Posted on

Stays On My Mind (Soul July 31st 1971)

The Top 10 records on the Cash Box Top 60 in R&B Locations for 50 years ago this week were the same as the week before only in a slightly reshuffled order. Gladys Knight & her Pips had enjoyed just one week at #1 with “I Don’t Want To Do Wrong” & was now replaced by the impressively double bracketed “Hot Pants (Part 1) (She Got To Use What She Got To Get What She Wants), the 11th time that James Brown had hit the top spot. The most recent release of these 10 was a song that was initially slated to be a single for the Temptations but the departure of lead vocalist Eddie Kendricks for a solo career in March 1971 meant that a Plan B was required. Producer Norman Whitfield took his song “Smiling Faces Sometimes”, cut from over 12 minutes to under 4, re-recorded it with his Psychedelic Soul proteges, the Undisputed Truth & made the hit it was always going to be. Anyways, we looked at these big hits in the last post & there are other great artists & records, some of my favourites, further down the listing so let’s get to that.

Barbara Lynn | Letterpress poster, Vintage music art, Jazz poster

Way back when I first invited the World Wide Web into the house it brought along a Y-tube clip from 1966 of Barbara Lynn performing “You’ll Lose A Good Thing”, her hit from four years earlier. I was convinced that me & this new e-world would be getting along just fine. An R&B prime cut, filmed in colour an elegant young woman singing her own song, playing her guitar left-handed just like Jimi, the whole package just seemed so assured, so modern. Barbara was just 20 when she made the 265 mile journey to New Orleans to record with Huey P Meaux, “the Crazy Cajun”. “…Good Thing”, her debut, was such a success that she was able to record regularly in the next few years. One of her songs “Oh Baby (We’ve Got a Good Thing Goin’)” was covered by the Rolling Stones in 1965. It was Meaux’ connections in the music business that got Barbara signed to Atlantic in 1967 & in the following year “Here Is Barbara Lynn”, an album recorded in Mississippi with Meaux was released.

Barbara Lynn | Sheila B | Page 2

“(Until Then) I’ll Suffer”, rising from #52 to #46 on this week chart is a 1971 release lifted from that three year old album. It appears to have been the b-side of “Take Your Love and Run”, another cut from a record that seemed to point Barbara towards sub-Motown Soul stompers which were good enough but it was the five songs she wrote, where the Blues was added to her Gulf Coast Soul that stood out. It is no surprise that “(Until Then) I’ll Suffer” in the style of “…Good Thing”, recognisably a Barbara Lynn joint, was the side preferred by radio stations. Any plans for new material from her were stalled by the imprisonment of Huey Meaux after a conviction under the Mann Act for transporting an underage female across state line for immoral purposes (later things got worse for Huey). Barbara, a new wife & mother, stepped away & took 20 years off to raise her kids before returning to recording & touring, still looking, singing & playing just fine. There were plenty of people pleased to see her.

Denise LaSalle Lyrics, Song Meanings, Videos, Full Albums & Bios | SonicHits

I hope that you are able to spare three minutes to listen to a new entry at #58 to the Cash Box chart because “Trapped By A Thing Called Love” by Denise LaSalle is a wonderful thing. Denise had relocated from Mississippi to Chicago when she was a teenager. She was into her thirties before she began to record. It was perhaps this maturity showing when she & her husband Bill Jones set up their independent Crajon Enterprises company & negotiated a deal with Detroit’s Westbound label. It was certainly an astute move to go to Royal Studios in Memphis where producer Willie Mitchell was finessing a signature sound combining the melodic groove of his rhythm section with bright punchy interjections by the Memphis Horns. In 1971 Mitchell was establishing Al Green as a new force on the Soul scene & his arrangements for “Trapped By A Thing…” & Denise’s subsequent LP provided the same freshness. Eight of the eleven songs were written by Denise herself, she & her husband produced an album that is a fine, individual example of the way Southern Soul was heading. Incidentally the track “If You Should Loose Me” (sic) is a cover of Barbara Lynn’s “You’ll Lose A Good Thing”. Denise continued to write & record into the 21st century, her reputation as a “Blues Queen” fully justified.

In Jim Jarmusch’s fine Rock & Roll vampire movie “Only Lovers Left Alive” (2013) Eve (Tilda Swinton, that’s the great…) is listening to Adam (Loki Hiddleston), her husband over many centuries, whinge on about the drawbacks of immortality, of waiting round to never die. She walks across the room to the turntable, selects “Trapped By This Thing Called Love” & says “How can you have lived for so long and still not get it? This self obsession is a waste of living, It could be spent surviving things, appreciating nature, nurturing kindness and friendship, and dancing”. Life affirming words & music indeed.

The Dells - The Love We Had (Stays On My Mind) / Freedom Means - Cadet -  USA - CA 5683 - 45cat

Ah, the mighty, mighty Dells, at #53 with their latest 45 “The Love We Had Stays On My Mind”. The quintet came together in 1953 as high school friends in Harvey, Illinois, just south of Chicago. “Oh What A Nite”, hit big in 1956, Johnny Carter (the new guy!) joined in 1962 & he, Marvin Junior, Chuck Barksdale, Michael McGill & Verne Allison were still together 50 years later. When, in 1966, their record company Vee-Jay declared bankruptcy a move across town to Chess Records led to a string of R&B hits with standards or material provided by producer Bobby Miller, finely tuned by ace arranger Charles Stepney. With the departure of Miller to Motown in 1969 Stepney took over production duties, continuing the ambitious, imaginative, urbane Soul vision he had pursued with the group Rotary Connection. In 1971, with the release of the “Freedom Means” album the Dells, already regarded as the most senior of the vocal groups, around since the days of Doo-Wop, were pushing the boundaries of melodic, harmonious Soul.

“Freedom Means” had its covers of well known songs along with six of the ten, including the title track & “The Love We Had…” written by Terry Callier, a Chicagoan friend of Curtis Mayfield & Jerry Butler. His mid-60s album “The New Folk of…” was embellished with Jazzy idiosyncrasy & now, as a Stepney protege, he was bringing a distinctiveness to the Dells. “The Dells Sing Dionne Warwicke’s Greatest Hits” (1972) sounds a little more mainstream but blimey Bacharach & David’s modern classics are only enhanced by the vocals & arrangements. “Sweet As Funk Can Be” (also 1972), seven Callier/Wade compositions & one cover, is an almost-concept album, tracks linked by spoken segues & as far out as the Dells ever got. It is perhaps a taste to be acquired but the album does exactly what it says on the cover &, for what it’s worth, my one-word review is “Magnificent”.

The Dells – Sweet As Funk Can Be (1972, Vinyl) - Discogs

The Dells were by no means Stepney’s surrogates. Chuck’s bass added texture while Michael & Verne had been doing their harmony thing for so long now that they absolutely had it down. The powerful baritone voice of Marvin Junior really is a special thing. You hear that, it’s the Dells. While Marvin came with the thunder he was set up & perfectly, uniquely complemented by the lightning of Johnny Carter’s range from tenor to falsetto. There’s much more to the group than sheer durability. As tastes in music changed the Dells made slight adjustments, always classy, elegant & relevant, ensuring their longevity. My good e-friend Jennifer Hannah Cocozza, a woman of immaculate taste, will tell anyone who cares to listen that Marvin Junior is the outstanding voice in a talented, crowded Soul field. I’m the guy stood behind her saying “Yeah, that’s right!”

This week’s live clip is from the same 1972 performance by the Dells on the landmark but short-lived “Soul” TV series. “Stay In My Corner” was a hit in 1965 the re-recorded three year later, becoming the group’s biggest R&B and Pop hit of the 1960s. Developed into an expanded onstage showstopper it showcases the amalgamated talents of the five while featuring the quite extraordinary alignment & blessing that Marvin & Johnny had refined. It does not get better than this.

About loosehandlebars

Experience has taught me wisdom, thank god I've got some life left I'm getting out of serfdom, my soul has stand the test. I need nothing to be a man because I was born a man and i deserve the right to live like any other man.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s