By Soul Music Fans, For Soul Music Fans
Latest Issue Now On Sale
 
By Mark R in Articles ·

Pied Piper - A New Concept In Detroit Soul

One Kent release many of us have been waiting for, The Pied Piper Masters. You will have to wait a little longer as it is scheduled for release on 28th January.


This CD heralds the biggest unearthing of Detroit and Northern Soul masters for decades. It is as important and thrilling as the Scepter, Wand and Musicor cache, the Dave Hamilton tapes or the unissued RCA treasure of the 80s and 90s.





On this volume alone there are previously unheard gems from the Cavaliers, September Jones, Lorraine Chandler, Nancy Wilcox and Willie Kendrick; not forgetting two great instrumentals from the Pied Piper musicians. There are also the original Giant label releases that were issued in 1966 on Tony Hester, The Sandpipers and Mike & Ray, while the first Pied Piper productions for indy labels like Mikki Farrow on Karate and Sam E Soul on Ruby are also included.

Working with the master tapes was a pleasure and to hear these wonderfully produced Detroit masterpieces as they were laid down has been a revelation.

The original, substantially faster version of Lorraine Chandler’s Northern Soul classic ‘I Can’t Hold On’ is a fresh and exciting take on a record that has been played solidly for nearly forty years. Her alternate vocal to ‘Mend The Torn Pieces’ is quite a shock. It is in a very different, deep soul style to the poppier, girly version that we issued on the Rare Collectible And Soulful CD in the mid 90s. Nancy Wilcox only had one 45 release but cut six tracks for the company and ‘Gambler’s Blues’ has been played to great acclaim at Northern dances over the past eight years from a very expensive publisher’s acetate.

The company’s own imprint was Giant, the earlier Detroit version as opposed to the slightly later Chicago label (which confusingly also had writer and saxophonist Mike Terry’s involvement). Tony Hestor’s first single before he teamed up with his writing partner Popcorn Wylie is a masterpiece of lilting, anguished soul that has grown in stature in recent years. The Sandpipers atmospheric ‘Lonely Too Long’ and Mike & Ray’s ‘If You Only Knew’ on the label also fetch big money, as does the Karate only release by Mikki Farrow ‘Could It Be’.





The reason Pied Piper has been so esteemed over the years is due to the number of Northern Soul classics played in the 70s heyday of the scene. The Hesitations ‘I’m Not Built That Way’ and Freddy Butler’s ‘That’s When I Need You’ were massive records back then and along with the previously mentioned tracks meant the words Pied Piper were spoken with reverence. What makes this CD so exciting are the new tracks by established Northern stars like the haunting ‘I Hear Music’ by Lorraine Chandler and Willie Kendrick’s unique vocal style applied to the Metros’ number ‘Time Changes Things’.

Mid 60s Detroit recordings rarely slowed below mid-tempo but Sam E Solo ‘Tears Keep Falling’ is a fabulous soul number with a lazy, catchy beat that bucked that trend. The Cavaliers ‘We Go Together’ is a very classy mid tempo take on a song that co-owner Shelley Haims co-wrote in the 50s for the Moonglows and was later cut by Jan & Dean. This 1966 soul version has excited the North’s top DJs and is certain to be a monster sound in 2013.





The most exciting discovery for a lot of people will be the original version of Rose Batiste’s ‘I Miss My Baby’ which Pied Piper recorded several months before the Revilot release. This recording is titled ‘This Heart Is Lonely’ as the song was originally written. Shelley remembered it as being by Telma Hopkins the Detroit backing singer who went on to fame with Dawn in the early 70s and recently as a top US actress. However the vocal style is so similar to that of Rose Batiste on Revilot, we are assuming it is her. How the tape ended up first with Revilot and secondly in an instrumental form as ‘Bari Track’ by Doni Burdick on Sound Impression another year later, is a mystery that is still unravelling.

Finally, almost in the Little Ann category for having her light hidden under a bush, September Jones gives us four of her eight Pied Piper sides that resulted in just one solitary 45 release licensed to Kapp. This expensive single ‘I’m Coming Home’ is as fine an example of Detroit’s soul craft as was ever committed to wax; tortured and moody, superbly produced and delivered with a hypnotic beat. The unissued sides are equally fine and with another four gems to be featured on the second volume, her time in the spotlight is assured.

Ady Croasdell





Compilation and comprehensive sleeve notes by Ady Croasdell.

Pre order from Ace Free delivery in the UK

1. I Can t Hold On (Original Version) - Lorraine Chandler
2. Stuttering Sam - September Jones
3. Gamblers Blues - Nancy Wilcox
4. This Heart Is Lonely - Rose Batiste
5. She Won t Come Back - The Hesitations
6. Just Can t Leave You - Tony Hester
7. We Go Together - The Cavaliers
8. That's When I Need You - Freddy Butler
9. Give Me All Of Your Love - September Jones
10. That s What Love Is - The Pied Piper Players
11. Time Changes Things - Willie Kendrick
12. I Fell In Love (Can t Help It) - Freddy Butler
13. Could It Be - Mikki Farrow
14. I Hear Music - Lorraine Chandler
15. I m Coming Home - September Jones
16. Mend The Torn Pieces Of My Heart (Original Version) - Lorraine Chandler
17. He ll Be Leaving You - The Pied Piper Players
18. Chink A Chank Baby - September Jones
19. I m Not Built That Way - The Hesitations
20. In The End - Nancy Wilcox
21. If Only You Knew - Mike & Ray
22. Lonely Too Long - The Sandpipers
23. Tears Keep Falling - Sam E Solo
24. Tell Me Your Mine - Lorraine Chandler

http://acerecords.co.uk
By Chalky in News Archives ·

A.J. Sparks & Crew - Working On Love

Press Release: A.J. Sparks & Crew “Working On Love” Soul Junction 520

Release Date: Monday January 7th 2013

https://soundcloud.com/chalkster/aj-sparks-and-crew-both

A.J. Sparks (real name Anthony Jones) is one of Detroit’s most respected session musicians who started his career as a drummer and percussionist at the age of 12.
A.J’s early career was nurtured under the watchful eye of legendary Funk Brother Joe Hunter whom the young A.J always referred to as “papa Joe”. By the time A.J was eighteen he was backing some of the biggest names on the Detroit music scene.
While playing drums for Edwin Starr during a performance at the Apollo Theatre in New York one night, the in house musical director made the lasting quote “that boy can sure beat the sparks off those drums” and so the stage name of “A.J. Sparks” was born.
A.J was employed by many local Detroit recording studios including Sonny Marshall’s Dotty’s label and Ernest Burt’s Magic label, featuring on all The Mad Dog & The Pups releases amongst others. A.J’s drum rolls can also be found on The Chapter 8, The Flaming Emeralds, The Detroit Emeralds and the Floaters Fee label releases.
A.J also recorded the Funk anthem “Put It In The Pocket” for Fee Records as “A.J. Sparks & The Spark Plugs” with the plugs being Donald “Crazy Legs” Austin and Howard Carter.
A.J. also featured as a session musician on his childhood friend Michael Henderson’s” Do It All” album as well as the later “Slingshot” album which Michael recorded with Venna Keith.
Further A.J. Sparks credits include working with Parliament and Funkadelic main man George Clinton on his “Cinderella Theory” and “The Awesome Power Of A Fully Operational Mother-ship” projects.
More recently A.J has been involved as a co-producer on Ronnie McNair’s first solo project the current “Living My Life” album release.





A.J is currently operating his own Detroit Black Smoke Productions Company, and it is with one of his own Black Smoke productions that we at Soul Junction Records kick off the New Year in style with. The incredibly soulful and classy “Working On Love”.





The backing vocals on “Working On Love” are provided by a young and up and coming all female group known as 777 Jackpot who were accompanied and supervised by former Golden World and Revilot records recording artist, Ms Pat Lewis. While the b-side, see’s A.J and Crew return to their familiar funk orientated roots with “Gotta Make It Do What It Do” with the Crew member supplying the vocal accompaniments being none other than Mr P-Funk himself George Clinton.






For further information please contact John Anderson or Dave Welding
Tel: +44 (0)121 602 8115 E-mail sales@souljunctionrecords.co.uk
By Louise in News Archives ·

Goodbye To Whitworth Street Twisted Wheel 2012

Yesterday 30.12.12 we said goodbye to one of the most iconic clubs of the 60's , the Twisted Wheel at Whitworth street.The day was so memorable in that it proved you are never too old to dance and have a good time.

They came out in their droves all those King Bee's from the Brazenose street and many that frequently attended Whitworth street. I felt so privileged to listen to their stories and gasp with excitement at listening to them talk of times past.
I had MIllie on my left telling me that she went the "Flamingo" club in Wardour Street and saw the Motown revue and Little sueie on my right talking of Brazenose street and a Manchester that we both knew in the days of the underground Market , and as it turned out both of us working for the same company in Bridgewater place . The three hours in Monroe's past in a flash.
 
We squeezed in with many others to feast in the party frenzy that was the last day at Whitworth street.The walls literally poured with excitement . It was so great to be able to share our last embrace of the home of Soul music in Manchester with so many that still held this place in their hearts after so many years.
I was able to dance on both floors , be it a shuffle as there wasn't much room . I was looking around to see if there was a little something to take with me as a bit of memorabilia but realized that all I needed was what I already had ... my memories , which thankfully have all been great one's
This is the only club I have been to where everyone appears to be happy and having a great time , the atmosphere there was like know where else not a grumble in the house ever.
It is sad to see the building go , but the WHEEL will never leave us as long as we have breath in our bodies and a willingness to dance onto the next venue.

I shall never forget my first wheel experience hearing Bobby Bland singing Call on me and recalling my observation at the time of people leaving in the early hours where there actually appeared to be clouds of steam around them as they hit the cold morning air , I said at the time it was like Wheel Ghosts of the past hitched the ride for the night and then exited as they left
Massive thanks to Pete Roberts and all of the Dj's for their commitment past and for the future of NQ live hosting the New Twisted Wheel.

External link to an article about Roger Eagle and the Wheel:
http://jackthatcatwasclean.blogspot.co.uk/2007/09/manchester-twisted-wheel-roger-eagle.html
Guardian article from Thursday:
http://www.guardian.co.uk/music/2012/dec/27/twisted-wheel-northern-soul-venue-manchester
And the Twisted Wheel related forums/sites:
(out of date links removed)
 
By Anais nin Carms in Articles ·

Fontella Bass - R.I.P

Another sad loss to the soul world.
 
http://stlouis.cbslo...ella-bass-dies/
 
Thanks for all of the great music, Fontella!
 
 

 
Added by site from the above source:
 
 
 
 
ST. LOUIS (KMOX) — Fontella Bass, the St. Louis-born soul singer, died last night at the age of 72.
 
 
 
“She was an amazing person, she had a big personality,” Neuka Mitchell, a daughter of Bass, said Thursday morning.
 
 
 
Bass was the daughter of gospel great Martha Bass and sister of the Apollo star David Peaston who died earlier this year. She was best known for the 1965 R&B hit “Rescue Me” which spent a month atop the R&B charts and climbed to #4 on the pop charts, selling over a million copies.
 
 
 
Mitchell says “Rescue Me” is just one thing that her mother will be remembered for. “First of all, she put God first and family second and the next thing was music and food. She loved to spend time with her family.”
 
 
 
Bass got her start at the Showboat Club near Chain of Rocks, Missouri at the age of 17. After her children were grown, Bass relaunched her career as a gospel artist and received a Grammy nomination in 1995.
 
 
 
She was inducted into the St. Louis Hall of Fame in 2000. Her star on the Delmar Loop is in the 6600 block of Delmar.
 
 
 
A series of health problems starting around 2005 slowed her down and she suffered a heart attack earlier this month. Funeral arrangements are pending.
 
 
 
http://youtu.be/RJmz7UJK_CY 
By Britmusicsoulfan in News Archives ·

Smooth Radio's New Years Eve All-Nighter

Join Kev Roberts and Richard Searling Smooth Radio at Midnight on New Years Eve for 6 hours of Northern Soul. The show will kick off with 60 minutes of Motown then the 'All Nighter' with Richard Searling and Kev Roberts playing the very best of Northern Soul.

The show is available on 100.4 FM (North West) check for regional variations, DAB, Sky, Freeview and on line @ www.smoothradio.co.uk.

From Mid-January on Smooth 70's (DAB and on line across the UK) Richard and Kev will present a new Sunday afternoon show reflecting the 70's, which includes Soul and Northern which touched our lives during that decade.

60's anthems played at the All Nighters/Dayers, 70's new releases, 70's that are popular today plus Exclusive Interviews.
By Goldsoul in News Archives ·

Marva Whitney - Funk Soul Sister - R.I.P

Sad to say another great has passed away.
 
 
 
R.I.P.
 
Added by site:
source: http://www.fasterlouder.com.au/news/international/34507/RIP-Marva-Whitney-Soul-Sister-1
 
 
Whitney was a featured vocalist with the James Brown Revue in the late ‘60s, performing with Brown on tour in America, Europe, North Africa and in Vietnam during the war. She recorded several songs for Brown’s King Records including her biggest hit, a rewrite of the Isley Brothers track ‘It’s My Thing (You Can’t Tell Me Who to Sock It To)’. She’s also known for her song ‘Unwind Yourself’, which has been sampled numerous times, most notably by DJ Mark the 45 King on his 1987 track ‘The 900 Number’ and on DJ Kool’s 1996 hit ‘Let Me Clear My Throat’. In 2006, Whitney collaborated with DJ Pari and the James Brown inspired Japanese funk orchestra Osaka Monaurail to produce a new album, I Am What I Am. The success of this revival saw Whitney return to the touring circuit to play shows in Japan, Europe and Australia.
Whitney visited Australia in 2009 appearing at the Falls festival and performing as part of the festival’s opening day Soul and Funk Revue. FL’s review of the show reported that with Adelaide’s Transatlantics acting as her backing band, Whitney took little time to prove why, in her heyday, she gained the title “Marvellous Marva” but a few songs into her set the then 65-year-old singer collapsed with many in the crowd believing that she had “pulled a James Brown.” However it soon became clear that she had suffered a stroke when she was carried from the stage leaving Transatlantics vocalist Tara Lynch to complete the set. Whitney was taken to Geelong Hospital and cancelled the remaining dates on her tour, however she did recover enough to perform several shows the following year.
By pikeys dog in News Archives ·

Down Town - Location Manchester -Terrace Nq

Had such an amazing night last night , felt the need to spread the love and share it with anyone that likes to read stuff like this.
 
Long ago in the times of 60's and 70's you could venture down town into Manchester City center and have your pick of the clubs , Rafters ,Tiffs , Caroline's to name but three and basically experience "soul" without really thinking too much about it, you were guaranteed a great night wherever you went , the crowd then were people just out for a good time, no attention was paid to labels and who was singing the tune or the fact that you played a bluesy track or funk track with what we call northern track, basically anything soulful was enjoyed and the city Buzzed with soulful activity.
 
Well last night I felt a return to that period of time , had the most amazing night in the company of "Young" people with the exact outlook as mentioned above , and boy did they enjoy the nectar that the guys from the Black Bee Soul club played for them. It was so great to see them all dance in their own style with their own fashion and revel in the delight that is sweet Soul music .
 
We arrived in town around 8pm , we knew the Bar was in Thomas street and ventured to find it in the rain with Cabs streaming passed like boats , we ducked and dived avoiding massive puddles to eventually find the bar , walked in and the place was buzzing .
 
My first words to Browny were bloody hell there are loads of blokes in here and most of them under 35 ! I couldn't believe it , we met Paul at the bar and joined Natasha and friends on a table near the decks for a fabulous night.
 
It wasn't long before people were wigglin and then dancing , trying to copy the moves and looking on in astonishment at the younger guy being able to drop to the floor and rise up again in dance. Reminded me of Madam Jo Jo's in Soho when we went to experience a Keb Darge night . the night was simply about enjoyment and feeling the beat.
 
I do hope we can experience this night again and again and again .... It was soul cafe culture in the heart of the city , brilliant night it all sounded so FRESH . and it was the first time I have got up and got down in three months and how good it felt to dance to James Brown
 
Thank you Paul and Sam ... for restoring my faith in that there is a future for these sounds for the next 15 years at least.
 
I feel so privileged being here at the right time in the right place.
 
Carms
x
 
 
 
 
 
 
By Anais nin Carms in Event News ·

Dunn Pearson & The 9th Street Exit

Dunn Pearson was around on the Cleveland soul scene from the late 60's through to 1980 when he relocated to New York. In that time, he backed up many local soul groups & singers, formed & led groups himself, toured (in backing bands) with top acts such as the O'Jays. He has also cut, arranged and produced his own group plus other acts on recording sessions and has generally become a 'jack of all trades' on the music scene in the city and beyond.
 
He learnt to play instruments and sang some during his school years. The original group he helped form were known as the Shades of Soul who came together in 1969/70. Bobby English was also born in Cleveland and he was in the same home room in Junior High School as Benny Slocum. The two of then were talking one day and decided to become involved in music. Bobby had considered playing the drums, but when Benny made the drums his instrument of choice, Bobby quickly took up the saxophone. Bobby was inspired by the likes of Cannonball Adderley. Ironically, the pair started off playing in competing bands. Benny was with The Shades of Soul and Bobby with a group called The Citations. But when Benny & the other guys in Shades of Soul heard him play a solo from a Rare Earth album, they asked Bobby to join their group. The new ensemble started out as a self-contained group and they played local clubs and talent shows, quickly learning their trade. In the group's early they would play tunes by Booker T & the MG's and other instrumental tunes that featured Dunn. Kenny Red would sing lead on songs Isley Brothers cuts and pop songs such as "Midnight at the Oasis," and "On a Horse with No Name." Booby would take lead on "Ain't No Sunshine", "I Don't Want The Night to End" (a Phoebe Snow tune) and he was also responsible for getting the outfit to play a lot of jazz tunes (songs by the likes of Roy Ayers, John Klemmer, and the (Jazz) Crusaders).
 
 
 

The group soon came to the attention of the manager of local boy band the Ponderosa Twins + One who had just made the big time (hitting nationally with a cover of Sam Cooke's “You Send Me” on Horoscope in September 1971). So they became that group's backing band and almost instantly went out on nationwide tours. The members of the band were Dunn Pearson (piano), Kenny Redon (guitar + vocals ; known as Kenny Redd but a different guy to the one who was in True Movement), Bobby English (sax + vocals), Benny Slocum (drums), Ernie Cary (bass), Booker Hollins (percussion) plus two brothers David (older) & Bobby Johnson (who were transitional members of the band as were some others). When they were touring with the Ponderosa Twins, they opened shows for Gladys Knight & The Pips, Kool & The Gang, Al Green, James Brown and many more top seeling acts. They toured right up and down the east coast but when the Twins' voices started to change, that was the end of them. After the Ponderosa Twins broke up, they became the Imperial Wonders backing band. They soon decided to go out on their own and were dubbed 9th Street Exit (the name being dreamed up by Lou Ragland & Walter Williams. 9th Street Exit being the slip road off the freeway that led into central Cleveland). With their connections to Bobby Massey and the other O'Jays, they soon landed a record deal with the locally based Solid Foundation label. Two singles soon escaped; “(Let's Make) Sweet Harmony” (SF 103) and “9th Street” (SF 107). The group got to play the songs they had recorded in local clubs and the tracks got limited local radio airplay, but significant numbers of the 45's weren't sold. Bobby didn't even remember playing on those tracks and thought that he may have been off at college at the time. They worked on tracks to form an album (to be issued under the title 'Be Happy' (B55101) but the cuts were never finished and no LP materialised. Benny, Kenny and Bobby did all the lead singing for the group and they were always competing with each another. Benny sang songs by the likes of Isaac Hayes and Barry White (he had a very nice semi-baritone voice). One of Bobby's favourite songs was Brook Benton's "Rainy Night In Georgia”. He also did a great version of "Sweet Thing" by Chaka Khan. 9th Street was regarded as a really class act. They performed all styles of music including soul, jazz, funk, r&b, rock and pop. They did a version of "Cloudy" (the Average White Band track) that included a section where the band would start swinging and Bobby would break into scat singing. One of their favourite groups was Sly and The Family Stone. When they performed at rock concerts in high school, Dunn would dress just like Sly and he would look exactly like him. Everyone acknowledged that Dunn was the most proficient musician in the group. He had complete command of his instrument and many times would play a red, white and blue Farfisa organ (just like Sly Stone).
 
The group also acted as the studio band backing up the Imperial Wonders on the tracks they cut for Solid Foundation (as did some members of the O’Jays backing band). Bobby Massey had become the groups manager but unfortunately their releases failed to sell much outside of Cleveland itself. Dunn Pearson was learning all the time though, so he got more into song writing, producing & arranging. He picked up many 'studio skills' working on those Solid Foundation sessions. He also worked on tracks as the arranger for Way Out (Jessie Fisher “Mr. Super Nobody / Don’t Cheat On Me” in 1973), Miystic Insight Records (True Movement -- "Depression / What A Lovely Way To Meet" & Sonny Lovall —“Ghetto Boy” in 1974) Shaker Records ( Bobby & Cindy — “If This Ain't Really Love / I’ll Keep Coming Back” in 1975), CAM (Odyssey & Company — “Let Me Be / She’s Perfect”), Devaki Records (Truth — “Understanding / See You Later” in 1980) and he even got to co-produce “You’re The Girl Of My Dreams” for the O’Jays (a 1980 TSOP release). Another job he landed was the producer's role for Akron Ohio based female group M’Lady. This trio landed a deal with 20th Century Records and had 2 x 12” releases on the label (“Sweet Honey / Baby You Lied” being the 1st). By 1980, Dunn had become a 'big fish in a little pond' and so he relocated to New York but continued to work with Cleveland artists. Dunn also wrote the song “All I Want Is You” that he then cut on Four Flights (Almeria: 1978) and on Sly, Slick & Wicked (Sweet City / Epic: 1979).
 
With their records not doing too well, the members of 9th Street Exit had become a bit disillusioned. Dunn left the group and went off to play in the O'Jay's tour band. That didn't immediately lead to the group's break up but it had a number of personnel changes. At one point they had two guitar players and then they added a piano player and two additional sax players. Bobby had just about left the group in 1977 when he was away in college, but he returned in 1978 after graduating. They played on for a little while but eventually disbanded. Bobby started playing with a jazz quartet in the early 80's and moved to Chicago in 1985 where he enrolled in graduate school. Here he studied for and was awarded a masters degree in entertainment management. While in Chicago, he continued to play and record, getting to perform all around Chicago itself plus across Indiana and Wisconsin. After 9th Street Exit had broken up, it's other members also moved on. After Dunn left the group had a number of personnel changes. At one point we had two guitar players and at another we added a piano player and two additional sax players. Benny passed away many years ago, he was shot and killed when someone attempted to rob him around 1982. Bobby himself had moved back to Cleveland from Chicago in 1990. There he started playing in a 'wedding band' with Kenny and Ernie. Ernie and Kenny were still playing together at the end of the 90's. While they were all in the wedding band they would play some of the 9th Street Exit songs. Amazingly, though many years had passed, Kenny still remembered every song and lick. When Bobby had auditioned for the wedding band (at Ernie's request) the leader of the band had asked if he sang. Kenny and Ernie immediately started playing "Sara Smile" and Bobby had started singing the song (which had been one of the songs he had sung with 9th Street). Back around 2000, Bobby English lived in LA. Ernie passed away, he died of a heart attack in the late 1990's.
 
 
 

Dunn had teamed up with Bruce Gray (probably via his O'Jays Philly connection) and they formed Dunn & Bruce Street. As half of Dunn & Bruce Street he had a number of releases. “ If You Come With Me / The Moment Of Truth” (Devaki DK 4005) was issued in 1981, the A side being both written, produced & arranged by Dunn and Bruce (this also got a UK release on Satril in 83 with a different B side -- Satril SAT 503). Next up came “Shout For Joy / Yearnin & Burnin” (DK1009) in 1982 (both tracks being written, produced & arranged by Dunn & Bruce — this also escaped as a UK 12” release as SATRIL SAT 500 in 82). An album, 'Official Business' (Devaki DKI 30003), also came out in 82 and this featured 8 tracks (all being written, produced & arranged by pair). All the duet's tracks were recorded at Blank Tape Studios, New York and featured Bruce Gray on lead vocals. Dunn handled backing vocals along with Tawatha Agee, Fonzie Thornton, etc. The musicians on their recordings were Dunn (keys / synths), Bruce, Phillip Woo (drums), Yogi Horton, Woody Cunningham (bass) Raymond Jackson (guitar) & Doc Powell.
 
From 1983, Dunn started to cut solo efforts while continuing to work in the studio with other artists. He cut “ Go For The Gusto” (Compose 9904-12) in 1989 that featured Jocelyn Brown on lead vocals. This was followed by a 10 track album (9904-1) on which all the songs were self written except Gary Glenn's “Caught Up In The Rapture”. He worked with musicians & vocalists such as Grover Washington, Noel Pointer, Bernard Watt, Doc Powell, Willie Ross and Benny Diggs. A good vocal track, “Most Definitely” was laid down at Hip Pocket Studio, NY and this came out on Bounce. Dunn also worked in the studio with Teddy Prendergrass, Stephanie Mills, Lou Rawls, Mtume, the Spinners, Stevie Wonder, D’Angelo, LSG ( Levert, Sweat, Gill), Mary J Blige and others. He scored the Broadway musical 'Amen Corner' and films like “Native Son “ & “Head Office”. He also worked on the TV show ‘New York Undercover’ and composed dozens of commercials. He did other work for PPI and in 1999, the CD 'Under Cover Lover' (again for Bounce Records of Newark, NJ). This CD featured “Up All Night” cut with April Harris & Najee. Since then he has also worked with Grover Washington (again), Fred Watt, Marion Meadows, Freddie Hubbard, Freddie Jackson, Portia Martin, Voice of Harmony, Janice Dempsey, Gerald Albright and Patrice Rushen.
 
 
 

 
So from his humble musical beginnings in Cleveland, Dunn has gone on to leave a lasting legacy in the recording & performing worlds. Many of his old recordings and production efforts are much sought after by record collectors, having stood up to the 'test of time' more than adequately.
 
The "ALL I WANT IS YOU" Story
 
Around 1978, Cleveland based Dunn Pearson wrote a song titled “ All I Want Is You”. It is just one of hundreds of songs that Dunn has written but apart from it being a classy composition, it also acts as a classic example of the good and bad events that can overtake soul recordings and the tunes involved.
 
Dunn Pearson had started out in the music business in Cleveland backing groups such as the Ponderosa Twins + One and the Imperial Wonders. From there he progressed to leading his own group, 9th Street Exit and also writing for, arranging and producing other recording artists. He joined the O’Jays backing band, all the time expanding his musical knowledge and increasing his experience. His compositional skills were also becoming more widely recognised and soon his songs were being recorded by a number of other artists. Although still associated with the O’Jays, Dunn secured himself a recording deal with Almeria Records in New York and they issued his track “Groove On Down” in 1978. Just prior to this, Tony Richburg, the O’Jays tour manager had taken an interest in a group made up of four guys from Chicago, the Four Flights. The group were fetched to Cleveland and placed under Dunn’s supervision. He had written a song that he thought would suit the group and so “All I Want Is You” was cut on them. Today, Dunn can’t recall any names of the group’s members (their association being a one off affair), however his cousin John Wilson remembers meeting up with the group. He had met them at the Shaker Records (an O’Jays label) building in Miles Avenue in Cleveland and remembers one of the Four Flight members well. The member in question, an extremely stout guy had gone by the name of 'ROUND POUND' due to his weight and stature. Dunn really liked the resulting cut and decided to offer it to the people at Almeria Records. They were also impressed with Four Flights and Dunn’s efforts, so licensed the track for release. To everyone's relative surprise, the record was really well received and garnered some good radio exposure. Although the group's release had created some interest, the O’Jays and Dunn had careers of their own to sustain. So with no one really masterminding any future for them, the group gave up and returned home to Chicago .
 
Just like Dunn, his relative John Wilson was also actively engaged in the music business. In the early 70’s he had formed the group Sly, Slick and Wicked and they had gone on to enjoy releases on the Paramount, People, Shaker and Ju-Par labels. The line up of his trio had changed with the passage of time but John had soldiered on. In 1978 he recruited two new members in order to keep the group going. Scott Pitman became ‘Slick’ and Jerome Pratt ‘Wicked’ (John obviously being ‘Sly’). At the same time that Dunn was working with the Four Flights, Carl Maduri, a veteran of the Cleveland recording scene (he had produced Lou Ragland’s 1973 WB 45 “Since You said You’d Be Mine”) was just setting up a new label, Sweet City. Carl obtained national distribution for his label via Epic Records. As John knew him well, he arranged a meeting with Carl with a view to securing his outfit a recording deal. At this meeting John played Carl the song Dunn had written and Carl liked the song as well. As he had also always liked John’s group, he signed Sly, Slick & Wicked’s new line-up to Sweet City Records. John called Dunn and asked him if he still had the master tape from the Four Flights session. Dunn confirmed he did and so a short while later, Sly, Slick & Wicked added their vocals (at the Painsville Studios) to the original musical track. John had developed an opening dialogue to precede the music track and he also handled lead vocals duties on the cut. Everyone involved liked the results of the session and the track was subsequently released on a Epic / Sweet City single (Epic 9-50758). Unfortunately once again, little or no promotion was put behind the release of the song on 45 and so it didn’t make any major commercial impact.
 
Dunn’s links with Almeria lapsed and he struck up a new musical partnership with Philadelphian, Bruce Gray. The duo signed with Devaki Records as Dunn & Bruce Street and subsequently went on to enjoy both single and album releases on the label (some of these even gaining UK releases at the time). His old song had gained a few influential admirers along the way though and hadn’t been completely forgotten. Recording industry stalwart Greg Carmichael also had connections with Almeria Records at about the same time as Dunn was placing product with them. His New York based Red Gregg Enterprises had signed their artist Ben Wiggins with the label in 1978. Almeria had subsequently released Ben’s cuts "Its All Over / I Love You Too Much" as a single (Almeria 4003). In 1980 another version of “All I Want Is You” was released, this time on Sam Records. The group who had cut this third version going by the name of Convertion. A familiar figure was associated with their effort, it’s producer being none other than Greg Carmichael. Matters with regard to this release were not altogether straightforward though. The song had now been assigned to a publishing company that Dunn had no knowledge of and it had also acquired an extra writer along the way (a certain J Carter). In fact Dunn had only been made aware of the new version by accident. His attorney (at that time) was representing the composers of the song on the other side of the Convertion single and in passing had happened to notice Dunn’s name on the label of the record. As a result, he got in touch with Dunn and needless to say, legal action seemed appropriate.
 
So this one song had, in a short space of time, managed to attract enough interest to gain three different released versions. All three of these recordings have stood the test of time well and are still much sought after today by soul music collectors from around the globe. Thus good things were achieved by the song, however the murkier side of the business had also been demonstrated by the third version of it that had been cut."¨
4 Flights …..
Sly,Sl & W ….
Convertion …..
By Roburt in Articles ·

Etta Is Betta Than Evvah

30 Years of Kent and the quality just keeps coming. There are plenty of essential buys from Ace/Kent/BGP due for release in the coming months and this one featuring Etta James 1976 LKP plus bon us tracks is quite rightly one of thise essential buyts for lovers of R&B/Soul music.

Here's what Mick Patrick has to say about the release.

Released in 1976, “Etta Is Betta Than Evvah!” was the final album of Etta James’ tumultuous 16-year tenure at Chess Records. The album is issued here on CD for the first time, together with 10 bonus titles from the mid-70s.
The self-produced opener, ‘Woman (Shake Your Booty)’, is a funky rewrite of a song Etta had recorded, as ‘W.O.M.A.N’, for Modern in 1955 and again for Chess in 1971. Etta’s road band, led by guitarist Brian Ray, backed her on the track. Two other titles on the LP, ‘Only A Fool’ and Randy Newman’s ‘Leave Your Hat On’, had been released previously on 1973’s “Etta James” set, produced by Gabriel Mekler, celebrated for his work with Steppenwolf, Janis Joplin and others.







By 1976 Chess Records had been purchased by All Platinum, at whose New Jersey studio the bulk of “Etta Is Betta Than Evvah!” was recorded with former Motown baritone sax hero Mike Terry producing. The players on the sessions were the All Platinum house band, otherwise known as funk/disco hitmakers the Rimshots. ‘Little Bit Of Love’ and ‘I’ve Been A Fool’ were penned by Freddie Beckmeier, the bass player with Etta’s own band. The remainder of the album comprised well-chosen covers of Ann Peebles’ ‘A Love Vibration’, ‘Groove Me’ (King Floyd), ‘Blinded By Love’ (Johnny Winter), ‘Jump Into Love’ (Rufus) and ‘Ain’t No Pity In The Naked City’ (Pat Lundy).




None of the tracks Etta recorded in Philadelphia in 1973 were released at the time but a few have surfaced in recent years, among them her revival of ‘You’ve Lost That Lovin’ Feelin’’, the first of our bonus selections.
Next up are three more tracks from the “Etta James” album. Written by Tracy Nelson, who recorded the song with her group Mother Earth in 1968, and featuring a string arrangement by the great Jimmie Haskell, ‘Down So Low’ was described by Etta in her autobiography as “the hardest song I ever tried to sing in my life”. Haskell also supplied the edgy string lines on ‘All The Way Down’. ‘God’s Song (That’s Why I Love Mankind)’ was one of three Randy Newman songs on the album.




Etta’s 1974 LP, “Come A Little Closer”, is the source of the next five bonus selections. Six songs on the LP, including the title track and the wordless ‘Feeling Uneasy’, were co-written by Gabriel Mekler, who likely also influenced Etta to cut Steppenwolf’s ‘Power Play’. Mekler had plans to make a television film about Bessie Smith with Etta in the lead role. The project never materialised but did yield her Grammy-nominated recording of ‘St. Louis Blues’. Confirming her affinity with the songs of Randy Newman, Etta wrote, “The song I loved singing most, though, was ‘Let’s Burn Down The Cornfield’.”

The final bonus track is a version of Tom Jans’ yearning country ballad ‘Lovin’ Arms’, the only recording ever to be released from Etta’s her shelved 1974 sessions with producer Jerry Wexler.

By Mick Patrick


>>>>>Pre order from Ace Free delivery in the UK<<<<<


1. Woman (Shake Your Booty)
2. A Love Vibration
3. Only A Fool
4. Little Bit Of Love
5. Groove Me
6. Jump Into Love
7. Leave Your Hat On
8. I've Been A Fool
9. Blinded By Love
10. Ain't No Pity In The Naked City
11. You've Lost That Lovin' Feelin'
12. Down So Low
13. All The Way Down
14. God's Song (That's Why I Love Mankind)
15. Power Play
16. Come A Little Closer
17. Feeling Uneasy
18. St. Louis Blues
19. Let's Burn Down The Cornfield
20. Lovin' Arms

http://acerecords.co.uk


Etta's Obituary in the New York Times:
http://www.nytimes.c...at-73.html?_r=0
By Chalky in News Archives ·

Soul Up North Issue 77 Out Now.... Rare Soul Fanzine...

Soul Up North 77 out now..
Drop me a message if you would like a copy.. Can post to Europe/ worldwide..
£3 plus £1.40 postage... paypal stevecato64@yahoo.co.uk
This issue’s highlights

An Interview with members of ‘The Epitome Of Sound’ (Soulmanjan) the group also feature on the sky blue cover.

Funk In Yo’ Face explores George Clinton’s ‘Mothership Connection’ (Howard Priestley)

Martin Scragg looks at the mysterious world of Cover-Ups.

We remember all those soul stars who have died in 2012

Test your soul knowledge with ‘Let’s Get Quizical’ a 60’s soul quiz (Dave Rimmer). A A brief look at Brian Cannon’s northern soul a photographic journey

another viewpoint on the question ‘What Is Northern Soul?’ (Lyn)

Plus all the usual goodies with lots and lots of vinyl with rare soul, R&B, modern soul, northern soul, deep soul, UK labels, singles, LP’s and much more. CD reviews & new 7” releases.
The latest collector’s CD info as compiled by ‘Hittin’ The Decks’ scribe Wayne Hudson.
Venue Reports + a look at the soul scene in York (Andy Bellwood)




By Little-stevie in News Archives ·

Betty Wright.. Live In Manchester.. Sat 16Th Feb...

Sat 16th Feb.....

Betty Wright live in Manchester.... One of the true great soul ladies indeed....

I am sure this event will sell out.... Some early bird tickets available on the link below. plus artist info etc....

Who is going then????



http://bandonthewall.org/events/3826/
By Little-stevie in Event News ·

Jimmy McCracklin RIP

We loose yet another old hero .......... Jimmy McC passed away yesterday .... R.I.P. .....
 
http://www.sfgate.co...eer-4136929.php
 
 
added by site
 
 
Jimmy McCracklin, one of the most prolific blues singers and songwriters of all time, with a recording career that spanned 1945 to 2010, died Thursday at Creekside Healthcare Center in San Pablo after a long convalescence.
 
Read more: http://www.sfgate.co...p#ixzz2FkjMne2e
 

 
 
Jimmy Mc Cracklin http://creativecommo...enses/by-sa/3.0)], by Lionel decoster (Own work), from Wikimedia Commons
By Roburt in News Archives ·

Edwin Starr's Cleveland Years

Charles Hatcher (Edwin Starr) was born in Nashville in January, 1942 but his family moved to Cleveland, Ohio while he was still young. Here Edwin was educated at the city’s East Technical High School. Whilst a student at this school his interest in singing developed. This isn’t surprising as the school seems to have been a spawning ground for male vocal groups at the time. The likes of the LaSalles & Carousels, who were both to go on to secure recording contracts, started up while the members were attending the school. Edwin also became a member of a group formed at the school, his group adopting the name of the FutureTones.
The group got its name by adapting the name of an established local group, the Metrotones. The Metrotones had started to come together as early as 1953 and they quickly built up a local following. Initially an all male outfit, the group's manager recruited Kim Tolliver to join them for a short period. The group's popularity led to them securing a recording contract and in 1958 they had enjoyed a release on the local Reserve label, “Please Come Back / Skitter Skatter”. The links between the two groups went further than just similar names though. They came from the same part of the city and the Metrotones leader, Sonny Turner, took Edwin under his wing and helped teach him to sing properly. The Reserve single was to prove to be the high point of the Metrotones career, however Sonny Turner was to go on to become lead singer with the Platters in the 60’s. Another member, Leonard Veal, ended up joining the Hesitations a few years later.
The FutureTones consisted of Edwin, John Berry, Parnell Burks, Richard Isom and Roosevelt Harris. The group performed at school shows and set about increasing their profile locally after Edwin graduated from school in 1956. They became ground breakers on the Cleveland scene as they soon became the first local outfit to be fully self contained, having their own instrumentalists as members. The musician members of the group were Russell Evans (guitar), Pinhead (trumpet), Julius Robertson (bass), Brownie (drummer) and Gus Hawkins (sax). The group would enter local talent contests such as those that were held at the Circle Ballroom. At these they would be up against other aspiring groups of young hopefuls trying to get onto the bottom rung of the ladder they hoped would eventually lead to recording success. Group names that Edwin recalls are the Sahibs, the Monarks and the Crescents.
The Sahibs had also been formed at a local school, this time though it had been Rawlings Junior High School. At the time one of their members was George Hendricks who was later to become a member of Way Out group, the Exceptional 3. A couple of years later Lou Ragland was to be co-opted into the group by its leader, James Dotson. Edwin acknowledges that the Sahib’s would almost always put on a fantastic performance, which his outfit had to strive to top. The FutureTones would usually perform the Metrotones song “Skitter Skatter” and they must have done it well as they won contests on 8 or 9 separate occasions. Edwin puts this down, in part, to his outfit’s better stage act as they were better dancers than most of their rivals. Edwin particularly remembers one contest though, at this the FutureTones and Sahibs were pitted against each other and their performances couldn’t be separated. As a result of this, the two groups were adjudged joint winners.
The leader of the Crescents was William Burrell, who adopted the professional name of Billy Wells. Billy went on to enjoy a long and successful recording career both with the Crescents and later with the Invaders and the Outer Realm. Billy relocated to Florida in the 60’s and here he cut a track, “This Heart, These Hands”, that was to go on to find favour with UK northern soul fans. The Monarks, Edwin recalls, would perform mostly El Dorados and Spaniels type tunes.
Other local outfits around at the time were the Fabulous Flames, Annuals and Cashmeres. The Fabulous Flames would enjoy releases in the late 50’s and early 60’s on Rex, Time and Baytone. Their line-up included Harvey Hall who would later go solo and record for Thomas Boddie’s Luau label. The group would alternate between having four and five members and so would always be taking on temporary members. One such member was Richard Fisher (Jessie’s brother) who was to relocate to New York in the sixties and join the Jive Five. The Annuals later secured a recording contract through their manager, Marty Conn, who started his own label, Marrconn Records. When the group broke up, members went on to join the Springers (Jeff Crutchfield) and Hesitations (Arthur Blakey). The Cashmeres, like the Sahib’s, never recorded in their own right, but the outfit’s Kenny Redd made it into the studio’s in the early 70’s when he was with Miystic Insight group True Movement.
The FutureTones, along with the other groups mentioned, would do the rounds of all the Cleveland live venues. The Mercury Ballroom, the Lucky Strike, Gleason’s, the Che Breau Club, the Rose Room at the Majestic Hotel, the Cedar Gardens, Playmor and Chatterbox Club. Joan Bias, who recorded for Way Out in 1963, recalls watching a really good FutureTones performance at the Cedar Gardens in the late 50’s. The Majestic Hotel was at that time employing two émigrés from down south, Eddie Kendricks and Paul Williams. Eddie was employed in the kitchen while Paul was a bell hop. The pair were using their positions at the hotel to good effect though. They would rehearse songs after work from around midnight to 3am along with the third member of their outfit, Kell Osbourne. They would also occasionally secure bookings to perform properly at the hotel. However the pair soon decided that Cleveland didn’t offer them the musical opportunities they were seeking and so they moved on to Detroit.
Eventually the FutureTones got to appear on a local TV show, the 'Gene Carroll Talent Show' and not long afterwards they went professional. The first engagement they secured after this was at the Chatterbox Club (which was located on Woodland near 55th Street) as support act to Billie Holliday. Edwin was totally in awe of Billie and although he got the opportunity to visit her dressing room to speak with her he doesn’t think that his attempts at conversation would have been too coherent. Further successful engagements followed and in 1959 the group secured a recording contract with Tress Records. A single, “ I Know / Rolling On” was released and made a few waves locally.
With a promising future in prospect for the group things appeared to be on the up for its members' but fate was to take a hand. In 1960 Edwin was drafted into the Army. Here his obvious talent as a singer was soon recognised and he got to perform for other servicemen at bases across the USA and Germany. Upon his discharge in 1962 he returned to Cleveland and attempted to pick up the reigns with the group again. In his absence, one of his old friends Demon (William Isom) had joined the group but they hadn’t been able to progress their career. With Edwin back in the fold they continued to perform locally but they had lost the impetus they had possessed a few years earlier. In 1963 Bill Doggett and his group swung through Cleveland and at the time Doggett was on the lookout for a new vocalist. Edwin caught his eye and so was offered the position.
He accepted, quit the FutureTones and left town to tour with his new outfit. Bill Doggett had a great influence on Edwin, especially with regard to his professional attitude to the business. He didn’t drink, always expected good discipline and insisted that those associated with him were accessible to the people they came in contact with. After a couple of years on the road with Doggett, Edwin began to develop his song writing skills and inspired by a James Bond movie he wrote ‘Agent OO Soul’. He thought the song had commercial potential but knew that to tie in with the hype currently associated with the spy movie it would have to be recorded straight away. He took the song to Doggett but, obviously not wanting to lose his talented vocalist, Doggett suggested it was too early for him to be contemplating cutting a record.
Luckily for Edwin one of their next live performances was at the Twenty Grand in Detroit. At this he was approached by Lebaron Taylor, which led to an introduction to Ric Tic Records and the rest is history.
With an instant solo hit on his hands, Edwin had to immediately put together a backing band so that he could tour to cash in on his new found success. He didn’t really know too many available musicians in Detroit so it was only natural that he returned to Cleveland to recruit the backbone of his needed line-up. The FutureTones had soldiered on after Edwin had left them but the vocalist’s in the line-up began to loose interest and gradually drifted away into normal 9 to 5 jobs. In fact no other vocalist from the group would go on to forge a career in the music industry. The musician side of the group however had gone from strength to strength. They found employment around Cleveland backing up visiting acts such as the Temptations. The respect that they commanded locally also led to them being used on recording sessions, with work on O’Jays and Intertains sessions being amongst those secured.
On Edwins return to scout out members for his tour band he sought out his old friends and in no time he had persuaded Gus Hawkins and Julius Robertson to go on the road with him. The pair stayed with him for some time before they eventually tired of living out of a suitcase and returned home to Cleveland. The pair’s departure with Edwin had finally signalled the end for the FutureTones and leader Russell Evans took a position in the O’Jays backing band. In the 70’s Gus Hawkins was to become a member of Musicor recording group S.O.U.L. and Russell Evans was to lead the backing band for Sounds of Cleveland / Devaki recording group, Truth. Edwin hadn’t finally severed his links with Cleveland though as in 1970 he returned to the city once again. This time he recruited local outfit, Mother Braintree, as his road band. After a year or so they also returned home where members were to merge with another local outfit to form the Dazz Band.
Edwin’s many years of commercial world-wide success only took off after he had left Cleveland, however he had spent his formative years in the city. Without the grounding he gained there who can say how his career would have progressed. He was still certainly well remembered by many residents of the city in the 1990's. Among the old friends that were hoping Edwin would return to the city was William ‘Demon’ Isom, who at the end of that decade still worked at Republic Steel.
By Roburt in Articles ·

Dynamites Feat Charles Walker

Think quite a few of you might like to find this under the Christmas tree on Dec 25th.
A great new album from Charles Walker & the Dynamites.
 
Better known probably to most as Little Charles and The Sidewinders who recorded many "Northern Soul" favourites for Decca, Little Charles or Charles Walker as he is known today, is still performing to this day as lead singer with the Dynamites.
 
 
 
New probably isn't the right word to use really as it could have been made 40 years ago.
The stand out tracks for me are track 3, Still Can't Get You Out Of My Heart.
 
Very nice & dare I say Crossovery & also track 6, Love Is Only Everything, 110% storming Northern Soul (honestly!).
 
 
 
The albums also available on vinyl & CD so format shouldn't be a problem.
Know how feeling is towards newly made retro sounding stuff but this really is very good as you'll hear on the link below.
The second link should take you directly to the Cosmic Groove website to purchase directly in the format of your choice.
 
http://thedynamitesf...only-everything
 
http://www.cosmicgro...293086d71a2308f
By Cunnie in News Archives ·

Charles Drain: Two Stupid Feet

Charles Drain was born in Eupora, Mississippi back in 1939. He began singing at the age of eight and formed his first group a couple of years later.
 
 
   
After moving to St Louis, he secured work singing back-up vocals before joining the "Tabs" as their lead singer. The group back then consisted of Charles Drain, Sonny Robertson (1st tenor), John Hopkins (2nd tenor) & Lionel Stokes (baritone). All the guys were childhood buddies though a couple of additional members (Tuman Hughes & Leroy Terry) had dropped out down the years. Sonny Robertson had started out in gospel groups as a teenager and had sung in male gospel quartets back in St Louis with the likes of Mel & Tim. Although not actually a member of the group, Charles’ brother William (Billy) was influential in their development. Billy schooled the group, helping them develop their singing skills plus he wrote songs especially for them. The group were signed by Vee Jay in 1962 and they enjoyed two 45 releases. Their first single was issued in December 1961 and this coupled “Dance All By Myself” (written by Ollie Jones) with “Dance Party” (written by Charles Drain himself).
 
 
 
The Tabs courtesy of "Doowop - Groups and Discography" http://www.blogg.org...rs-1310328.html
 
Their 2nd 45 also featured a song that Charles had written; “Mash Them Taters” (c/w “But You're My Baby”) and this escaped in June 1962. They got to tour, playing shows with the Miracles, Flip Wilson, Redd Foxx, Moms Mabley and the Isley Brothers at venues such as the Apollo, the Uptown in Philly, the Howard in D.C. & the Regal in Chicago. For their show at the Apollo, they were backed up by a group of musicians that included Phillip Upchurch (guitar) and King Curtis (sax). Next, the group were signed to a deal by New York based Wand Records. Their initial outing for the label was “Two Stupid Feet” (written by Wand's Luther Dixon) which was backed with a Billy Drain song “The Wallop” (Wand 130; February 1963). Reggie Obrecht, who had earlier worked with Leiber & Stoller on tracks by the Drifters, was responsible for the arrangements on the tunes. This single got some radio airplay and so Wand got behind it's release and placed some ads in US music magazines. By April, “Two Stupid Feet” was popular enough to land the group a big theatre gig in Philadelphia and this was followed by a number of other theatre bookings on the east coast circuit. Another 45 came out that July; “Take My Love Along With You (William Drain) / I'm With You” (Ed Townshend, Alvin Stewart) but this didn't do as well. The group had cut a number of other tracks for Wand (“The Big Show”, “The Landlord” and “Laughing To Keep From Crying”) but these failed to make it out of the tape vaults and so their career began to drift.
 
While Charles had been away from St Louis performing with the Tabs, his brother Billy had teamed up with Freeman Bosley and he did some work for Bosley's Teek label. Billy wrote some new songs and cut them on acts such as Billy James, the Ascots and the Petites (who included Barbara Carr in their line-up). Some of Billy's songs (written in conjunction with Reggie Obrecht) were also used on Scepter / Wand artists. “You Upset My Soul” was cut by Maxine Brown plus Don Gardner & Dee Dee Ford in 1963 and “Put Yourself In My Place” by Azie Mortimer, Maxine Brown, Dionne Warwick & Big Maybelle. Around the mid 60's, Charles decided that his future career prospects would be improved if he went solo and he soon followed that route. Still working in conjunction with brother Billy, Charles cut “Stop And Think About It” which was written & produced by Billy. Backed with “So Glad”, this was issued on Top Track (part of L-G Record Company of 4200 Missouri Avenue, East St Louis). Billy utilised local female group the Petites to back up Charles on his Top Track recordings, the ladies (Barbara Carr, Pat & Dorothy Ewing) giving a good account of themselves. The 45 did little at that time but it has gone on to be a highly collectable single that commands a high price with collectors. Charles continued to lay down tracks, some of these being cut under the supervision of Oliver Sain and brother Billy. When shopped around, two were picked up by Chess Records and released in June 1967 (“She's Gone / Here I Am”; both songs being written by Charles). He must have traveled up to Chicago to help promote his new 45 as in August he was appearing at clubs on the city's south side. One such venue being The Club (formerly the Club De Lisa) on South State Street (where the likes of Alvin Cash & the Crawlers, Otis Clay & Josephine Taylor were also regular performers). While in Chicago, Charles found himself singing backing vocals in local studios in support of artists signed to labels based in the city. But his solo releases again dried up and by the 1970's, Charles was back in St Louis trying to once again resurrect his music career. "¨"¨A new studio (CMC) had been built in St Louis and Kent Washburn had been appointed to run it and cut locally based acts. The first acts he worked with included the Hypnotics (who included ex Voice Masters member James Thompson in their line-up) and Marcus Kelly and Westmoreland Co. Phil Westmoreland was the leader of Westmoreland Company and he already had some studio experience as he had worked with the likes of Oliver Sain plus Charles and William Drain (the team writing some songs together). Work commenced At CMC and a major label deal set up for the Hypnotics. Another local who Kent Washburn recruited was Michael (Love)Smith. Born in St Louis, Michael initially led, sang lead & wrote for the family based group the Smith Brothers> The group's first single was released on the Gold Future label, the house label for the St Louis based Gold Future studios. Later in 1970, the group hooked up with the Isley Brothers and had a 45 released on the brother’s T Neck label . Under the revised name of Smith Connection, they were signed to H-D-H's Music Merchant label in 1972. But Michael wasn't making enough to support his family and so he jumped at the chance to join the CMC team. However the studio needed to be busier, so Kent Washburn and Michael (Love) Smith let it be known that they were holding auditions to find other singers to record. It came as no surprise that Charles was one of the first to learn of this and turn up at the studio to try out. Kent & Michael were suitably impressed and he was quickly signed up. The auditions also resulted in the Love Set being signed to a contract. Kent (with Michael L Smith) immediately started work on tracks for Charles Drain and the Love Set which it was agreed would be released by RCA. "¨
 
Unfortunately just at that time, things were going sour for CMC. There were other studios in St Louis and these were still cutting tracks. CMC Studio was the best & most modern studio in town but unfortunately this made it the most expensive to run. The studio wasn't making money and the parent company's Board of Directors and shareholders forced its closure. Kent found himself out of a job but he was allowed to keep the rights to all the masters and artists that had been cut in the studio as his severance pay. But he had to find a new work base in St Louis, so he checked out what the other three local studios had to offer. Kent made use of the facilities at Professional Artists studio (owned by Parvin Tramell), Gold Future Studio (owned by Russ Lewis) and Technisonic Studios. He made a deal with Parvin to use Professional Artists studio to cut rhythm tracks. Working with Bill Olszewski, the pair would shuttle back and forth between Professional Artists and Gold Future depending on what they were doing and the budget that was available to them. They took on some outside projects cutting other artists for releases on local labels, but working with Charles Drain was their main task. The acoustics at both Technisonic & Professional Artists were far from perfect so Kent cut some lead / backing vocals (+ strings & horns) on Charles Drain in RCA Studios in New York. One of the outside projects that Kent had taken on was with Jamal Trice. Trice had taken the master tapes produced by Kent, headed off to LA and had landed himself a deal with Motown.
 
Impressed by what she heard on the tapes, Gwen Gordy approached Kent and also offered him a deal with Motown. After meeting with Gwen, Kent decided that working for the mighty Motown gave him & his family much more security, so he signed with the company. His Motown contract was prepared and the fine points were settled with RCA to enable him to conclude the work required on Charles Drain’s album. With the last string and horn session on the Charles Drain cuts finished in RCA’s LA studio (this was the only LA based horn session that Kent would ever actually play on himself), Kent completed work on the album in St Louis (on his own) and turned the project in to RCA. Kent was allocated new Motown group Hi Inergy to work with, but back in St Louis Charles Drain found himself without the services of the producer of his new recordings.
 
RCA having licensed Charles' St Louis cut tracks, they set about releasing them. First to hit the shops was the 45 “Is This Really Love / Only You” (PB 10186 — January 75). "Is This Really Love" had been written by Michael Lovesmith and produced by Michael in conjunction with Kent Washburn). Despite “Is This Really Love” being a great uptempo cut that should have sold really well, RCA didn't promote it correctly and it slipped between the cracks. Charles would have to wait almost a year before his next release came out. This, another 45, coupled “Lifetime Guarantee Of Love (a Ray Dahrouge song) and “Just As Long” (10521 — early 76). After that, RCA started pushing out Charles' releases at a hectic rate. His 9 track strong album, 'Dependable' (APL-1414), soon followed, as did his final RCA 45. “I'm Gonna Stay / What Good Is A Love Song” (10594) effectively ending his RCA career in March 76. Due to their quality, some of his cuts had also escaped outside of the USA. In the UK, “Is This Really Love” made it out on a 45 in October 1976. His final US RCA 45, “I'm Gonna Stay,”has gone on to become a favorite with soul fans around the globe. Also after his “What You Don't Know” was included on the Various Artist US RCA album 'Disco Express Vol.2' in November 76, this was also released in Argentina.
 
 
Back in LA,, Kent got to use some of the best studio musicians (Ray Parker, Paul Jackson, Ray Edwards, Ollie Brown, etc) on his work with Hi Inergy. Kent's initial Motown contract had been signed in early summer 1976 and had only been for a 12 month period. By July 1977, just as he was ready to submit the Hi Inergy album for release, the contract expired. He received a letter sent out by Motown’s A&R Department stating that his contract wasn’t to be renewed, so Kent flew back to St Louis to see if he could resurrect his career back there. Still believing that he had submitted some great tracks to Motown, Kent just teamed up again with Charles Drain and they started work on four new songs. After having seen how good the likes of Syl Rivers, Ray Parker, Ollie Brown and Ray Edwards had been on the Hi Inergy tracks, Kent was keen to use the ‘Motown Boys’ again. So he got them involved with three of the tracks that Charles cut; “A Little Bit of You” (written by Ray Parker), “Who’s Gonna Love You” (written by Gloria and Richard Jones) and "You're In My Dreams". One finished track from Charles remained spare from the RCA deal, this being "I Could Stay All Night" which had been recorded in St Louis at about the same time as his tracks that RCA had put out. Kent's new work with Charles was progressing well and some weeks had passed since he had arrived back in St Louis. Then a call came in from Gwendolyn Fuller (Gwen Gordy’s close colleague). She said that Berry Gordy himself had heard the tracks Kent had laid down on Hi Inergy and was mightly impressed with them. When he had been told that Kent’s contract had been terminated, he had immediately issued instructions that matters be put right. So Kent was reinstated at Motown and he flew back to LA. This action though resulted in the new Charles Drain tracks being left incomplete. Kent's Hi Inergy tracks enjoyed instant commercial success (the group's 1st 45 “You Can't Turn Me Off” going to No. 2 on the US Soul charts). Following that, Kent entered into a working arrangement with the group that lasted for another two years.
 
But in 1979, Kent Washburn quit his position with Motown and looked around for a new challenge. He still had the master tapes for some tracks he had cut in St Louis in the mid 1970’s that remained unissued and these would provide him with one opportunity. Almost immediately he met Tony Hart, the man behind the Hartsong Corporation that ran Spirit Records (a contemporary Christian rock label). The pair hooked up and Kent took the post of Vice President / General Manager of Spirit Records. The Hartsong Corporation had been set up in part to exploit a tax loophole. The Corporation produced and acquired masters that were then sold to investors to allow them to take advantage of tax credit rules. As long as records were pressed up and distributed, the product could be ‘sold on’ to investors who could then claim back more than they had paid as a tax write-off. Kent made the 'unused masters' cut in St Louis available and these were released on his re-activated Emkay label. A small number of each release was pressed up. These were ‘distributed’ as required under the tax laws but all that really happened was a few copies were sent to local DJ’s and industry people. Some copies were also passed along to the investors with the remaining stock going straight into a warehouse. So the public remained totally oblivious to the existence of these new Emkay records. In all there were 12 releases on the Emkay label in 1979; 10 No. 45’s + 2 No. LPs. One of the 45's (EM1008) featured Charles Drain's “I Could Stay All Night” (the song again being penned by Michael ‘Love’ Smith) which was coupled with a Westmoreland Co. instrumental (“Don't Suprise Yourself”). This action was taken as Kent only had one ‘finished’ track by Charles Drain that hadn’t already been released by RCA. No hope existed of any of the Emkay 45's resurrecting the careers of the artists involved and so Charles never got the chance to benefit from the release of the single.
 
Things soon got worse however for the Hartsong Corporation. The company’s main funding came via the 'tax break' investments but the lawyer involved was getting a bit too creative in his tax write-off claims and Hartsong soon had major problems with the US government. The lawyer flew to Canada to try and es
ape the consequences of his actions, but he was eventually rounded up and spent time in prison. Hartsong collapsed though and Kent had to move on, this time he embarked on a number of gospel projects in LA.
 
Charles Drain was still 'out of the action' back in St Louis. Most St louis based soul acts left the city to make it big recording wise. Many went to Chicago or Memphis, but by the 1980's even this course of action was proving less successful. In any case, Charles was now in his 40's and the prospect of moving again in an attempt to further his music career wasn't a realistic prospect. He managed to stay connected locally and this resulted in his final record release. He cut some tracks that were put out by the St Louis based Professors' 50 / 50 label. This was run by Mitch Wadley (who wrote Charles' song & produced the track). “When You Say You Love Me” was a great deep soul cut which demonstrated that vocally Charles still had it. That was to be his last fling at reaching the wider record buying public and with Charles now being in his mid 40's, he drifted off the scene. About ten years later, Charles passed away in St Louis (March 1995) at the relatively young age of 55. He certainly had made his mark on the music business but with a bit more luck, he could have been up there with the most succcessful male soul singers. He was certainly equiped with the vocal talent to have enjoyed more fame and this fact was demonstrated when his RCA outing “Is This Really Love” was included on the Soul Brother Records CD 'the Wants List 3’ in 2007.
By Roburt in Articles ·

It's About Time - Bobby Brooks Wilson

Some may ask "Who is Bobby Brooks Wilson"
Well there is a clue in his surname and photos of Bobby give further hints to who he is!
 
His story is a true rags to riches tale. Bobby Brooks Hamilton was born in New York (1961?) but as an infant he found himself in the foster care system in South Carolina where he grew up in Columbia. His childhood was a sorry one where he suffered numerous ailments and childhood diseases from rickets to bronchitis and spent some years in a body cast and he also wore weighted shoes. He couldn't enjoy a normal childhood and found solace in music.
He was accidentally discovered his mother, an alcoholic, was not his real mother. His father wasn't revealed to him nor did he try to find out.
Despite all his troubles Bobby finished high school and completed two years at college where he majored in electrical engineering. He also found time to get married during which time they had a son, Bobby Jnr. The marriage was rocky and ultimately failed.
Seeking a way out Bobby dropped kurt of college and joined the Navy in which he served for 10 years after which he received an honourable discharge, medical issues had once again raised their ugly head to blight his life, this time kidney stones.
Shortly after leaving the Navy he was to appear in talent showed and karaoke bars during which time he was spotted by Peter Hernandez (lead of Peter and the Love Notes) and asked Bobby to join the Hernandez family group. Peter's son was part of the show impersonating Elvis and was to find fame in his own right later in life as Bruno Mars.
Anyway back to the story, Bobby accepted the invitation and performed as back up singer and he was coached in vocal impersonations.
Paul Revere spotted Bobby at a show in Hawaii and afterwards asked Bobby to do a Jackie Wilson medley. Bobby refused at first as he wanted to be a singer not an impersonator but Paul persisted until Bobby did as asked.
Paul immediately told John Stuart, creator of LA Legends in Concert Tribute shows about Bobby and they immediately hired Bobby.
In the meantime, Bobby had confronted his real mother who was Willie Mae Benton to try and find out the identity of his father. His mother was a former party girl and now an alcoholic told Bobby she was unsure who his father was.
 
It wasn't until Bobby sent his mother a photo of himself thats she asked "why send me a photo of him (Jackie Wilson)?" Bobby's reply it is me not Jackie to which she retorted "Don't ever send me any pictures of him again".
After Bobby persistently questioned his mother she finally admitted she hung out with Jackie Wilson (she was 14 at the time) but didn't know if he was his father. It wasn't until Bobby met Billy Raquel Davis that he learned the truth.

It was during a Legend's Show in Atlantic City that the Four Tops saw Bobby and asked to meet him afterwards upon which the many similarities were pointed out. They said the looks, the voice, the gestures, and even the laugh are uncanny and the fact they both sang in the same register and talked alike. Levi Stubb's, Jackie's cousin was convinced they were family. Levi asked Billy Davis to check Bobby out which he duly did and after hearing Bobby's story said he knew Bobby's mother and confirmed what the Four Tops suspected, that Bobby was Jackie's son.
Shortly Bobby was introduced to members of Jackie Wilson's family and blood tests were to prove beyond doubt that Bobby was indeed Jackie's son. He changed his name to Bobby Brooks Wilson to reflect his new life.
Bobby continued to impersonate other singers, not only in the Legends Tours but aboard cruise ship on which he found regular employment impersonating Nat King Cole, Johnny Mathis, Little Richard, Sam Cooke and Stevie Wonder. he also impersonated his father Jackie in a Memories of Motown show celebrating Motown's 50th anniversary put together by Al Abrams.
Fast forward to 2012 and Bobby Brooks Wilson is attempting to make it as a major star in his own right in mainstream music.
Signed to Plateau Music in Nashville by Tony Mantor who released a 12 track CD titled "It's About Time".
Amongst the tracks are covers of his fathers work. Listening to "Lonely Teardrops", "I Get The Sweetest Feeling", To Be Loved" and Just Call My Name" you can hear his father in him at times. A notable cover of Otis Redding's "I've Been Loving You Too Long", the opening track "I Can't Love You Anymore" in which he tells his lover he can't love her anymore than he already does and the final track a self penned "It's About Time" showcases Bobby's talent and introduces him to a wider audience.
Some would say it is about time for someone who has suffered so much when you consider who his illustrious father was.
The CD comes with liner notes penned by Al Abrams (from which much of the above information came from) and contains rare photos of Jackie and tells the story in more detail of Bobby Brooks Wilson.
 

Hopefully this is the first step in Bobby's career as a performer in his own right and I look forward to his next release which will hopefully showcase more of Bobby's talent and feature more self penned and/or original material, he certainly has the vocal talent to deliver the goods.
To buy the CD visit: http://www.plateaumu...m/coolstuff.cfm
or listen to samples and download via iTunes
https://itunes.apple...28?ign-mpt=uo=4
To read more about the life and times of Bobby visit his own we site at:
http://www.bobbybrookswilson.com
By Chalky in Articles ·

TOPPS 45s 'Yeah, But Can You Play ‘Em?'

TOPPS 45s — “Yeah, But Can You Play ‘Em?”
 
The memorabilia available to collectors of Berry Gordy’s Motown and its subsidiary labels and companies covers the whole spectrum of artefacts. From rare unreleased acetates that never made it past the infamous Friday quality control meetings to The Supremes vintage advertising on wrappers of loaves of bread, the Motown collector’s thirst for all things ‘Hitsville’ knows no bounds. In the past I’ve found every type of artefact from beer glasses to Hot Rod engines that have borne some branded connection to West Grand Boulevard. I’ve even found a teenagers handbag bearing the “Stop!” sign that was manufactured as a Motown inspired item that some Madison Avenue middle ranking executive must have thought was gonna get him up another rung of the corporate ladder!

 
Don’t worry, we’re not gonna spend the few minutes discussing the bakerlite telephone used by Martha Reeves when she entered 2648 WGB as a temporary stand in receptionist or the number of sequins in the glove used by Michael Jackson. (A Motown fan who shall remain anonymous actually knows the answer to that question - I kid you not!) We are however, over the next few paragraphs, going to discover that not all Berry Gordy’s collectible 45s were in fact made of vinyl/styrene and that the picture disc which became popular with record companies in the 80s were in fact, a rehash of a sixties promotional tool. Oh yes indeedy.
 

TOPPS, an American company better known for baseball cards, sold cardboard flexi picture records of Motown stars in the late 60s that included a stick of bubble gum from candy stores for fifteen cents. I’m not 100% sure as to whether they were manufactured under licence from Gordy or whether he commissioned them himself but either way whoever made the decision opened up a whole can of worms for collectors a few decades later. The title of this feature is taken from what is usually the first question people ask when they see the discs. The answer is a resounding “Yesiree!” However, unlike the similar, (but smaller), Philco Rocket Record series that the ford Motor Company manufactured around the same time, the TOPPS 45s don’t require a specific record player and can be played on a generic standard turntable as long as it has a 45rpm speed.
 

 

 

Granted that the records are made of cardboard, are 40 years old and were sold as a disposable item with that other piece of Americana, bubble gum, it will come as no surprise that mint, sleeved copies of the discs are now very much sought after by Motown collectors worldwide. Along with the company’s picture sleeves, EPs and mini LPs they provide a slice of memorabilia from the vintage years of the company’s success that is unusual, and the set is pretty good to look at as well as to listen to. Many people confuse these discs with cereal company giveaways. The cereal discs that used the Motown connection are in fact unrelated to the TOPPS company and were issued as a completely separate entity and were a later promotion using The Jackson 5 as the conduit. It’s also worth noting too that many of the discs, when you find them for sale, are actually glued either together, (back to back), or have been glued to another record from the era. I suppose their original owners thought this would make them play better but of course 40 years later it’s a pain in the proverbial trying to separate them. In fact I gave up after a couple of attempts and simply accepted the fact that I’d have to find them as separate discs. It also of course destroys the flip side graphics and the bio of the artists of course. Same frustration when you see a nice UK rarity with the centre dinked out eh? GRRRR!
here 
 
Each of the TOPPS record has a playable song that the artist has had a hit with on one side with a brief synopsis of the artist/group on the flip side. All the records included on the discs were both Pop and RnB chart hits so there are no out and out Northern Soul rarities included but rather it’s a time-capsule of 1967 and the success Motown had experienced with its top stars up to that period. Some of the pictures of the groups are worth the cost of the disc alone as they are pretty much unique in that they don’t appear on LP covers or picture sleeves. A good example of this is the 1004 — The Temptations — My Girl which portrays the group in a relaxed pose dressed in tropical shirts and adorned with ships captain’s hats. Most of the discs show a good quality vintage colour photograph of the artist and are worth collecting for this feature alone.
 
 
 
 

 
 
 
All the really major Motown acts are represented in the set and, like all sets of collectables, there are some that you can’t help tripping over at record fairs, garage sales etc but there are others that are much harder to find, especially in Mint condition. For instance 1007 Martha and The Vandellas - Dancing In The Street can usually be picked up for a few dollars whilst in my experience the 1011 The Miracles — Shop Around is particularly hard to locate in reasonable condition. Similarly 1013 The Temptations - The Way You The Things You Do also appears to be difficult to add to your collection in mint condition and is probably the best picture of all the discs. The group is shown in classic pose during a show with David Ruffin out front and the remaining guys wrapped around their trademark mike stand.
 




 
 
The best representation on the discs in my opinion goes to The Supremes. The group is featured at the height of its popularity and shows the original Hitsville line up of Diana, Flo and Mary in four classic poses from their heyday. Where Did Our Love Go and My World Is Empty Without You were probably from the same photo session as the girls are shown wearing the same dresses* but the latter is somewhat of a special photo, in that it shows Florence Ballard front and centre. Not many press/PR pictures show Ms Ballard as the centre image.

 It must have been company policy to utilise a set wardrobe for these publicity shoots as many artists can be found on pictures wearing the same outfits. Probably the most noticeable “double up” is the green dress worn by Kim Weston for the MGM LP. It’s exactly the same dress as seen worn by The Marvelettes in their classic LP. I also seem to recall seeing a vintage picture Martha and The Vandellas in the same outfits.


 
I’ve attached a complete set of the discs here but have to confess that The Miracle ‘Shop Around” doesn’t belong to me so if anyone can help me out with that last one I’d be grateful. In fact if you could all bombard Mr Rod Shard with threats of dismemberment unless he takes the one off the inside of the lid of his old rekkid box for me that would also work!

 
So, there we have it…a slice of Motown memorabilia that don’t cost the Earth, looks good, takes a while to put together I good nick and ……you can play ‘em! What’s not to like about this collecting palaver eh?
 

 
Dave Moore
December 2012

By Dave Moore in Articles ·

Stocking Fillers 5 More Super-Value Backbeats Artists Comps For Xmas

I'm a bit late on these due to workload, moving home etc, but these 5 releases came out on Monday and are available at all good music stores for a fiver a pop or thereabouts!

Pretty much unbeatable value for such timeless music!

BACKBART006 Bobby Patterson — Texas Soulman Extraordinaire
Compiled by Sean Hampsey



1. This Whole Funky World Is A Ghetto 3.27 - Bobby Patterson
2. If You Took a Survey 2.39 - Bobby Patterson
3. It Takes Two to Do Wrong 2.08 - Bobby Patterson
4. How Do You Spell Love 2.25 - Bobby Patterson
5. Right On Jody 3.10 - Bobby Patterson
6. Quiet! Do Not Disturb 2.05 - Bobby Patterson
7. I Just Loved You Because I Wanted To 2.25 - Bobby Patterson
8. Make Sure You Can Handle It 2.44 - Bobby Patterson
9. What Goes Around Comes Around 2.50 - Bobby Patterson
10. If Love Can't Do It (It Can't Be Done) 2.55 - Bobby Patterson
11. Everything Good To You (Don't Have To Be Good For You) 3.00 - Bobby Patterson
12. I Get My Groove From You 3.24 - Bobby Patterson
13. Recipe for Peace 3.18 - Bobby Patterson
14. I'm In the Wrong 4.29 - Bobby Patterson
15. One Ounce Of Prevention 3.03 - Bobby Patterson
16. Take Time To Know The Truth 3.39 - Bobby Patterson
17. She Don't Have to See You (To See Through You) 3.23 - Bobby Patterson

Amazon Link:-

http://www.amazon.co...54882626&sr=1-1

BACKBART007 Lee Dorsey — Big Easy Soul Champ
Compiled by Dean Rudland



1. Get Out My Life Woman 2.28 - Lee Dorsey
2. Give It Up 3.01 - Lee Dorsey
3. Everything I Do Gonna Be Funky 3.03 - Lee Dorsey
4. Four Corners 2.46 - Lee Dorsey
5. Ride Your Pony 2.50 - Lee Dorsey
6. Working In A Coalmine 2.46 - Lee Dorsey
7. Go Go Girl 2.07 - Lee Dorsey
8. Can You Hear Me 2.17 - Lee Dorsey
9. Here Comes The Hurt Again 2.36 - Lee Dorsey
10. The Greatest Love 2.22 - Lee Dorsey
11. Work Work Work 2.37 - Lee Dorsey
12. Shortnin Bread 2.58 - Lee Dorsey
13. Little Ba-By 2.51 - Lee Dorsey
14. Candy Yam 2.18 - Lee Dorsey
15. Holy Cow 2.30 - Lee Dorsey
16. People I Wish You Could See 2.05 - Lee Dorsey
17. Take Care Of Love 3.17 - Lee Dorsey
18. Feelin’ 2.02 - Lee Dorsey
19. Cynthia 3.16 - Lee Dorsey
20. Hello Mama 2.30 - Lee Dorsey
21. Vista Vista 2.42 - Lee Dorsey
22. Confusion 2.40 - Lee Dorsey
23. Wonder Woman 2.41 - Lee Dorsey
24. The Kitty Cat Song 2.07 - Lee Dorsey

Amazon Link:-

http://www.amazon.co...54882703&sr=1-5

BACKBART008 Syl Johnson — Mississippi Mainman
Compiled by Dean Rudland



1. We Did It 2:36 - Syl Johnson
2. The Love You Left Behind 2:46 - Syl Johnson
3. Keepin' Down Confusion 2:43 - Syl Johnson
4. Main Squeeze 3:09 - Syl Johnson
5. Star Bright Star Lite 2:56 - Syl Johnson
6. Anyway The Wind Blows 2:55 - Syl Johnson
7. Wind, Blow Her Back My Way 2:26 - Syl Johnson
8. Steppin' Out 3:22 - Syl Johnson
9. I Hate I Walked Away 3:28 - Syl Johnson
10. That's Just My Luck 3:13 - Syl Johnson
11. I Hear the Love Chimes 2:46 - Syl Johnson
12. Back for a Taste of Your Love 2:37 - Syl Johnson
13. Anyone But You 2:36 - Syl Johnson
14. Could I Be Falling In Love 3:11 - Syl Johnson
15. I Wanna Satisfy Your Every Need 2:46 - Syl Johnson
16. Who's Gonna Love You? 4:44 - Syl Johnson
17. I Want to Take You Home (To See Mama) 2:38 - Syl Johnson
18. You Don't Know Me 4:03 - Syl Johnson
19. I Let a Good Girl Go 4:21 - Syl Johnson
20. Let Yourself Go 3:11 - Syl Johnson
21. Come On Home 3:26 - Syl Johnson
22. Please Don't Give Up On Me 2:36 - Syl Johnson
23. Stand By Me 3:18 - Syl Johnson
24. I Only Have Love 3:05 - Syl Johnson
25. Take Me to the River 3:04 - Syl Johnson

Amazon Link:-

http://www.amazon.co...54883113&sr=1-3

BACKBART009 Chairmen Of The Board - Executive Group
Compiled by Dean Rudland



1. Working On A Building Of Love 2.57 - Chairmen Of The Board
2. You’ve Got Me Dangling On A String 2.59 - Chairmen Of The Board
3. Pay To The Piper 3.08 - Chairmen Of The Board
4. Give Me Just A Little More Time 2.43 - Chairmen Of The Board
5. Everything’ Tuesday 2.50 - Chairmen Of The Board
6. Chairman Of The Board 3.36 - Chairmen Of The Board
7. Elmo James 4.21 - Chairmen Of The Board
8. Finders Keepers 4.09 - Chairmen Of The Board
9. Everybody Party All Night 4.08 - Chairmen Of The Board
10. Feeling Alright 3.43 - Chairmen Of The Board
11. Come Together 3.51 - Chairmen Of The Board
12. Skin I’m 4.17 - Chairmen Of The Board
13. I’m A Sign Of Changing Times 5.44 - Chairmen Of The Board
14. I’m On My Way To A Better Place 4.06 - Chairmen Of The Board
15. Hanging On To A Memory 4.13 - Chairmen Of The Board
16. Since The Days Of Pigtales (and Fairy Tales) 2.43 - Chairmen Of The Board
17. Patches 3.32 - Chairmen Of The Board
18. When Will She Tell Me She Needs Me 3.05 - Chairmen Of The Board
19. Let’s Have Some Fun 3.44 - Chairmen Of The Board
20. So Glad You’re Mine 4.14 - Chairmen Of The Board
21. You’ve Got Extra Addded Power In Your Love 3.30 - Chairmen Of The Board

Amazon Link:-

http://www.amazon.co...54883067&sr=1-1

BACKBART010 Sydney Joe Qualls —Windy City Wailer
Compiled by Ralph Tee



1. Next Time I Fall In Love - Sydney Joe Qualls
2. Where The Lillies Grow - Sydney Joe Qualls
3. Run To Me - Sydney Joe Qualls
4. I'm Being Held Hostage - Sydney Joe Qualls
5. I Enjoy Loving You - Sydney Joe Qualls
6. Can't Get Enough Of Your Love - Sydney Joe Qualls
7. Please Help Me - Sydney Joe Qualls
8. How Can You Say Goodbye - Sydney Joe Qualls
9. Shut Your Mouth - Sydney Joe Qualls
10. If You Don't Know Me By Now - Sydney Joe Qualls
11. I'll Run To Your Side - Sydney Joe Qualls
12. Let The Woman Know - Sydney Joe Qualls
13. I Don't Do This (To Every Girl I Meet) - Sydney Joe Qualls
14. So Sexy - Sydney Joe Qualls
15. Good Ol Funky Music - Sydney Joe Qualls

Amazon Link:-

http://www.amazon.co...54881953&sr=1-1

Happy Xmas!

Ian D
By Ian Dewhirst in News Archives ·

Refosoul Revamp - A Quick Intro

Here's the first step of the return of Refosoul

As now open and running, I though best just push out a few words...

Aim has always been from day one is to provide a reference for soul, this time around this has been the main focus along with a wiki style approach to the content
The thinking is that each track can be used to provide a one stop place for members to read, post and share all the relevant related info

It is the first runnings so things have been kept to the basics, there are improvements ongoing/planned but it make sense to check that the basics are all solid first

Basic intro

Two pages make up this feature

1.Index Listing

All tracks can be accessed from the main index
Can sort via artist, titles etc plus various filters and alphabetical listings avaialble
Also live artist, title, label search - just type 3 characters for results

Links on each track row take you to the actual track page, or off to related artist,label listings etc


2. Track pages

Basically the place for all the specific track related info , images, comments, price guides, reference links, mps purchase/preview, etc etc
Setup in a Wiki style so all members can contribute by adding or editing the info on each track - just use the marked wiki links

1. Main image
2, Main info - as said can be added to wiki style
3. Various track info - depends on what has been entered
4. Price guide feature - all member can add their value/price rating in less than 5 seconds - just hit buttom, enter and hit button again
5. Comments - dynamic comment system plus comments are posted automatically in the forum version
6. Mp3 previews and links to puchase
7. Rated Youtube related clips green for strong, blue and grey for possible/weak - testing sees good results for green but crap for blue and grey
(see below for more audio info)
8. Members can also add verifed youtube clips on each page
9. Extra images Section- add extra issues, boots etc
10 Ebay auction both upcoming and recent results for the artist, track and label
11 Cd and vinyl results from amazon - reference for cd availabilty
12 Direct links to search popsike, c frenzy , gemm and music stack (bmi as well but you need to visit twice)

Quick word on some of the various points


Wiki Style editing
Set up so all members can add/edit to the track details
be it background info, label details or even spelling mistakes, all ask is that use common sense and treat with respect

Price Guide
A feature where all can add to and hopefully can build up to a decent, free real world feature

Audio
This version audio wise currently just contains rated youtube related links and amazon preview clips
Approx 60% of 35k+ tracks have a strong rated youtube link (green) the rest (blue and grey) are fairly weak and have left just in case for now
A third of clips show a mp3/amazon reference clip
Plans are in the near future to expand the audio side in a legal manner

Content
The content is all from members posts thru the years, and there is still ongoing work to rectify omissions and errors
Member can help by using the wiki style editing

Adding new track info
This will be switched on once things have been proven and tested

Browsers
Should be ok in modern browsers ie9/10 ff, safari etc
ipad seems to work well
ie8 may have problems
Further testing etc hopefully will improve

Mobile version
not ready, hopefully will get sorted soon
if possible use the full skin

That's about it, as said a few changes to the focus and such and with the wiki type setup and stuff such as the price guide elements it could be a useful member led feature

link to the index page below

as they say, enjoy
mik
e
By Mike in News Archives ·

Dennis Coffey Interview

Hi folks,
 
This may well be of interest to some of you. I have recently just interviewed the legendary Dennis Coffey for my soul & funk blog, Gazfunk. As you probably know, Dennis doesn't give interviews very often so we're delighted that he agreed to chat about all things Motown, Scorpio & Rodriguez.
 
You can check out the interview by going to http://gazfunk.wordp...-dennis-coffey/
 
Cheers!
 
Gazfunk
By Guest in News Archives ·

Shelley Haims Of Pied Piper Died This Morning 28 Nov 2012

After a long illness Shelley Haims passed away in hospital in California this morning. I learnt the news as I was just finishing the first CD of Pied Piper productions that we licensed from him and his business partner in Pied Piper Jack Ashford. Shelley had a long career in the music business, starting out in his native Ohio in the 1950s.
 
A song he wrote with Perry Stevens 'We Go Together' was a hit for the Moonglows in 1956 and for Jan & Dean 4 years later. The forthcoming CD will feature a Detroit soul version of the song by the Cavaliers.
 
Shelley co-wrote several Pied Piper songs under the alias Randy Scott. Prior to Pied Piper he worked at Golden World and on Super Sonic Productions for labels such as Sport, Sir-Rah and Boss.
 
I was able to convey through his daughter Lynn our admiration for his work only last week and they were both very happy that those songs meant so much to us.
By Ady Croasdell in News Archives ·

Spyder Turner, Pat Lewis And Daryl Grant Live On Stage

Fay Jones has been in touch with news of her forthcoming Souldham 2 on saturday January 12th 2013. The highlight of the night will be the appearance of not one, not two, but three artists should guarantee a packed house.








Spyder Turner needs little introduction. His only appearance in this country to date was for a private event. With Northern Soul Classics to his name such as "I'm AlIve With The Loving Feeling", "You're Good Enough For Me", "I Can't Take It No More/Don't Hold Back" and "I've Got To Get Myself Together". His LP "Stand By Me" is a must for all collectors. Famed for his impersonations of other singers he will be one act not to be missed.





Pat Lewis is another who needs no introduction to UK Soul music lovers having visited these shores several times. "Warning" , "Let's Go Together", "I Can't Shake It Lose" and the rarity "No One To Love".





Lastly Daryl Grant might not be a name familiar with everyone but his CV includes many acts that are more than familiar. Singer Darryl was the lead singer of Fat Larry's band appearing on three of their releases. Darryl has also recorded with The Rolling Stones, Eddie Kendricks, Blue Magic, and Major Harris and had a brief stint with The Natural Four. He is also member of the vocal group Spectrum who's award winning show ran for four years in Las Vegas. Spectrum’s credits include European tours, headlining aboard Royal Caribbean, Princess & Norwegian Cruise Line ships, a Doo-Wop to Soul Review at the Hollywood Palladium, as well as performances with over 40 symphony orchestras throughout North America.

Visit Darryl's website: http://www.darrylgrantmusic.webs.com/

As for the rest of the day and night it is a real marathon of soul music in two rooms with 16 hours of music with 24 DJ's from around the country.

Main Hall

Every genre of Northern Soul to add a touch of fun we have the battle of the DJ's England via Scotland. Expect a few tricks from these DJ's as they battle it out.

Live on stage at around 9.30pm direct from the USA

Darryl Grant, Pat Lewis and Spyder Turner
backed by a full backing band The DJ Jones Band AKA Soul-What

This will be the first public appearance of Spyder Turner and Darryl Grant in the UK.

In the Chadderton Suite
from 2pm to 3am the music policy is Motown, Philly, Club Classics and Ska.

3am to 6am Freestyle

Please note that all our DJ's have given their time for free.

The cost of tickets for this event are £17 on the day or £15 if booked in advance.
For full details visit the website: http://www.souldham2.co.uk/index.html
By Chalky in Event News ·

Lenny Kravitz set to to play Marvin Gaye

News out that Lenny Kravitz is set to to play Marvin Gaye in the planned film about the later years of the Motown singer’s life.
Over the years there has been quite a bit of talk about two or three Marvin Gaye related mainstream film projects, looking like that at last we may be getting close to viewing a released one
Evening Standard quote below
full article can be read here
http://www.standard....ye-8328785.html
Related odds
Ostend do now offer a Marvin Gaye related tour/walk, the ad below may be of interest
And an interesting take on this can be read here
http://sophiadeboick...n-gayes-ostend/
Clip from the Transit Ostend Documentary film
By Mike in News Archives ·

Beach Music Singer Billy Scott Dies, R.I.P.

Sad news Billy has lost his battle to Cancer, Thoughts are with his wife,family and friends.R.I.P.Billy.
Added by site:
http://www.myrtlebea...illy-scott.html
Beach music singer Billy Scott dies By Brad Dickerson - bdickerson@thesunnews.com
MYRTLE BEACH -- Those who knew Billy Scott said his lasting legacy is how unselfish he was in championing beach music.
“He wasn’t trying to promote himself at all,” said Rep. Tracy Edge, R-North Myrtle Beach, who has counted himself a fan of Scott’s music since he was a child.
Harry Turner, president of the Beach Music Association International, said Scott was probably the best ambassador of the genre there ever was.
Scott, whose beach music hits included “I Got the Fever” and “California,” died Saturday in Charlotte, N.C., following a short battle with cancer.
He was 70 years old and leaves behind his wife, Gail.
Lulu Quick, a friend of Scott’s and an employee at Fat Harold’s Beach Club in North Myrtle Beach, said she was notified of his passing early Saturday morning by another friend.
“He was an excellent entertainer, just a sweet person. Would give you the shirt off his back,” said Quick, who added her friendship with Scott went back to 1974.
Turner said Scott’s illness came about suddenly within the last month.
At his 70th birthday on Oct. 5, Scott was in high spirits and good health, Turner said. A few days later, he complained of stomach pains that progressively got worse. He backed out of an appearance at the North Carolina Music Hall of Fame induction ceremony on Oct. 11 because of severe pains.
Scott eventually checked himself into a Charlotte hospital and tests determined he had liver and pancreatic cancer.
“It was unbelievable. I’ve never seen a cancer move so fast,” Turner said.
He saw Scott for the last time Thursday night. Despite his deteriorating health and weight loss, Turner said his friend was in high spirits.
“He was one of the most amazing people you’ll ever be around,” Turner said.
Winston-Salem, N.C., resident John Hook, author of the Carolina Beach Music Encyclopedia, remembered arriving in North Carolina on July 4, 1975. Three nights later, he saw his first beach band at a place called Paul’s Lounge. The performers were Billy Scott and The Prophets.
“Thereupon ensued a friendship in excess of 35 years,” Hook said.
Aside from making a new friend, what Hook recalled about that night was how Scott told the crowd he was about to sing a song by a good friend of his. These friends were people like Sonny Turner of The Platters, he added.
Hook was impressed to learn, years later, that Scott actually did know all those people and did count them as friends.
“He was one of our great imports out of West Virginia,” Hook said.
Scott was originally from Huntington, W. Va. and raised on a musical diet of rhythm and blues and soul. In his early career as a member of The Scottsmen and various incarnations of The Prophets, he was labeled an R&B singer.
But when he settled in the Carolinas over 30 years ago, he got tagged as a beach music singer. It wasn’t a title he didn’t initially like.
“I kind of fell into it, it was there, and all the songs we were doing were R&B and soul and then this beach music term came up in the Carolinas and it just became a part of what we were doing,” Scott said in a 2000 interview. “But I didn’t particularly like it until I realized this is where we were, and of course everybody would rather be a big fish in a little pond.”
Edge saw Scott perform for the first time when he was nine years old. He quickly became the future politician’s favorite beach performer growing up.
Scott made many trips to the Statehouse, Edge said, to promote beach music and emphasize its importance to South Carolina’s roots and heritage.
“That’s where I found him to be someone that was very unselfish,” Edge said.
Diane DeVaughn Stokes, chairwoman of the Myrtle Beach Cultural Arts Advisory Committee, said Scott was recently working on a new project: working with school booster clubs to bring beach music legends to area schools.
“He believed that the only way to keep beach music thriving was to reintroduce it to the youth,” she said.
Stokes and Scott recently co-hosted the second annual Beach Music Hall of Fame Induction Ceremony at Coastal Carolina University.
After the ceremony, Stokes said she got a call from Scott, thanking her for her help.
Scott, Stokes recalled, said he’s a great singer but not a very good public speaker, and his co-host gave him confidence.
“It’s a tremendous loss to the Myrtle Beach community,” Stokes said.
http://northcarolina...ee-billy-scott/
By Guest in News Archives ·

Let Our Love Grow Higher - Eula Cooper Biography

“I hope these dreams will come true”, so goes a line in the song “Let Our Love Grow Higher”. Well we often dream that rare soul icons such as Eula Cooper would be re-discovered and make a triumphant return to performing live. Of course it needs something to trigger such a process. Something such as a specialist record label licensing rare old 45 tracks from a long extinct outfit who never really managed to make much commercial impact. Well not too long ago, US based specialist label Numero added a new compilation to their well-respected ‘Eccentric Soul’ series — ‘The Tragar & Note Labels’. The publicity surrounding this release made Eula aware that there were still many fans of her music, spread right across the world, Not one to rest on her laurels, when offered a live gig in New York, she jumped at the opportunity.
So last November, at the Five Spot in Brooklyn, Eula made her New York live debut 40 years after her first 45 was issued. Strangely, that first single had made such an impact in her hometown of Atlanta that New York colossus Atlantic Records had licensed the single for national distribution. Inspired by the reception she got from the New York audience, Eula has now bitten the bullet and agreed to head overseas to perform for the first time ever. There’s nowhere better for this debut to take place than the Prestatyn Weekender.
Eula was born in 1953 in Opelika, Alabama (west of Columbus) but moved to Birmingham at an early age. The family moved again when she was 6years old, this time the destination was Atlanta. Here, she got into singing in church and it wasn’t long before she made her public appearance debut. At age 9 she entered a talent show held at the Magnolia Ballroom in Atlanta and on this she sang "What Two Can Easily Do" (in late 63 / early 64). Even at this young age, she was already displaying her considerable vocal abilities. Singing a cappella, she won the contest and her career was almost launched. A few years passed and Eula was only managing to impress her school friends with her vocal efforts.
One day in 1968, she was entertaining her friends by singing a song she had written (“Shake, Daddy, Shake”) whilst they all tried clothes on in a shop in the city. The storeowner liked what he heard and suggested she head upstairs to the offices above the shop. Along with her friends, she took the advice and found Jesse Jones sitting at a desk in his Tragar Records office. She sang the song for him and was immediately sent home to fetch her mother. Jesse instantly recognized that in Eula he had probably discovered someone he could mold into a real star.
In no time, Eula’s first 45 hit the shops. “Shake Daddy Shake” immediately made the local charts and was picked up for national distribution by Atlantic (they made “Heavenly Father” the plug side). So after spending her weekdays at Booker T Washington High School, the weekends would be devoted to spells in the recording studio or on stage. “Try” (arranged by Tommy Stewart) became the A side of her next 45 outing with her Motown connection being renewed on its flip with a cover of “Love Makes Me Do Foolish Things” (this had been meant for Richard Cook but he had failed to show up in the studio). “I Can't Help If I Love You” also escaped in 1969 on Tragar 45’s (twice). The label was however experiencing a major cash crisis and it soon lapsed into hibernation, but Eula’s crowning glory was about to take wing. Starting up the Super Sound label, Jones decided a more professional product was needed. So Eula was taken over to Muscle Shoals Sound Studio to work with the highly proficient in-house team there. The result was “Let Our Love Grow Higher”, a song written & arranged by Tragar stalwart Bill Patterson in 1970. It was to prove to be Eula’s finest hour.
Funds were still short though and this deficiency meant the song was lost in the shuffle due to lack of promotion. The Super Sound label quickly sank without trace but was soon replaced with Note Records. “I Need You More” escaped in 1971 and this particular cut is Eula’s personal favorite (it was used again in 1972). The strings on the track were arranged by Wade Marcus who also worked for Motown, Atlantic, Stax and Chess. After the journey across to Florence (200 miles), she was so tired that she fell asleep in the studio. The backing on the track was finished while she slept; luckily she woke in time to add the lead vocals. When not studying at school, in the studio or on the road, Eula sang in the choir.
She next teamed up with fellow choir members Shari Billingslea and Deborah Tolls to form Cherry Blend. The trio cut the fine “Love Is Gone” in Muscle Shoals and it was released by Note. King Records were impressed and so licensed it for release in 1972. But Eula was soon back to solo recording duties, this time at Fame Studios. The Sam Dees song “Beggars Can't Be Choosey” was laid down and coupled with “I Need You More” (being used once again) in 1973. This Note Records track became Eula’s first UK release when in 1979 it was issued here on the Grapevine label. Back in America, “Standing By Love” was re-cycled for her next and (unfortunately) last US 45 release.
Eula went off to college, started a family and then followed Jessie Jones across to California. Here she continued to play live gigs and even hooked up with Jones to lay down more tracks (1984) but none managed to escape from the tape vaults. She even prepared to sing back-up for Chaka Chan but refused to go on the actual tour after getting the short end of the stick with regard to some songs she largely composed for Chaka. Eventually she moved back to the south and bought into the more mundane 9 to 5 lifestyle. Luckily, the reaction to the Numero CD changed that and she’s now ready to dive back into the entertainment pool. The appreciative reaction of the Prestatyn Weekender audience certainly guaranteed that she didn’t regret her decision. Dreams did come true for many people at the weekender, Eula being one of them.
Details of the recent appeal and further links can be viewed at:
Eula Cooper Needs Your Help
By Roburt in Articles ·

THANK YOU! THANK YOU! THANK YOU!

THANK YOU! THANK YOU! THANK YOU!
It’s so rewarding to read the positive comments on this thread. Yes, we didn’t please everybody, but what a great night. From one comment, it would seem that having a few speciality nights until 3.00am might be the future for the Wilton events, but don’t expect artists every time.

I interviewed Darrow at his home in Chicago in 2010. Many of you will have read the results on this site and in the Soul Up North fanzine. Darrow was clearly in a poor financial state and needed some help. Val and myself pledged to help him out by getting him a CD released showcasing his Crossover recordings, and possibly a CD of all his Chicago 60’s tracks. Darrow was also desperate to do some shows in the UK and Europe.
In 2011, we started making plans to fulfil our pledges. I already had connections with the Scottish Soulful Weekender, so that was the first show we managed to secure. Darrow had a leasing deal with Ady Croasdell at Kent, but this was about to expire, so it was time to get in touch with Ady to get things moving again. From the start Ady was very helpful; not only was he keen to complete the Crossover CD but was also in favour of the 60’s CD. Whilst Ady and myself worked on the Crossover CD, I continued to look for more show venues. I asked Ady if there was a possibility for Darrow at the 100 Club all-nighter.

Dates for the all-nighter weren’t right for Darrow’s visit, but Kent’s 30th Birthday was just perfect, so thanks to Ady, that was another show secured. We arranged for the band “PUSH” to back Darrow at both these shows and sorted out the songs to be included. The band needed the keys that Darrow would be comfortable singing in, so during our next trip to Chicago in 2012 we sorted the song keys, booked his flights, signed the contracts and prepared him for his trip to the UK.

Our next Wilton’s Soulful Sessions was already planned for the 10th November, so we decided to make this the third show for Darrow’s UK trip. The Wilton all-nighters were poorly attended throughout 2012 and we had little confidence that the show would be a success, so the cost of a live backing band was out of the question. I decided that backing tracks were the answer, so I asked two talented musicians and members of the band “PUSH” - Ernie McKone & Mike McEvoy, to help us out. The results were fantastic and give us confidence to push on with the show at the Wilton.

The dates were fixed: 1st November - 100 Club, 3rd November — SSW, then a week’s rest, and finally 10th November — Wilton Soulful Sessions.
“Best made plans” — Tuesday 30th October, Darrow’s flight day, his passport was refused at the airport. Darrow was put on standby and told to get a new passport the following day. I was in contact with him constantly throughout the day at the Passport office in downtown Chicago. I asked Darrow to make sure that the office knew what time his flight left that night, so they could fast track his passport so he could make his flight. Seven hours later they give him his new passport, but he couldn’t get to the airport in time. He did get to the airport, only to told the flight was closed and due to depart. Darrow’s girl friend Augustine, who funded his new passport, came to his rescue and pleaded with officials to give him a second chance on the flight the next day. Darrow’s head was full of thoughts of letting his fans down, and the repercussions of a breach of contract with the show promoters. Augustine won him a second chance and a ticket was issued.

We were in contact with Darrow and Augustine throughout and passed on the bad news to Ady in the early hours of Thursday morning. This delay meant that Kent’s 30th Birthday bash with Darrow had to be cancelled. Ady was now left with the daunting task of rearranging everything for the following week.

Now the pressure was on Yogi Haughton at the SSW — would Darrow make the next flight and get to Dumfries? I asked Augustine to send me a scan of the ticket to see the details. On seeing the ticket details it was clearly another standby situation, no seat number, no guarantee of a seat unless someone else failed to turn up. It was clear that we had to get our act together to get Darrow on this last chance flight. I sent Darrow a pleading letter addressed to the American Airline officials, stating what was at stake if he didn’t get a seat on the flight, asked him to get to the airport three hours before his flight departure and show it to every official he came across. Darrow was kept waiting to the very last minute, then told to board, but then told to come back and wait, as another passenger with a ticket had arrived. Darrow was in shock so close to boarding. Another passenger arrived for the last seat; Darrow thought that was it, his last chance had gone, but wait - the last passenger had left his passport somewhere, so Darrow got the last seat and made it to the UK.

Ady managed to rearrange the 100 Club, so all three shows were now back on. We met Darrow at the airport and drove straight to Dumfries, picking Kath up on the way. SSW was rammed with people all weekend, Darrow’s performance and the band “PUSH” was outstanding, the whole event was a great success. Next was the 100 Club in London; another long trip. Ady had sold all the tickets for the 100 Club and after all the heartache, could now relax and enjoy the show. The crowd just erupted when Darrow stepped on the stage and the whole show was amazing.

Now back to Yorkshire for the Wilton event. Because of all the flight problems Darrow had no time to rest up, he had three shows in one week, so we let him rest in the hotel as much as possible. Some great news here - his new Kent CD was nominated “CD of the Month” by Black Echoes; Darrow was really proud. Tickets sale for the Wilton event had been very slow initially, causing us to worry about the success of the event, but then in the last two weeks surpassed our expectations.





Well, we all know what happened at the Wilton — the event was bursting at the seams, a fantastic atmosphere, so many smiling faces and a great performance from Darrow, who by this time was quite exhausted.
I would like to thank you, the fans, for making this project possible. Thanks to promoters Ady Croasdell and Yogi Haughton for setting up two great events for Darrow. Thanks again to Ady for producing the fabulous Kent CD, “Crossover Records 1975-79 L A Soul Sessions”. Darrow for taking time to talk to people, sign CDs, have photos taken - he was so patient with everyone and was such a gentleman throughout at all the venues. Thanks to the talented guys at Boogie Back Records — Ernie McKone & Mick McEvoy for band arrangements and backing tracks. Thanks to our guest DJ’s at the Wilton — Arthur Fenn & Mike Charlton for top quality sets. Special thanks to my wife Val for putting up with my tantrums and for dealing with all the financial aspects, ticket processing, and lots more. Thanks to Val & Kath for being Darrow’s little helpers in Scotland, and on the door at the Wilton. Thanks to Mouse for ticket sales and help with setting up the Wilton venue, and general support with Darrow whilst he was with us in Yorkshire. Thanks to Chalky for promotion and video work.

Dave
By Boxy in Event News ·

Soul Express - Deep Soul Column Nov 2012

New Deep Soul column 4/2012 (November 2012) now online! @ Soul Express

DEEP # 4/2012 (November)

Both Dorothy Moore and Mighty Sam have come up with impressive new albums, and it was rewarding to learn interesting details behind the music from the artists themselves. For those, who wish to know more about their careers as a whole, we've added on our website my in-depth features on Dorothy and Sam from the 90s.

I also introduce Anthony Watson, who by no means is a newcomer having recorded for 35 years by now. His latest CD is a real delight. Then there's the normal dose of both new mainstream and Southern soul records (with a short comments from Peggy Scott-Adams, too), as well as retrospect compilations... plus one book, Bettye LaVette's controversial biography.

Content and quick links:

Interviews:
Mighty Sam McClain
Dorothy Moore
Anthony Watson

http://www.soul-sour...5b8e1&resource=
By Heikki in News Archives ·

Marie Knight That's No Way To Treat A Girl

Marie Knight came into the world way back in 1925 and though she enjoyed a recording career that stretched over 61 years, she savoured little actual commercial record success. Born in Sanford, Florida in June 1925, she moved with her family while still young to Newark, New Jersey. She soon got into singing in church and was impressing members of the congregation with her singing from the age of 5.
 

After starting out in the choir, she soon progressed to the role of soloist and went on to establish herself as a leading lady in the gospel world. By the time that she was 20, she was taking part in major tours across the US and she started recording in 1946. She cut gospel tracks for Signature, Haven (with the Sunset Four), Decca (1947 to 1955; some with Sister Rosetta Tharpe), Candy, Brunswick and Mercury (1956). She got her first R&B chart hit in 1948 with her Decca 45 cut “Precious Memories” and this was soon followed into the R&B top 20 by a duet she made with Rosetta Tharpe.
 
Her last gospel hit to make the R&B charts came in 1949 when she enjoyed her biggest solo success ever with “Gospel Train” (Decca). In 1950, together with Rosetta Tharpe, she sang before an audience of thousands of gospel fans at a big show in Washington. She then teamed up with boxer Jersey Joe Walcott in 1951 to cut some tracks for Decca and the pair also did some live shows together. In the early to mid 50’s she started babbling in secular music and soon was cutting both gospel and non-gospel tracks. September 1951 saw her supporting the likes of Herbie Fields & his Band, Pigmeat Markham & Tommy Edwards on gigs at Washington’s Howard Theater.
In August 1953 she was touring as part of a big gospel package that played the Lumberton Armory in North Carolina. In 1955, she had a secular 45 out on Mercury’s Wing label and this did well enough for her to be signed to top New York based booking agency, Universal Attractions. In 1955, she was also performing to rave reviews with Rosetta Tharpe in New York jazz clubs and a UK tour followed in 1958.
 
 
 
She soon left the gospel scene behind altogether and cut R&B tracks for Baton and Carlton Records before the end of the 1950’s. Carlton Records teamed her up with Rex Garvin and their outing (“I Can't Sit Down”) was well promoted and managed to secure quite a bit of radio exposure. Of course, Rex went onto to find much UK mod adulation due to his fine US Like / YK Atlantic 45 “Sock It To Em, JB”.
 
Next, she landed a deal with Addit Records and had “To Be Loved By You” out in 1960. Okeh came calling next and her first 45 release for them was “Come Tomorrow” in 1961. This track had found favour in British music circles by the mid 1960’s when Manfred Mann cut a cover version that triggered Marie’s version to be re-released by Okeh (as Okeh 4-7218). In 1962 she had a 2nd Okeh 45 release and although it’s “Come On Baby” that has been the popular side of this disc in more recent times, it was her version of “What Kind of Fool (Do You Think I Am)” that was more popular in the US back then.
 
 
 
She toured on the strength of her Okeh recordings, featuring on a top package tour of chitlin-circuit theaters in 1962. Along with Clyde McPhatter, Ben E King, Gene Chandler, the Tabs + Shep & the Limelites she played shows at the Royal in Baltimore in April 62. In early May 62, she was at the Syria Mosque in Pittsburgh (a concert venue) along with Brook Benton, Gene Chandler, the Impressions, Don Juan and Bruce Channel. Three singles followed on Diamond in 1963/64 before she was signed to Musicor Records later in 64. Her take on the standard “Cry Me A River” opened her account for the label and this became her only secular song to chart when in April 1965 it made the Soul 45 top 40. However it was to be the follow-up (“That's No Way To Treat A Girl”: Musicor 1106) that would make her name with UK based NS fans. Both “Cry Me A River” (Stateside; around May 1965) and “Come Tomorrow” (Fontana; January 1962) also escaped on 45’s in the UK. She wasn’t doing at all bad for a woman approaching her 40th birthday, however her age did soon begin to tell against her. After her deal with Musicor ended, she was unable to land another secular recording contract.
 
Marie returned to the gospel world in the early 1970’s, though she did make occasional live appearances in non-gospel settings after that time (one such show being with John Lee Hooker at New York’s Hunter College on February 7th, 1976). She became a minister and held that position at the Gates of Prayer Church (New York) for some years. She continued to record (on & off) right through till 2007 and even performed on a radio show after that (in 2008). She passed away due to complications from pneumonia in Harlem at the end of August 2009 at the grand old age of 84.
 
Before her death, Ace UK had topped off her long career by finally breaking some tracks she had cut (in 1960) out of the master tape vaults (“Better Wait And See” a duet with Junior Lewis + her original demo version of “Come Tomorrow”. Both released in 2002 on the CD "The Arock & Sylvia Story" CDKEND 212). She may be gone, but she certainly isn’t forgotten.
By Roburt in Articles ·

Major Harris R.i.p.

Sad News outta Philly, Major Harris R.I.P.
 
This guy sang one of my all time favorite tunes. Plus so many other great real soul sides.
 
Born in Richmond, Virginia. He sang in his early days in several east coast groups, The Charmers, The Teenagers, The Jarmels and the Philly group Nat Turner's Rebellion, before replacing Randy Cain in the Delphonics. But he will be best remembered for his heart rendering, sweet 'Love won't let me wait'
 
But for me, he will always be the man that sang one of my all time Favorite tunes, 'Call me tomorrow'
 
 
By Dave Thorley in News Archives ·

Gil Scott-Heron: The Revolution Begins

The three albums Gil Scott-Heron recorded for Bob Thiele’s Flying Dutchman label are some of the most important in the history of black music. They show a multi-talented artist reaching maturity with his first recorded efforts. ‘The Revolution Will Not Be Televised’ transcended its place as an album track to become an aphorism, a slogan on a T-shirt, omnipresent shorthand for alternative culture. Over the years these recordings have been treated in a haphazard way, reissued in cheaply packaged collections that used edited versions of some of the most important tracks. “The Revolution Begins” gathers together every piece of music released by Gil on Flying Dutchman, including a track recorded with Bernard “Pretty” Purdie which has never been previously reissued. We have gone back to the original master tapes, bringing you sound that’s better than you’ll have ever heard and new clarity to Gil’s words and the musical performances. Access to those tapes has also enabled us to assemble an alternate version of Gil’s third album, “Free Will”.
Gil emerged in 1970 as the author of a novel, The Vulture, and a small book of poetry titled Small Talk at 125th and Lenox. Through a contact at his publishing company, he was introduced to producer Bob Thiele, who couldn’t afford to make an album of music, but agreed to make a spoken word record. Titled after his book of poems, and recorded with just Gil and three percussionists, the album opened with the coruscating ‘The Revolution Will Not Be Televised’. Still enthralling over 40 years on, it’s often forgotten how good this version is in comparison to the recording Gil made with a full band for his second album. His performance is perfectly judged, bringing emphasis where it was needed, without ever resorting to histrionics. By the time he reaches the final “The revolution will be no rerun, brothers, the revolution will be live”, the listener is hooked as surely as if he was watching a weekly soap opera.
The rest of the album covered topics as diverse as the harsh conditions in the housing projects, music and a subway poster for a horror movie. Most of the work still stands up today, with Gil always retaining a sense of humour and humanity, however angry he is. “Small Talk at 125th and Lenox” did well enough for Thiele to commission a follow-up, to be recorded with a full band. Gil had been working up a number of songs with Brian Jackson, a fellow student at Lincoln University. It was Jackson who lifted Gil’s music out of the rudimentary — something Gil was always keen to point out: “Brian was integral.”
“Pieces Of A Man” is an astounding album. Recorded with a band of top session musicians, with Jackson on piano, there isn’t a bad track. The title track is a beautiful and moving tale of the destruction of a man’s worth told from the viewpoint of his son, while ‘Home Is Where The Hatred Is’ captures the hellish nature of drug addiction and the hypocrisy of those who criticise rather than help addicts. ‘Lady Day and John Coltrane’ is not just a tribute to the titular heroes but to the uplifting quality of music itself.
The album sold well enough and Esther Phillips’ cover of ‘Home Is Where The Hatred Is’ brought further attention to Gil. Thiele was keen to get a third album together and the resultant “Free Will” was Gil’s most political yet. The wondrous ‘Did You Hear What They Said?’ skewers the Vietnam War more effectively than any thousand-word polemic. The title track takes aim at those who talk about themselves rather than getting involved in helping the community. The second side is a return to the spoken-word style of the first album and in ‘No Knock’ and ‘The King Alfred Plan’ gives us vibrant attacks on the Nixon administration. The album was the final release on the label. The alternate version contained here gives us a wonderful insight into Gil’s way of working.
At the time of their release, these albums did OK, but didn’t sell a whole lot of copies. Today they are the basis for the laudatory essays that appeared at the time of his 2011 comeback album “I’m New Here” and on his death a few months later. This 3CD set contains the best from a career that was full of great records.
 
By Dean Rudland
 
The three CD set will be released on Ace records BGP label on November 26th 2012
 
Buy from Ace:
Pre order from Ace Free delivery in the UK
 
What's on the idscs:
 
Side 1
 
01 Lady Day And John Coltrane
02 Home Is Where The Hatred Is
03 Save The Children
04 The Revolution Will Not Be Televised
05 Did You Hear What They Said?
06 Pieces Of A Man
07 Speed Kills
08 Everyday
09 I Think I'll Call It Morning
10 When You Are Who You Are
11 Free Will
12 Or Down You Fall
13 The Needle's Eye
14 The Middle Of Your Day
15 A Sign Of The Ages
16 Who'll Pay Reparations On My Soul?
 
Side 2
 
01 Introduction / The Revolution Will Not Be Televised
02 Whitey On The Moon
03 No Knock
04 Small Talk At 125th & Lenox
05 Billy Green Is Dead
06 Sex Education: Ghetto Style
07 The Vulture
08 The Prisoner
09 ...And Then He Wrote Meditations
10 Plastic Pattern People
11 The Get Out Of The Ghetto Blues
12 Artificialness
13 Ain't No New Thing
14 Brother
15 Evolution (And Flashback)
16 The King Alfred Plan
17 Enough
18 Paint It Black
19 Omen
20 Wiggy
21 Comment #1
22 The Subject Was Faggots
 
Side 3
 
01 Did You Hear What They Said? (Alt take 1)
02 The Middle Of Your Day (Alt take 1)
03 Free Will (Alt take 1)
04 The Get Out Of The Ghetto Blues (alternate ending)
05 Speed Kills (Alt take 3)
06 The King Alfred Plan (Alt)
07 No Knock (Alt)
08 Wiggy (Alt)
09 Ain't No New Thing (breakdown take)
10 Billy Green Is Dead (Alt)
11 ...And Then He Wrote Meditations (Alt)
12 No Knock (breakdown Alt take)
13 Free Will (Alt take 2)
By Dean Rudland in Articles ·

Ralph "Soul" Jackson: The Alabama Love Man

The return of a legend — or maybe more accurately, the first time this legend’s ever really gotten his due! Ralph Jackson’s been working in the Alabama soul underground for decades — yet this smoking album may well be the first time he’s ever really gotten out front, and able to do his thing — working with a tight group of younger musicians who really respect the southern soul vibe that Ralph’s going for — and help him hit a really great sound in the process!
 
The set’s a soul record through and through — not one of these modern funk workouts with an old singer thrown into the mix — but the kind of old school album you’d hear from Malaco or Criteria Studios — particularly during that point when deep soul was growing up in the 70s. Production and arrangements are right on the money — and all tunes are written by Jackson, save for one totally great cover of The Ides Of March classic “Vehicle”! Other titles include “You’ve Been Very Good To Me”, “Searching”, “For Just One Second”, “I Can’t Leave Your Love Alone”, “I’ll Take Care Of You”, and “There Must Be A Reason”. © 1996-2012, Dusty Groove, Inc.
 
 
 

 
 
Buy from Dusty Groove:
 
http://www.dustygroo...2&ref=index.php
 
Listen:
http://www.popmatter...one-second-mp3/
 
 
A biography & discography by John Ciba.
 
 
 

 
 
Legends from the golden age of soul music haven’t always achieved their status through gold records, flamboyant lifestyles, or appearances on cable television. Many cut one or two 45s for small, independent record labels with little to no distribution and only regional radio play. But they still became popular to an international audience when England’s Northern soul DJs sought out obscure American soul records to keep their dance floors full. These tracks, relatively unknown in the United States, gained traction in foreign markets, where buyers considered demand for esoteric soul proof of their music savvy. Ralph Soul Jackson, with six rare Southern soul 45s ranging in price from $50.00 to $1500.00, is no exception to this anomaly.
 
 

 
Forty years ago, Jackson got a call from Rick Hall at FAME Studios who wanted to record Ralph’s Don’t Tear Yourself Down with Hank William's Jambalaya and leased the single to AMY/BELL Records. It was this soul-drenched first session in Muscle Shoals that led Hall to give Ralph the moniker he uses to this day. Hall chose to use the Hank Williams song as the A-side and tried to market the single to an unreceptive Black audience.
 
During these sessions Jackson befriended A-list songwriter and session man Spooner Oldham who wanted to record Ralph singing Creams Sunshine of Your Love backed with a Penn/Oldham number Cause I Love You. Atlantic Records released the single in 1967 but it quickly faded while competing with Otis and Aretha for promotional support. In the early 70s local DJ Eddie Dr. Jive Mendell brought Ralph to Birmingham, Alabama, to play his songs for producer Neal Hemphill.
 
They paired Ralph with Oldham again in Muscle Shoals and cut a driving version of Carl Perkins Matchbox and Let Your Sweet Love Surround Me for Hemphill’s legendary Sound of Birmingham label. Once again, poor radio and distribution drove the single into obscurity. After two poor experiences with the industry, Jackson walked away from music. In 1975 Ralph came to Neal’s new Hemphill Studios and wrote, played all instruments, and sang the soon-to-be Northern soul classic Set Me Free backed with Take Me Back for Hemphill’s Black Kat Records. The record, along with others from the label, suffered from a poorly structured, crooked distribution deal. While Jackson was performing on a circuit of U.S. Air Force bases he stopped off in Nashville in 1980 to record three modern soul rarities over two 45s for his own RAJAC label.
 
These highly sought after records had no distribution or radio play and all sales were made during the military base shows. Ralph Soul Jackson is a native of Southern Alabama where he still lives and has never stopped writing, performing and recording music, whether its in his home studio, as the music minister in his church, or at his cousin Jo Jo Bensons club. Soul fans can look forward to the reissue of the classic tracks mentioned above; some newly discovered unreleased gems, as well as the first full length album of new material by Jackson, recorded between anticipated live dates.
 
Jambalaya b/w Don’t Tear Yourself Down AMY/BELL Records 1965
 
Sunshine of Your Love b/w Cause I Love You Atlantic Records 1967
 
Matchbox b/w Let Your Sweet Love Surround Me SOB 1971
 
Set Me Free b/w Take Me Back Black Kat Records 1975
 
I’ll Be a Real True Man b/w This Is My Prayer RAJAC/Black Stallion 1981
 
I Can’t Leave You Alone b/w Instrumental RAJAC Records 1981
 
Visit John's homepage http://www.therabbitfactory.net for more details and more about Birmingham Soul.
By Chalky in Articles ·

Charles Wilson: A Troubled Child

I have received some publicity from Michele Green, the publicist for Charles Wilson.
 
 

 
 
I am excited and pleased to announce that "The Crown Prince of Soul", Mr. Charles Wilson, is on the scene and ready to touch your soul like never before! His smooth, strong vocals can, and will also warm your heart, dig down deep into your spirit to stir up emotions you thought were untouchable, and will also shake you up to the point where you feel you can just reach out and touch whatever ails you, as it all melts away... That's the magic of the voice of Charles Wilson!
 
 

 
 
Charles Wilson was raised in Chicago, began performing at age seven, and sang as a teenager in Chicago-area night clubs. Blues legend Little Milton is his uncle, however his break came when he got the opportunity to go out on the road with Bobby Rush at an early age.
 
He started recording in 1978, but nothing was ever released. His first released single was in 1984, and achieved moderate success; however, it established him as a soul singer of note. He recorded for several record labels, including Ichiban Records, Ecko Records, Traction Records, CDS Records and also his own label Wilson Records; initial success of several artists included Lee 'Shot' Williams and Wilson himself.
 
In 2004, Wilson then recorded a bona-fide blues CD for Delmark Records, entitled, "If Heartaches Were Nickels", featuring Little Milton and Carl Weathersby on guitars. This CD earned Wilson a W.C. Handy nomination for "Best Soul/Blues CD". A few years later, Wilson recorded a soul CD for Severn Records titled “TROUBLED CHILD”, which also got Wilson another W.C. Handy nomination for “Soul CD of The Year”. "TROUBLED CHILD", of which the title cut and "WHERE MY BABY'S AT" are both featured with this package. Enjoy your journey...
 
Mr. Charles Wilson is available for concerts, festivals, corporate events, private parties, groups, casinos, plays, radio and television interviews, commercials... the sky's the limit! Please contact me, Michele Green, at;
 
MicheleGreenPR@gmail.com or 843-986-1060 for more information.
~~~~~~~
A medley of three tracks can be heard at my sound-cloud page:
Listen on Soundcloud.com
 
The tracks are "Where My baby Went" Losing Boy" and I Walked All Night Long".
 
You can buy Charles' music at:
 
http://www.cdunivers...=Charles Wilson
 
Follow this link to play and/or download tracks from the ‘IF HEARTACHES
WERE NICKELS” and “TROUBLED CHILD” CD’s, and also see Charles Wilson
perform LIVE:
 
http://safehavenpubc..._prince_of_soul
By Chalky in Articles ·

More Cool Stuff From Hadley Murrell - Black Ice & Eddie Horan

Hadley has been hard at work with more of his back catalog. This time bringing us his work with the great 70's harmony group Black Ice and the talented Eddie Horan. Many of you will remember the great sets he put out a couple of years ago on The Servicemen & Freddie-Henchi & The Soulsetters

Black Ice were Antone Curtis, Gerald Bell, Cleveland Jones, Frank Willis & Ralph Lars. Between the mid 70's and early 80's Hadley recorded a number of LP's with the group, that sold very well. Now you have a chance to purchase them re-packaged in CD form

Eddie Horan worked closely with Hadley throughout the 70's as a song writer and eventually as a artists in his own right. Now his great 1979 LP 'Love the way, You love me' is available in CD form. This set includes the great dance side, 'Can't do without you'

These CD are available from the usual suspects on the web and a great addition to your record collection










http://www.youtube.com/watch?v=6fYPzb4o6t0
By Dave Thorley in News Archives ·

Northern Soul - A Photographic Journey

Hi all,

Just like to introduce you to my photographic project documenting the scene today.

http://www.northernsoulphoto.com/

https://www.facebook...ographicJourney

View attachment: Life 1.jpg
By Guest in News Archives ·

Darrow Fletcher... tonight.... postponed

Unfortunately Darrow Fletcher was turned away at Chicago O’Hare airport on Tuesday night because his passport was too scruffy. It’s a new one on me, all the information was readable because he had scanned that and sent it over and we had got him his work visa through that information: that was not good enough for the airline people though. He spent the whole of Wednesday in the passport centre and they issued it at the end of the day, by which time he was too late to make his standby flight. When he got to the airport they said he had missed today’s flight as well but could fly on Thursday evening, which of course gets him here on Friday morning, which means he can fulfil his appearances in Scotland and Yorkshire, but will be too late for the 100 Club tonight.

However we have been able to postpone it by a week, as the club is free on Thursday 8th November at the same 8pm-2am times. I apologise about the lateness of this postponement but we were hoping right up to midnight last night that he would make the plane (all this has just happened of course). This morning has been spent rearranging the event and now notifying everybody personally.

If you have bought tickets and cannot make next Thursday, we will send out a full refund, just let me know by email. If some friends can now come we will have a few extra tickets so they can purchase those over the next couple of days. If you were on the guest list and now cannot make it please let us know about that too.

I am particularly happy to have been able to rearrange the show for Darrow who was nearly in tears at the thought of letting down his fans and missing out on what will be a terrific night.

Please accept my apologies for any inconvenience caused and hopefully we can share a drink in celebration next Thursday.

Ady
PS If anyone is stuck in London tonight looking for soul music, I'll be heading to the Majestic soul night which is free and plays a wonderful across the board mainly modern with quite a few 60s soul set. It's at the Horse and Groom pub 28 Curtain Road EC2A 3NZ 6.30pm till at least midnight.


Ady Croasdell

www.6ts.info
By Chalky in Event News ·

Ace / Kent Single Of The Month

THE ACE SINGLE OF THE MONTH CLUB — a new wrinkle from an old favourite

The Ace/Kent website has a new look.

You may not have noticed unless you’re a frequent visitor (www.acerecords.com — go and have a look now) but we’ve just given our cyberspace a massive makeover. It’s still a work in progress but in the coming months and years we aim to keep adding all sorts of good stuff to it, ranging from specially written articles and expanded versions of sleeve notes (featuring all the bits that the limited space in a CD booklet won’t let us fit in) to exclusive online merchandise, which won’t be available through any other source.

We’ve already got things rolling with the inauguration of the ‘Ace Single Of the Month Club’, a series of vinyl 7’s that will be pressed in highly limited quantities and that will only be available directly from our site. These fine looking and fine sounding forty fives are manufactured to look like The Real Thing — that’s to say, we’re using the original label designs that these singles would have had, if they had originally been released as singles…

…and there’s the deal clincher, folks — all of the singles in this series will contain material that was either 100% unreleased originally, or not originally released in the version featured on the SOTM release!

So far we’ve issued two corkers:

Visit the site to read more about each release:
http://acerecords.co...ce-singles-club

GEORGE JACKSON — Victim Of A Foolish Heart (NW 501)





THE SEEDS — Pushin’ Too Hard (Longer, Unedited version) (NW 502)





These are about to be joined by our latest hot biscuit:

DAN PENN — Keep On Talking (the original version - same backing track as James Barnett!)/Up Tight Good Woman (NW 503)





…all of which should be of interest to most members of this forum.

Once they are sold out there will be no re-presses, and none of the singles will be reissued as “regular” Ace, Kent or Big Beat 45s at a future date. When they’re gone, they’re gone, as they say — so call or e-mail us at Ace to get your copies today!)
By Dean Rudland in News Archives ·

Terry Callier - Rip

This was posted up by Bob Jones on Facebook in the last 15 minutes
 
Déja Kia Bianco
 
This page is so heart-warming. I'm Terry Callier's great niece. I regret to inform you all who really seemed to love him and his music that after a lengthy illness, my Uncle T has passed away
 
 
Very sad news indeed, a true gent and incredibly talented man,
 
 
added by site
 
From the myspace page
 
Bio:
Early days: born in Chicago on May 24th 1945, Terry grew up singing alongside soul greats Jerry Butler, Major Lance and Curtis Mayfield. "That was a dynamite neighbourhood. All of us were doo-woping at the time in different groups" says Callier.
 
1962-1963: At the age of seventeen, one of his visits to Chess Records pays off and Callier signs his first record contract. Four tracks were recorded and one released, a single entitled: Look at me now.
 
1964: Callier is signed to do an album for Prestige Records. The New Folk Sound of Terry Callier is recorded in
 
1965. Around this time, Callier begins to become a presence on the Chicago night club/folk circuit. Joe Segal coins the phrase ?folk/jazz? to describe Terry?s new musical style.
 
1971-72: With Larry Wade, Callier writes a US Top 20 hit, The Dells: The love We Had StaysOn My Mind. This leads to a record deal with the Cadet label, a subsidiary of Chess Records.
 
1972-76: Callier records three albums for Cadet: Occasional Rain (1972), What Color is Love (1973) and I Just Can't Help Myself (1975).
All three produced by Charles Stepney, crystallised his style ? a unique brand of soul featuring jazz-influenced compositional structures and themes of social awareness and gained him and impassioned following among R&B hipsters. Callier goes on his first national tour where he is heard in a featured spot alongside such artists as Gill Scott Heron, George Benson, and Grover Washington Jr. "The Cadet years were good for me" says Callier. "It seems that songs like Ordinary Joe, Occasional Rain and What Color is Love resonated out there. That felt good. It was behind those albums that I was able to play in places like Washington D.C, Detroit for quite a few years afterwards".
 
1977-79: Callier signed to Elektra Records by Don Mizell. He records two albums, Fire On Ice (1977) and Turn You to Love (1978) well received by critics and Radio 1 personality Frankie Crocker makes Sign Of the Time the theme song for his highly influential WBLS/New York radio show.
 
1981: Callier is granted custody of his only daughter Sundiata. He retires from music to a day job as a computer programmer for social service organisation connected to the University of Chicago. "When I got custody of my daughter I had to give us music to raise her properly, she needed me and the music business just didn't seem like a viable option at that point" says Callier. He continues to perform, however.
 
In the early 1990s, the Chess/Cadet recordings are unearthed by Acid Jazz listeners in the UK who were drawn to his deeply moving poetry and musical eclecticism. The three Cadet albums became essential collectors items for the prospective beat-head. Callier?s music is heavily requested at UK listening venues and Charly Records releases a Best of Terry Callier on Cadet compilation. In 1991 Acid Jazz tracks Callier down and releases a new version of I Don?t Want to See Myself (Without You) on an EP. "I am often reminded that there are people listening to the music now who weren't in this world when some of the songs were originally recorded" says Callier. "I just hope this circle remains unbroken and continues to grow".
 
1997: Terry records three tracks with the up and coming British singer: Beth Orton. To be released, courtesy of Verve, on Beth Ortons label: Heavenly.
 
1998: Verve/Talkin Loud release Terry?s new album Timepeace. Terry finds himself touring Europe and the UK to show that receive standing ovation.
 
May 1998: Universal Records released a new compilation: Terry Callier Essential, The Very Best plus three re-issues of new CDs from the Chess/Cadet albums: What Color is Love, Occasional Rain and I Just Can?t Help Myself. May 1998, Terry sold out the Shepherd's Bush Empire, London.
 
Summer 1998 saw Terry touring the UK and Europe, covering Glastonbury, Vienna Opera House, The Quart Festival Norway, Fusion Festival Sweden, North Sea Festival Holland, Montreaux Festival in Switzerland, Munich and Paris France. Timepeace was chosen by the UN as the theme song for the 1999 Peace Conference.
 
1999: Verve/Talkin Loud release Lifetime with full European tour.
 
2001: Mr Bongo release the live set album Alive recorded at the Jazz Cafe, London alongside Europe, US and Japanese tours. In 2001 he was also to be heard on much-praised albums by Koop [Waltz For Koop] and 4-Hero [Creating Patterns]
 
2002: Mr Bongo releases Speak Your Peace with a full UK tour. This is a new solo project that reconfirms his enormous songwriting talent and shared vision with today?s most adventurous producers, namely Jean-Paul 'Bluey' Maunick of Incognito and 4-hero. Their individuality proves to be totally compatible with his own. This album features the joyful collaboration with Paul Weller on the track 'Brother to Brother'.
 
2003: Terry completes a sell-out tour of Europe taking in Spain, Germany, Holland, Italy and France and more.
October 2003: Mr Bongo release Total Recall - a remix album featuring remixes by Zero 7, 4Hero, Funky Lowlives and Block 16, supported by a full UK tour.
 
2004: Terry's tour takes in dates including France, Japan, Toronto and London.
October 2004: Mr Bongo release the eagerly anticipated new studio album 'Lookin' Out' which is a true return to form. The lazy, jazzy tracks ooze vibes of Chicago, Terry's home town, where all the tracks were written, performed and recorded by the finest musicians.
 
2006: Terry sings on Massive Attack's single 'Live With Me' to much acclaim. Features on 'Collected', Massive Attacks best of album.
 
2008: 'Welcome Home' released on Mr Bongo Records. A new live album following the recording of an outstanding performance at the Jazz Cafe, London in March 2008.
 
 
just two video clips of this mans tremendous output
will be missed
 
 
 
 
 
 
 
 
 
more info
 
http://www.mrbongo.c...s/terry-callier
 
http://www.myspace.com/terrycallier
By binsy in News Archives ·

Darrow Fletcher Live at The Wilton Soulful Session

EVENTS NEWS UPDATE
Wilton’s Soulful Sessions. Saturday 10th November 2012
Features a very special appearance of a true Chicago soul legend:
DARROW FLETCHER
and a night of 70’s, Crossover, and Modern Soul Music at it’s best.





Tickets are selling fast, so don’t leave it too late and miss out on this very special event.
The last date to purchase advance tickets via the website www.wheatsheaf.com/allnighter to guarantee postal delivery is Monday 5th November. After that date advance tickets can be collected at the event, provided payment is received by the Thursday 8th November.
Providing the event isn’t sold out, tickets may be available on the door at the event @ £15.00
The event will run from 9.00pm and close at 3.00am. No admission after 11.00pm.
Darrow Fletcher will be on stage for 60 minutes commencing around 11.30pm.




Darrow’s set will feature a number of previously unissued tracks from his unreleased Crossover album, cut in LA in the late 70’s. This album has now been released after almost 40 years by Kent Records on CD. Signed copies will be available from Darrow on the night for a special price, so put some dollars in the man’s pocket and also save a few bob. Darrow’s latest Kent Select 45 release will also be available on the night.




Darrow’s set will also include some of his classic 60’s/70’s recordings, along with six songs that he has never before performed on stage since he recorded them with Ray Charles in the studio in LA.

Sadly Gary Welsh can’t be with on the night. Gary was so looking forward to seeing Darrow and spinning a few tunes for us. All we can do now is to remember Gary on the night and play him some of the soul music he loved so much.

Darrow will be accompanied by backing tracks, some mixed down from the original 70’s multi track tapes produced in the LA studio, these being kindly supplied by Ady Croasdell at Kent Records. Other tracks have been skilfully reproduced by the nice guys at Boogie Back Records - Ernie McKone and Mike McEvoy, who are hoping to be present on the night.
Guest DJ’s on the night will be the very well respected Arthur Fenn & Mike Charlton not forgetting resident Boxy & Mouse Info: Boxy — 01924 894555 Mouse — 07717 338009
If you are planning to join us at this very special event get your tickets NOW to avoid missing this one off event.
By Boxy in Event News ·

Barbara Stant: Unsatisfied Woman


BARBARA STANT / SHIPTOWN RECORDS
  Barbara Stant got into the recording business at the end of the 1960’s after she dropped in on the offices of Shiptown Records in Norfolk, Virginia. Just about anyone with talent was welcome to call by at Shiptown Records, which was based out of the Nimrod Record Store at 726 Church Street. The owner, Noah Biggs, was a man with good business acumen and a sharp sense of fashion. He encouraged all talented entertainers and signed numerous singers / musicians / groups (both black & white) to his booking agency, however a fair proportion of them would never manage to gain a release on his labels. His label’s base, Church Street was the hub of the black entertainment district in the city and was where the ‘Norfolk Sound’ first developed back in the mid to late 50’s.

Norfolk has a long & distinguished history, being a strategic military and transportation centre that is the cultural heart of the Hampton Roads region of Virginia. The city developed around its waterfront where naval bases, shipyards, docks, warehouses and railroad yards grew up. With all the military personnel based locally, there were always hordes of people looking to a have a good time and so a thriving entertainment scene had grown up by the 1950’s. Church Street, being situated just inland from the Elizabeth River waterfront was ideally located and it became the street where blacks in particular headed to enjoy themselves. American comedian, Tim Reed, spent many of his formative years living in or around Church Street. He remembers it as a bustling narrow thoroughfare lined with wooden framed three storey buildings. Life’s lessons were learnt as much on the street there as in school, but the strong racial divide that still existed then wasn’t always obvious to local youngsters. By the mid fifties, a street gang by the name of the Corner Boys stalked the junctions of the area. At night, lots of drunken sailors would stagger down the street and members of the Corner Boys took great delight in relieving them of their wallets or engaging in other acts of petty theft. Teenage boys were expected to join the gang and it was all too easy for them to slip into a life of crime, only the church or school was there to lift them above the fray. As time progressed, the character of the street changed, as the buildings on one side of the road were demolished to allow the highway to be widened. Though this started to change the local ambiance, Church Street was still a place where guys in zoot suits helped run bars and clubs full of revelers intent on eating, drinking, singing and dancing.
 
The section of Church Street between Brambleton Avenue and Princess Anne Road was where most of the clubs, bars, restaurants and seedy boarding houses (plus some churches) were to be found. The focal point of this exciting district was Attucks Theatre (known locally as the Apollo of the south). Built in 1919, this impressive building hosted shows by the likes of Cab Calloway, Duke Ellington, Ruth Brown, the Flamingoes and Clyde McPhatter. Sadly it started to fall into decline in the 1950’s before ceasing to function as a theatre altogether. Luckily, after many years in disrepair, it was saved, renovated and reopened in 2004. However, the Attucks is just about the only building on Church Street in the 1960’s that is still standing. Just to the north of the Attucks (which is located on the corner of Virginia Beach Boulevard) was the church where cult preacher Daddy ‘G’ Grace held court. His House of Prayer congregation dispensed a fervent gospel soundtrack to ward off the Devil’s music escaping from rowdy bars such as the Congo Lounge, Jamaican Room, Queens Lounge and Mark IV Lounge. The ‘Norfolk Sound’ was born following Bronx born Frank Guida’s relocation to Norfolk. Initially he ran a record shop (Frankie’s Birdland) on Church Street but by 1958 he had also opened a recording studio and hired a house band which included Gene Barge on sax. The first success this outfit enjoyed was with an instrumental “A Night With Daddy G” credited to the Church Street Five. The tune basically formed the template for his 1960 Legrand label smash hit ”Quarter To Three” by Gary US Bonds. The Church Street Five would play live gigs all around the Tidewater area and a young Bill Deal would travel from his home in Portsmouth (across the Elizabeth River from Norfolk) to the Ebb Tide Club in Ocean View to catch the group’s show. Inspired by what he heard, along with many other young men he would frequent the Church Street record stores to buy new R&B 45’s. From there, he learnt to play the organ and with some friends formed Bill Deal & the Rhondells.
 
With hit sounds now being recorded locally, a rival record shop made good business sense. Noah Biggs already had music industry connections, in the late 1950’s he managed local group the Humdingers. This group was led by ‘General’ Norman Johnson. Mr. Biggs organized a recording session for the group and then sent their demo tape to Joe Banashak in New Orleans. Joe liked what he heard and so signed the group to a deal with Minit Records, changing their name to the Showmen at the same time. In 1961 and 1964 the group enjoyed great success (with “It Will Stand”) and so it was a logical move when Noah Biggs opened Nimrod Record Store at 726 Church Street. The store soon became a focal point for local youngsters interested in music. Shortly afterwards, he started a booking agency that was also based out of the shop. The Showmen may have moved on (label-wise), but this didn’t curb Noah’s talent scouting activities. After Joe Webster and the Anglos made their mark locally, they headed off to New Jersey to record “Incense” which following an initial release on the Orbit label went on to gain national & international distribution. The track would be quite influential as it became a massive sound on the British mod scene of the mid 1960’s.
 
Many of the guys on the Norfolk soul scene collaborated at times. So the likes of Lenis Guess and Jerry Williams worked with Frank Guida and later also with Noah Biggs. In fact, Jerry's brother, Wilson Williams, sang vocals on cuts recorded by the Positive Sounds (“Almost Blew My Mind” + “You’re The One I Need”) and later recorded for Noah's How Big label. The Positive Sounds were an ex jazz group that hooked up with Noah Biggs in 1963, not too long after he had opened his record shop. Noah soon set up a basic studio in the back of the shop (remembered fondly as “that little storefront studio”). Here, the Positive Sounds would back up other artists signed by Noah. A regular in Nimrod Records (in the bible, Nimrod was Noah's son!) was James Gregory. He was interested in a 4 strong girl group who had started out singing background vocals on recording sessions for Frank Guida.
 
In 1964 this group, the Dream Team (managed by Noah Biggs & Mr Gregory), cut the song "Beg Me" for Epic in New York. However, the song became a hit for Chuck Jackson (on Wand) and it is unsure if the original by the Dream Team was actually ever released. The girls did however manage to get a 45 release in 1967, this being on the Gregory label ("I'm Not Satisfied"). This song was cut (with the Positive Sounds) in Nimrod Studio under the supervision of Norman Johnson & Joe Weaver (of the Anglos). The Anglos themselves were to record for Shiptown in 1967. Another local record store and label owner was Leroy Little. He had the Waxy Maxy Record Store on 35th Street and ran the Tri-It & Tri-Us labels. He was Wilson Williams’ first manager and Wilson would end up on his Tri-Us label in the mid 70’s. “Losing You”, a Tri-Us outing for Wilson, being produced by Lenis Guess (whose recording studio was also located on 35th Street)."¨"¨Shiptown releases are extremely hard to track down because most had very limited pressing runs (sometimes 200 or less) and the majority of copies never made it any further than the shelves of Nimrod Record Store. Here, the staff would push each release & with plays on local radio shows, most would be sold to locals or servicemen based in the area. Noah really only pressed up enough copies of each 45 to generate interest from a larger label (in either signing his artist or in using the actual song on one of their acts). After Noah found ‘Little” Ida Randall, Norman Johnson took her up to Cameo Parkway’s studio in Philadelphia to cut his song “Lets Get Married” (sometime around late 1964). Noah decided to release the song on his own record label, under the name of Ida Sands. With Norfolk’s strong maritime connections, he named his new label Shiptown Records. In summer 1965, Little Ida (Ida Sands) & Little Daddy (Joe Webster of the Anglos) were teamed up in Virtue Recording studio (1618 N. Broad Street, Philadelphia) to record under the supervision of Jerry Williams. Shiptown’s connections with Philadelphia were to be continued, the strings on some of their later cuts being handled there by the likes of Leon Huff. "¨"¨The 1st 45 on Shiptown to make any waves was Ida Sands "Rescue Me"; this being licensed to Chief Records in New York. Other 45's came thick & fast; the Idets "Look My Way / Doggie In The Window" also in 1967, plus the Anglos "Since You've Been Gone / Small Town Boy" (again in 1967) which were picked up by Scepter for national distribution. Flip Flop Stevens "Let's Do That Thing Part 1 / Part 2" followed in 68 with the Soul Duo's (Ida & Joe Webster) "This Is Your Day / Are You Lonely For Me Baby" following in 69 (this was licensed by Jubilee Records & released in mid 69 as Josie #1007). The same pairing's "Can't Nobody Love Me / Just A Sad Xmas" came out a little later. Noah started a second label in 1969, the How Big label being named after his son Howard Biggs. The first 45 release on his new label featured Ida Sands (Noah’s wife and Howard’s mother) on “Start All Over Again”. Anothr How Big 45 was "Too Many Skeletons in my cupboard" by Nat Fross (How Big 202936). Noah realized that, with Shiptown 45’s limited pressing runs, he had to get some exposure for his releases to stand any chance of them making any impact. So he cultivated radio DJ’s on black stations within easy reach of Norfolk. Thus, not only would he make certain that copies of his label’s 45’s were sent to these guys, but he would ensure his artists dropped in on them to plug their wares.
 
The prominent radio stations in Norfolk itself were WGH, WRAP & WHIH and so Shiptown’s artists would visit the likes of DJ Jack Holmes (WRAP), Scotty Andrews (WHIH) and Gene Loving (WGH) for on air chats and these guys soon became close friends. Some farther flung stations were also supportive, DJ Hot Dog at WOOK in Washington being one of these. When Ida Sands’ “Start All Over Again” was released in late summer 1969, as well as getting good exposure on the above stations, the likes of Maurice 'Hot Rod' Hulbert (WWIN, Baltimore), Bob Hatten (WEHW, Hartford), John Lee (WAUG, Augusta) Lannie Kaye (WYNN, Florence) and Charles Johnson (WCEC, Rocky Mount) also got behind it. With the prospect of a first hit for one of his labels, Noah gave the track every change of breaking out nationally by placing an ad in Billboard magazine. This was quite a bold move for a label that hadn’t even attempted to secure a national distribution deal for their sought after record (perhaps Noah had been ‘short changed’ in earlier licensing deals). It would be Noah’s insistence on going it alone, and not seeking bigger label’s help with reliable distribution, that would hold back greater commercial success for his releases / artists.
 
Nimrod Studio was quite a basic place. It started out with just rudimentary 4 track equipment but was then upgraded to an 8 track. By the early 1970’s it was only really used for rehearsal purposes and to make in—house demos. Just about all the tracks cut there were done live, the singer/s and backing band all laying down their efforts at the same time. Nevertheless, Noah and his set-up soon become well known around the Norfolk area. His policy of giving local talent a chance brought many aspiring singers to his door. Barbara Holmes was born in Petersburg, Virginia (1947), but her parents moved back to Norfolk when she was an infant. She started singing in her church choir when around 10 / 11 years old. About a year later, she was asked to join a gospel group (6/7 strong) made up of pre-teens from the same church. Although they sounded good, there was a certain spark missing and wanting to improve, the girls were always trying to find the ‘missing piece’. One night, they were down to perform on a program with other groups and decided to watch their rivals. One of the other groups consisted of a bunch of adults with one young lady. This ‘youngster’ both played the piano & sang. Knocked out by her abilities, they made it their mission to get her to join up with them. This young ladies name was Maddie (better known now as Debbie Taylor) and luckily they succeeded in getting her to join their group. The girls were soon very close friends and they have remained so ever since.
 
Norfolk had a thriving gospel music scene back then and other acquaintances also followed a similar career path. Both Debbie Taylor and Wilson Williams had sung in the group, Gospel Union. Shirley Johnson went from gospel singing to signing with Shiptown before she eventually moved to Chicago where she has established a successful career singing the blues. Anyway, time past and after Barbara Holmes finished high school, she took a job in a theatre on Church Street. About a year later (1967), Debbie Taylor (who cut demo’s for Shiptown and then went on to record for the likes of GWP and Arista) told Barbara about Shiptown Records. Intrigued, the girls went to see Mr. Biggs to determine if they could get themselves a shot at fame. Luckily the day Debbie and Barbara turned up at Shiptown, Noah was in his office and he asked them why they had come to see him. Barbara spoke up, saying that she had come down to sing and so she was asked to perform a song. Not one to pass up a chance, Barbara sang an Aretha Franklin number, perhaps not the easiest choice a young singer could make. However before she had even finished the song, Noah hired her and asked if she was ready to work. The next thing she knew, she was under contract and singing with the Idets on backing vocals for several other artists. Noah was really impressed with Barbara and soon decided that her vocal talent was not being fully realized in a group setting. He decided that she should be developed as a solo artist and Ida came up with her stage name, Barbara Stant. So by 1971, in addition to her starting to record as a solo singer, Barbara had begun to perform live in her own right alongside her label mates.
 
In conjunction with the likes of the Showmen, Ida Sands, the Anglos, the Soul Duo, the Idets, Wilson Williams, Shirley Johnson, Nat Fross, Little Scotty and the Positive Sounds band she was soon learning her trade on numerous live shows. The Shiptown artists made a formidable team that easily rivaled any other local touring company and so their concert packages were always a popular draw. Noah didn’t just promote Shiptown artist packages; he also fetched many top live acts to the area for concerts. He promoted local shows, which were headlined by the likes of Al Green, the Supremes, the Stylistics, the Delfonics, James Brown, the Mighty Clouds of Joy and the Isley Brothers. Of course, he ensured that some of his own artists would be the support acts at these concerts. These shows would be staged at venues such as the Norfolk Scope Arena (which opened in 1971), the Hampton Coliseum, Old Dominion University (ODU), Longshoreman’s Hall, the Monticello Hotel, the Golden Triangle and the Nansemond Hotel (Ocean View). Appearing on shows with such accomplished artists, it wasn’t suprising that the Shiptown acts swiftly became quite proficient and were soon sought after artists on the local soul scene. Barbara was one of those who learnt quickly and after a few sessions in the studio, she was soon delivering tracks that warranted release. Most of her recording work was undertaken in Norfolk but she would also travel to New York, Philadelphia and Maryland for some sessions. Her first 45 release coupled “That Man Of Mine” with “Shadow In Your Footsteps” both of which had been laid down in July 1972. “Shadows In Your Footsteps” is an uptempo item on which the backing band’s brass section plays a major role supporting Barbara’s strong vocal performance.

This 45 launched Barbara’s recording career and paved the way for a follow-up (also recorded at the same session); “My Mind Holds Onto Yesterday”. This song was written by Charles Hunter (the drummer in Positive Sounds) and Barbara herself and it was laid down at Track Studios in Silver Spring (a northern suburb of Washington DC). Produced by Charles Hunter in conjunction with Noah Biggs, it was initially released as a ‘normal’ Shiptown 45 (catalogue no. 203276). However a second version of this release is much more widely known and this features a completely remixed version of the track. From information detailed on the label of the second version of this 45, the remix appears to have been undertaken in New York with the additional strings being handled by Robert Banks. In summer 1972, the Positive Sounds (now managed by Ruth Brown) had been employed as the house band at Harlem’s Apollo Theatre. Whilst based in New York they hooked up with A Dish-A-Tunes Productions for whom they recorded “The Creeper” which was licensed for release on Chelsea Records in 1973. The main creative forces at Dish-A-Tunes were J R Bailey and Ken Williams and their team wrote songs recorded by the likes of the Superiors, Troy Keyes, the Spellbinders, Lenny Welch, Donny Hathaway, the Main Ingredient, Four Tops & Ace Spectrum. Around the same time that the Positive Sounds were cutting for A Dish-A-Tunes, group member Charles Hunter must have presented them with the original master tapes for Barbara’s two tracks. In no time a new version of “My Mind Holds Onto Yesterday” with Dish-A-Tunes name attached to it had been issued on Shiptown under catalogue no. 70822. Robert Bank’s efforts on the strings really give this outing a touch of class and sophistication that fully compliments Barbara’s great vocal performance. It would be hard to find a better example of pure Northern Soul than the second version of this tune.

Unfortunately Shiptown’s lack of an effective distribution network meant that this record remained just a Tidewater area favourite, until discovered by UK soul fans years later. It would be two years before another single featuring Barbara would hit the record shops. Recorded in the summer of 1974, the coupling of “Baby I Love You / I’m Going To Outfit You” formed it. “Outfit You” is again uptempo but with a more funky feel. The song was written by Noah Briggs and the track was arranged by Wilson Williams. The 45’s catalogue number would imply that it was actually Barbara’s first release, but Howard Biggs (& Barbara herself) assure me that it wasn’t (Shiptown’s numbering system has to be just about the most confusing ever devised). For her next release, Shiptown went outside their team of in-house and associated local writers. Sam Dees “Unsatisfied Woman” was selected and cut with Charles Hunter (in conjunction with Noah) again handling production and arranging duties. A reworking of “Shadow In Your Footsteps’ was teamed up with “Hung On” (another song on which Noah collaborated with Lenis Guess and Dorsey Brockington) to form yet another single. Though Barbara was the best served Shiptown artist (release wise), other artists still managed to secure releases on the label (white outfit Art Ensley & Fabulous Echoes cover of "Open The Door To Your Heart" being one of these).
 
By the mid 1970’s, the original shop premises had seen better days and with demolition threatened to allow road widening, Noah (now getting on in years) relocated across the road. He set up his new base at 707 Church Street and hired Martin Culpepper as his new studio engineer. Culpepper had worked on a couple of gospel 45’s that had been released on the Jobs label (which had ties with Leroy Little’s Tri-Us Records). This deal also brought the Grooms into the Shiptown (Jobs) family. For Barbara’s last release in 1977, Noah handed the reigns over to Lenis Guess. Cut at Guess studios, “(I Found Me A) Real Man” was part written, arranged and produced by Lenis. He remembers Barbara as being very pretty, a pleasure to work with and that she could sing like an angel. Test pressings of “(I Found Me A) Real Man” (c/w “You've Got To Try Again”) were made up at GRT Records and these were (mostly) retained by the engineering staff who worked in the label's studio. But the days of little independent labels securing national breakouts had come to an end. The record business was by now dominated by the big labels and disco sounds now monopolised the charts. The more soulful sounds that the Shiptown team was still turning out found themselves out of favour and securing sales became difficult. The label’s activities may have slowed anyway, but Noah Biggs death in 1978 signalled the end of the line for the organization. The office was closed almost immediately and all the label’s current acts were left high and dry. The local soul scene in general was struggling by then. None of Frank Guida’s roster was still enjoying hits, Jerry and Wilson Williams had moved on to progress their recording careers and even Lenis Guess was ready to up sticks and head out to New York. The ‘Norfolk Sound’ had run its course.
 
With Shiptown in disarray, Barbara took a break. After this, she teamed up with a jazz band and started to sing again on a few local live shows. But things just weren’t the same for her and so she went back to her roots in the church. Control of the label’s catalogue slipped away from the family and that could have been it for Shiptown. But record collectors started to unearth the label’s old 45’s and those that found favour were soon commanding high prices. Howard Biggs moved on in life and pursued his own career path but 25 years on, he discovered the unending interest in his father’s record label. Encouraged, he managed to get control of the label back after realising that it was still something worth owning. With many of the old Shiptown artists prepared to support Howard, he set about re-establishing the label. Deals have been done to get some of the old tracks re-released and this resulted in “Superman” by Raw Soul (also known as the 35th Street Gang) featuring Barbara on vocals being issued on 45 in the recent past. This track being another that was produced by Lenis Guess and he also wrote the song. Still singing in church, Barbara decided the time was now right to stage a come back. Plans were made for her to record again and the master tapes for previously unreleased tracks such as “What Goes Around’ & “Stay’’ have been unearthed.
 
Today, Church Street is a wide dual carriageway road that speeds high volumes of traffic past large warehouse type commercial buildings and newish public housing estates. It is totally unrecognisable as the street that was once the heart of Norfolk’s lively entertainment area. Thankfully Attucks Theatre has been brought back from the brink and now stands as a monument to what used to be. Interest from around the world in the music released on Noah Bigg’s record labels has sparked resurgence for some of his original artists. I’m sure Noah would greatly approve of his son’s efforts to resurrect the Shiptown / How Big concern. A major first step in these efforts occurred on the 1st November 2009 when a big reunion show was staged at the Broadway Club on East Virginia Beach Boulevard in Norfolk (a road that intersects with Church Street). Barbara Stant was amongst the label’s artists who participated in the show and her vocal efforts were very well received.
By Roburt in Articles ·

Eula Cooper Needs Your Help

Eula Cooper is in danger of losing her home, which is a story that has become all too common in this country (the USA) and needs your help.

Eula and her husband have suffered set backs while they continue to make better lives for themselves. Eula is pursuing a degree to help her chances of being hired into a better job while she struggles to make ends meet.





Photo courtesy of Jacob Blickenstaff (taken at Dig Deeper with the Sweet Divines and Divine SouL Rhythm Band.

Please visit Eula’s web page, read more about her situation, and consider making a contribution to help her and her husband remain in their home.





Visit Eula's website and read the full story:

http://www.eulacooper.com/





Eula is featured in the Eccentric Soul Series by The Numero Group on a compilation about the Tragar and Note labels. Eula receives royalties through the sales of these CD so a purchase of this would help in the longer term.

http://www.numerogro...l.php?uid=00645

http://www.amazon.co...51272104&sr=8-1

Many of us grew up listening and dancing to Eula's records and it would be nice to give something back.






http://soundcloud.com/chalkster/eula-cooper-let-our-love-grow
By Agent45 in News Archives ·

Martha Reeves On Tour

Martha Reeves has announced new dates for shows in the UK in December. Having completed a four year run as a member of the Detroit City Council, Martha is back on the road full time, making sure that no one ever forgets the Motor City!

The UK tour dates are:
Sunday, December 16, Oran Mor, Glasgow
"¨Monday, December 17, Norwich"¨
Tuesday, December 18, The Concorde2, Brighton
"¨Wednesday & Thursday, December 19/20. The Jazz Cafe, London,"¨
Friday, December 21, Eric's, Liverpool
(tickets can be bought just for the show or with a full Christmas dinner at a separate venue.) Box Office 0151-236 9994/ Ticketmaster
"¨Sunday, December 23, The Robin, Wolverhampton

Lots more information is available about Martha at her website:

>>>>MISS MARTHA REEVES<<<<


It was 1962 that Motown's Artist and Repertoire Director William “Mickey” Stevenson first heard the voice that would become synonymous with "the sound of young America." A young jazz/blues singer with the unlikely name of "Martha Lavaille" was bringing audiences to their feet at Detroit's famed 20 Grand Nightclub singing songs made popular by singers the likes of Gloria Lynne and Della Reese. He invited her to audition at the new Motown Records headquarters, "Hitsville, USA."

Though the audition never happened, within a year, Martha had taken the reigns of the company's A&R department, ingratiating herself. She saw that musicians showed up on time and got paid. She watched, learned, and whenever opportunity presented itself, she sang. And when she did, everyone took notice. When Mary Wells couldn't make a session, Martha was called to the mic. With her group, the Del Phi's, she recorded "I'll Have to Let Him Go," and Martha and the Vandellas was born.

The song was rather forgettable, but Reeves' sound wasn't. While waiting for her first hit, Martha (along with Rosalind Ashford and Annette Beard) backed Marvin Gaye on his first three releases and sang with him on stage. Soon, however, they emerged from the shadows with "Come and Get These Memories," followed by an enviable string of hits: "Heat Wave," "Quicksand," "In My Lonely Room," "Nowhere to Run," "My Baby Loves Me,", "Love Makes Me Do Foolish Things," "I'm Ready For Love," "Jimmy Mack," and, of course, the Motown anthem, "Dancing In The Street."

After leaving Motown in 1972, Martha continued to expand her musical horizons, establishing herself as a singer-songwriter with few limitations. She sang rock, jazz, country, gospel, blues and classical. Her singing companions included everyone from the Godfather James Brown and the Boss Bruce Springsteen to opera diva Beverly Sills and gospel king Rance Allen. She headlined a national touring company of the musical "Ain't Misbehaving," and for three years toured the UK in the musical review "Dancing In The Street."
Martha Reeves continues to thrill audiences around the world. Her self-produced 2004 CD, "Home to You" was named one of the year's best by the Asbury Park Press. In 2005, Will Smith mined the Motown vaults to uncover her unreleased gem, "It's Easy to Fall In Love," and included it in the hit movie "Hitch." Also in 2005, Motown released Martha's "Lost and Found" collection, which included the rare Smokey Robinson-penned "Spellbound," her studio recording of "For Once In My Life," and covers of hits by the likes of Aretha Franklin, the Marvelettes, Vikki Carr, Sam & Dave, and the Four Tops. She was also featured in the PBS special, "Motown: The Early Years," writing liner notes for the four-set CD package. A "Gold" collection was released in March 2006 and "The Definitive Collection" in 2009. (Her 1968 "Live at the Copa" remains in the vaults, but we hope for a release in the not-too-distant future.








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By Chalky in Event News ·

Motown Alumni Association

I'm not sure how many of you are aware of the Motown Alumni Association? It is a site dedicated to the whole Motown Family. Although it isn't affiliated or part of Motown it does a lot of work for the acts and people who gave the world some wonderful music and memories. From the major acts, to the minor, lesser known acts, from Berry Gordy to the receptionist. The Association does what it can to remember the people who helped create the label.

As well as the website and facebook group it now publicises a bi-weekly magazine, readable on line or it can be purchased as a print copy.

To read the first two issues go to:

http://issuu.com/billywlson




To view the website go to:

http://motownalumniassociation.webstarts.com/index.html
By Chalky in News Archives ·

Paul Riser MBA - Motowns Brilliant Arranger

PAUL RISER - MBA (Motown’s Brilliant Arranger)
The importance of the arranger in the musical process, whatever the genre, cannot be overstated …or underestimated. The arranger translates the basic structure of a song, or piece of music, into a format that musicians can play, while improvising and embellishing the original concept into a completed creation. The American Federation of Musicians defines musical arrangement as “ …the art of preparing and adapting an already written composition for presentation in other than its original form. An arrangement may include re harmonization, paraphrasing and/or the development of a composition so that it fully represents the melodic, harmonic and rhythmic structure.”
As Berry Gordy’s fledgling Motown company became more and more successful into the early 1960s, the need for accomplished, classically-trained virtuosos, capable of transforming basic musical ideas into polished, commercially viable product, became essential. As Gordy himself put it, “Many songwriters and producers, myself included, lacked a lot of formal music education. When it came time to merge all these different elements we looked for help from the arrangers we had brought into the company.” One of the first to scale this mantle was Dale Warren, who had been recruited by his aunt (Gordy’s second wife) Raynoma to arrange strings, from a local music conservatory where he had been classically trained as a violinist. Like any professional organisation, Motown relied on its own network of contacts to identify and attract talented personnel, and when the pool of session musicians required a second trombone, Warren suggested a precocious teenage protégé he knew from his days as a member of the Cass Technical High School Symphony Orchestra — Paul Riser.
The significance of Riser’s recruitment to the Motown staff would eventually have considerable, and far-reaching, consequences for the company specifically, and for popular music, in general. In a career that spanned the decades, Paul Riser has, almost single handedly, elevated an art form struggling to gain respectability, from the inane to the immortal. Raynoma Gordy described him as “ …gifted beyond belief, he emerged as the man most responsible for the gorgeous arrangements that were born in the classic Motown days.” And Berry Gordy recognised him as “ …one of Motown’s all time great arrangers, who was best known for his string and horn arrangements that merged classical traditions into Motown funk.” Performers, players and production staff paid homage too … yet it all could have been so different.
 


The entry requirements at Cass Technical High School, Detroit, in all disciplines, were so high, as to only admit the very best students. It was known as a ‘magnet’ school. Cass graduates were not required to complete College Admission Tests at Michigan universities, such was the high academic esteem in which the school was held, and in most departments, new entrants were hand-picked. Paul Riser had reached such a high standard of musical competence, discipline and understanding by the time he left junior high school, at age 15, that his attendance in the music department at Cass was inevitable. As he recalls those times, the happy memories return, “I dedicated myself to music throughout elementary and high school and I had some harsh taskmasters teaching me in both places, namely Dr. Harold Arnoldi, Dr. Harry Begian and Dr. Michael Bistritzky. I practiced incessantly on the trombone, though I loved the trumpet and cello too. The cello is probably my favourite instrument. All my learning centred on classical music and the incredible discipline required mastering its many aspects. My goal was to play in the Detroit Symphony Orchestra as First Chair.” By the age of 13, Riser experienced his own epiphany. “ It was such an incredible experience to realise that I could finally, not only play music properly, but read it and transcribe musical scores for other musicians to read. I got to play with the high school concert band and orchestra too as first trombone. That band was so good that it is still the only high school concert band to ever be inducted into the Smithsonian Institution! I also loved jazz and played in a few different local bands.” Although everything in his life looked as if it was on course to realize his dream, the fickle finger of fate (and financial necessity) intervened. “ I knew Dale Warren from Cass and one day, right out of the blue, he called to tell me that there was a paid position playing trombone at Motown and that I should come down. I knew nothing about Motown. I hated R&B and most other forms of pop music, with the exception of some of the Atlantic stuff that I’d heard my brother and sister played, people like Ruth Brown and Ray Charles, but I reluctantly agreed.”
A seminal moment in music history had taken place as Riser took his place in the cramped confines of Studio A. “It was something of a shock for me to see the way the other musicians behaved. I thought a lot of them were dangerous ‘cause they would drink, get high, fight sometimes and just generally behave badly. I wasn’t used to music being performed this way, coming from the highly disciplined background I knew. They were like a brotherhood though. I sat next to George Bohanon who also played trombone, and there was Marcus Belgrave, John Trudell and Herbie Williams playing trumpet too. I found it difficult at first to assimilate. I had no ‘street smarts’ and they did. I guess they thought I was a ‘long hair’, kinda snobby and a bit stuck up. I was religious and they were gun toters! It was a real shock for me …but I must say though, I respected how dedicated they were and the fact that they all could play.”
 

George Bohannon, Paul Riser and Herbie Williams
 
Riser’s tenure as a full time ‘Funk Brother’ lasted just over a year. Wiser heads, including Berry Gordy himself, recognized his abilities in other areas and began to utilize him in a somewhat different role; “ I’d learned music theory at Cass so I knew how to arrange and orchestrate music into charts for different instruments. Clarence Paul is the producer of the first recording session I played on as a trombonist, which was for Little Stevie Wonder, and Norman Whitfield was the first producer I worked with as an arranger -- then it all just followed from there. I started writing rhythm charts, then horn charts and then strings. I realized it was much easier work and much more fulfilling to write than play, so I began to wean myself off the trombone and dedicate myself to being a copyist / arranger. I found writing for strings easier than anything else”. It wasn’t long before his talent as an arranger was put to the test and the pivotal point came on a Berry Gordy string session for which he had written the arrangements. “ I was really disciplined and I knew exactly what I wanted and how it should sound. Berry and the other people around Motown had faith in me so I was pretty confident. When we got to running the song down I had failed to recongize something critical to all music: accidentals! There were a lot of corrections and I knew Berry Gordy wasn’t pleased! At this point, writer / producer Holland-Dozier-Holland called Berry down and told him to get rid of me, but Berry just told them all to cool off and allow me to resume things the following day. When we got back, the session went fine and, career-wise things began to roll successfully from then on. It shows what great vision Berry Gordy had to keep me around.”
Ultimately, Riser’s talent ensured that musicians and producers alike trusted him and relations improved greatly, especially when he produced hits. As much as he contributed to sessions, the experience he gained, in return, was invaluable. “Yes, I learned a lot about the recording process at Motown, especially what it took to make a hit record. Berry always wanted us to capture the listener in the first few seconds for instance. That’s why I came up with that hook at the start of ‘Dancing in the Street’; and we did that all the time. We used to ‘double’ instruments too — maybe strings and the piano, or the piano and vibes. It depended on the song and what the producer wanted. In the early 60’s, Motown wasn’t a union company and we were paid less than the Union rate; we got $2.50 per song! But we didn’t mind because we were enjoying it. It was a labour of love. Money wasn’t that important back then. There was no time limit on a song either — we would go to 20 or 30 takes on some occasions with no pressure. On average we would finish a song in 8 to 10 takes. I realised how good the Funks were too, especially how they picked new things up so quickly. I only realised this when I went to other studios in different cities. Many of the musicians and producers in those places found my arrangements too difficult, or would take a long time to learn their parts, but the Funks never complained about them. They liked the challenge I think. We were all kinda anonymous at that time too. There were very few credits given out on records or albums and the Funks were kept close to the studio. If Berry hadn’t have done that we would have had other companies coming in to try and convince us to leave — he was smart that way.”
 

 
As Motown productions became more sophisticated, the complexity of Riser’s creativity developed in tandem. He was given more and more intricate song material by producers and given the opportunity to work on full orchestrations with the Detroit Symphony Orchestra. “I loved doing orchestrations, particularly with strings. String players are usually better disciplined than horn players and certainly more than rhythm guys - and that suited me. The producers didn’t put any pressure on me. They would give me something to work on and just say ‘Go and do your thing’ which I appreciated because it gave me a lot more confidence. A lot of the time I got to add ‘sweetening’, as they called it, onto songs. Many times the rhythm, and sometimes horns, had already been recorded and I would put strings on top — that’s what ‘sweetening’ was, strings. A good example of that was ‘My Girl’ for the Temptations. Smokey had given it to them without strings but they thought it was ‘square’ and they didn’t want to do it. In fact they hated it! I put the strings on and everything changed. The producer usually decided whether to add strings or not and that depended how they interpreted the song. I really got into sweetening when Norman Whitfield and Barrett Strong started stretching out with their material (i.e. “Papa Was A Rolling Stone” & “Masterpiece”).
Same with Stevie Wonder and Smokey. They would usually give me a piano demo and a scratch vocal or maybe a bass and drum track with piano as a demo and I would go away and come up with the rest. I would usually write an arrangement as close to the recording session start time as possible so that it was fresh in my mind. The musicians would be expected to ‘sight’ read my arrangements, that is, play them on the spot, not take them home to learn them, but pick it up right there in the studio, on the session! That’s why I’ve got so much respect for studio musicians. I’ve always liked to use 17 string pieces in the studio — nine violins, four violas, three cellos and a harp. Most of the time I wouldn’t hear the lyrics or vocals at all. I tended to arrange the parts around the rhythm chord structure. One exception was ‘Baby I’m For Real’ which I really love. On that one I tried to arrange the music to converse with the lyrics, like the instruments are talking to each other.”
 

 
The arrival of Valerie Simpson and Nick Ashford at Motown in 1966, to, almost exclusively, write for Marvin Gaye and Tammi Terrell, elevated the standard of musical technique and complexity even higher, which Riser readily admits. “ They introduced Motown to a symphonic component which elevated the output above a lot of other companies, and they were two of the greatest songwriters in the business. Not only did they elevate Motown, but they elevated me. It allowed me to open up musically as my training had dictated. Their material created challenges for all of us and made us all more creative. In fact, it was one of their songs that remains one of my favourites to this day — ‘Ain’t No Mountain High Enough’. We’d done it on Marvin and Tammi but then I got the chance to completely revitalise it on Diana Ross in 1970. When Valerie first played her concept of it on the acoustic piano I realized it would be a challenging piece, especially with the dynamic changes and the sudden key change at the end, but when we had finished it everyone seemed to like it, so that was very satisfying. The Funks laid down the rhythm tracks in Detroit but all the horns, strings and the vocals were done in New York.” Although many critics, at the time, thought Riser’s arrangement on the song merited more formal recognition, it was only nominated for a Grammy in 1971 in the ‘Best Female R&B Vocal Performance’ category and didn’t win, which was particularly ironic, considering the arrangement was written in the absence of vocals! He would have to wait another two years before finally winning that prestigious award, with Norman Whitfield, for ‘Papa Was a Rolling Stone’ in the ‘Best R&B Instrumental Performance’ category.
Although Paul Riser is best known for his arrangements, he boasts a considerable portfolio of song writing credits. Best known is probably ‘What Becomes of the Brokenhearted’, which became a major success for Jimmy Ruffin in 1966 and went on to become one of the most ‘covered’ songs in the Motown catalogue. His memory of the song’s conception is interesting, “Most arrangers will use a piano when writing arrangements, but I never do. I use a piano only to compose. I had this series of chords I’d written and I would carry them around with me not really knowing what to do with them. One day I had a session for the Spinners with two producers, William Weatherspoon and James Dean. It was a three-hour session, which was usually enough time to do three songs. Spoon and Dean had two songs, which the Funks completed in two hours, but we still had an hour left so I asked them if they wanted to hear these chords I had. Motown was like a Research and Development department all the time — people were always trying new things and experimenting. So they agreed and the Funks played Spoon and Dean the chords. No title or lyrics, just the chords as I had written it. Weatherspoon and Dean came up with the melody and the lyrics and I did all the music. Jimmy Ruffin put the vocals on. He was one of the quickest guys to pick up a song, that’s why producers used to use him to demonstrate songs for other artists. “What Becomes of the Brokenhearted” became one of Motown’s biggest songs.”
 

Paul Riser and McKinley Jackson
 
Paul Riser was contracted to Motown between 1965 and 1973, in which time he provided arrangements for, literally, thousands of songs and musical works, including hits for artists like Marvin Gaye, Stevie Wonder, the Temptations, the Supremes, Gladys Knight and the Pips and scores more. His classical foundation and the experience gathered at Motown catapulted his reputation around the world which resulted in him providing arrangements and musical direction for a list of artists as diverse as the Carpenters, Phil Collins, Doobie Brothers, Tom Jones, Aretha Franklin, Natalie Cole, Quincy Jones, Luther Vandross, Carly Simon plus many more. In more recent times he was instrumental in creating hit albums for artists like Raphael Saadiq and R.Kelly, and continues to work and teach in a variety of settings around America and Europe. His musical legacy to the world may never be eclipsed.
 
Rob Moss Oct 2012
By Rob Moss in Articles ·

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