A Shot Of Rhythm And Booze (Pub Rock)

The newly released, on Cherry Red records, “Surrender to the Rhythm: The London Pub Rock Scene in the Seventies”, 3 CDs, 71 tracks by 71 acts, 4 hours of music, is as exhausting as it is exhaustive. All the names are present, the pioneers, Eggs Over Easy, Ducks Deluxe, Brinsley Schwarz, the bigger turns, Elvis Costello, Dr Feelgood, Graham Parker, the unlikely to be revived but very listenable Starry Eyed & Laughing, G.T. Moore & the Reggae Guitars, Roogalator. A number of those included, Mott the Hoople, Thin Lizzy, Sensational Alex Harvey Band, were already playing bigger licenced premises & fans of those bands (I know more than a few) may quibble about their presence. No matter, the collection is a reflection of early 1970s British Rock & selecting 3, maybe 5, probably 4 tracks that evoke some good, if a little woozy memories is no problem at all.

The Hope & Anchor Islington London

Pub Rock was more than giving Hippies an alternative to to spending a midweek evening sitting cross-legged, naked with their balls in a saucerful of hand-knitted yogurt (don’t ask!). Glam was all well & good but lurex could be unflattering & glitter found its way into the most inappropriate places. It wasn’t just stadium rockers inflicting their latest triple album length space operas (on ice!) on audiences. Prog took itself way too seriously & man, I saw some lumpen, mediocre bands in the early 1970s (ever heard Gnidrolog?). Providing cheap, even free, entertainment for a lubricated local gathering meant that bands could be less structured, cover their favourite songs, have fun & I ain’t ever had too much of that. A new generation, experiencing live music for the first time, found an exciting alternative to their big brother’s copy of “Dark Side of the Moon” & there’s no doubt that Pub Rock’s informality influenced these young dudes when, a couple of years later, they formed their own Punk bands.

My mate Frank was a bit of a face around Harlesden in North West London, well he thought he was. He introduced this small town, wide eyed teenager to a vibrant multi-cultural city where I was happy to live for 20 years, to amphetamines & to his lovely Irish mother who would never allow me to leave the house without a delicious fried breakfast & enough pocket change for my fare on the Tube. Frank studied 60 miles away from London, returned there every weekend & I often shared his adventures. I missed the night he saw a band about which he panegyrized for the following week. It seemed unlikely, a combo we had never heard of, playing in a pub! Still. I kept a future ear open for Kilburn & the High Roads &, what do you know, Frank was right, they really did have something going for them & no-one else around quite had that same something.

Kilburn & the High Roads - Patience (So What?) - YouTube

A varied assortment of musos & misfits passed through the Kilburns between 1970-75. A rugged blend of Rock, Jazz, Reggae & Music Hall revolving around the unique Cockney geezer stage persona of lyricist/vocalist Ian Dury proved to be very popular. A debut album was shelved in 1974 before, in the following year, “Handsome” was released. “Billy Bentley (Promenades Around London)”, the B-side of 45 “Rough Kids”, has all the elements, perhaps too many, that the band aspired to. The album smoothed their gritty edges & Kilburn & the High Roads folded. Ian kept saxophonist Davey Payne, hooked up with keyboards/composer Chaz Jankel & a new Blockhead crew. With a tighter, tougher, more defined sound there were great shows, outstanding albums, hit singles & Ian Dury, the Pop star, became an inspiring & deserved national treasure. Oi Oi!

UNITED KINGDOM – JANUARY 01: Photo of CHILLI WILLI & Red Hot Peppers; Posed group portrait (Photo by Estate Of Keith Morris/Redferns)

There were just not enough music pubs in London to keep a band earning so the bands packed their gear into a van & hit small clubs in the provinces. I’m guessing that we first saw Chilli Willi & the Red Hot Peppers. at JB’s in Dudley West Midlands, a no-frills, welcoming place that around that time also booked Dr Feelgood & Brinsley Schwarz. We were instantly attracted to their Country, Rock & Boogie presented with a stoned bonhomie & caught them whenever we could. They introduced us to old boogie songs by Louis Jordan (Choo Choo Ch Boogie) & Red Foley, covered songs we knew by Gram Parsons & Jesse Winchester mixed with original material like “We Get Along” from American frontman Phil “Snakefinger” Lithman. By the end of 1974 their album “Bongos Over Balham” had turned up in our pile of wedding presents & a great deal of pleasure it gave us.

Naughty Rhythms tour at the Rainbow – reviews and ads – Kokomo
Naughty Rhythms tour, 1975 - ordered by Jake Riviera, art by Barney  Bubbles. | Bubbles, Kokomo, Tours

In 1975 Pub Rock hit the UK’s town halls with the “Naughty Rhythms” package tour featuring Chilli Willi, Kokomo & Dr Feelgood, a progenitor of the fabled Stiff tour two years later. It was a great night, two of our favourite bands & we won tickets for the gig from the local paper. The shows proved that Dr Feelgood had the tunes, the charisma & the audience to move on up while Chilli Willi & the Red Hot Peppers broke up soon after. Phil returned to the US to work with the Residents & on his solo work. It was a pleasant surprise to see drummer Pete Thomas as one of Elvis Costello’s Attractions & Martin Stone consolidated his reputation as one of the most accomplished British guitarists that you’ve never heard of. It’s not just me that remembers the band with respect & affection.

FABULOUS 208 UK magazine 26-Jul-69 Steve Ellis-Love Affair Marmalade,Stan  Webb | eBay

Steve Ellis had been a bigger deal than most everyone else on the small pub stages. As singer in Love Affair with three UK Top 10 hits in 1968, including the #1 “Everlasting Love”, 18 year old Steve’s instant teen idol status gave him a stronger claim to the “Face of 1968” title bestowed upon Peter Frampton. The young group made tabloid headlines with the revelation that they did not actually play on their records. Well I never! How could this happen? It was though Steve’s strong, distinctive voice we heard on well-produced songs that are still remembered in the UK. A more ambitious release “Baby I Know” missed out, a blow for a group whose success was measured by their chart position & Steve left at the end of 1969.

“Have You Seen My Baby (Hold On)” is the opening, most rocking track on Randy Newman’s marvellous “12 Songs” album (1970). It was taken to New Orleans by Fats Domino, given a wild Big Beat treatment by the Flamin’ Groovies & turned up on Ringo Starr’s 1973 album. Steve Ellis recorded the song as his fourth, final 45 for CBS. The involvement of producer Chas Chandler brought along his former Animals bandmate, drummer John Steel & Americans Eggs Over Easy, credited with starting this whole business of bands playing in pubs. Zoot Money, a veteran of London’s R&B scene was there, Liverpudlian Howie Casey brought his horn section & teenage guitar whizz-kid Jimmy McCulloch, later with Wings, completed the line up. I don’t know if Steve Ellis ever played down your local but it’s a fine example of the rocking energy of British Rock at the time. It makes the Cherry Red collection, I haven’t heard it for years & now it’s your turn.

The Nashville Room London, Tickets for Concerts & Music Events 2020 –  Songkick

I’ve been in a lot of the pubs that were prominent in the scene but then I’ve been in a lot of pubs. On a London visit I dragged my friends to the Newlands Tavern in Peckham because Chilli Willi were playing there. It was later, well past its heyday, that we drank in the Hope & Anchor, Islington just because it was the Hope & Anchor. It was in 1980 that we attended the last night of The Nashville Rooms, Kensington, where the Sex Pistols had memorably played & fought in 1976, for Wilko Johnson’s Solid Senders. I’ve been asked to write about that night but it was a real wild one, one of many at that time & names would have to be changed to protect the guilty. I did meet Lemmy off of Motorhead there & that’s all I’m saying.

It’s the less well known nights I remember most fondly. The Thursday night residency in 1980/81 by the Realists/Electric Bluebirds at the Royal Albert, New Cross. The Two Brewers in Clapham had bands every night, not all great but Pete knew everybody there & Micky, most of them. The Skank Orchestra, a lively mix of Kid Creole & UB40, made Saturday night at the George Canning, Brixton, unmissable in heady post-riot times (“Scarman Inquiry, make the people feel Irie!”). A good crowd, a few beers or more & some fine, fine music all make for a proper, enjoyable night out. There’s time for just one more before last orders so here are the Brinsleys with the compilation’s title track, out of the pub & on the BBC no less. Cheers!

What Is It Good For? (Soul August 29th 1970)

OK, is this thing on? I took a break from these reviews of the 1970 Cash Box Top 60 in R&B Locations (didn’t it used to be Top 50?) because the groundhog days of shielding was good for isolation, not so great for imagination & inspiration. Now I’m getting back in the world, unseen & invisible thanks to the camouflage mask so kindly provided by my lovely sister. You know something, it ain’t so bad out there, I may go again.

 

On my last look at the R&B listings from 50 years ago the Jackson 5 were toppermost of the poppermost with “The Love You Save” & Tamla Motown continued their incredible run of quality & success with #1 records for the Temptations & Stevie Wonder with “Ball of Confusion (That’s What the World is Today)” & “Signed, Sealed, Delivered I’m Yours” respectively. You know them both, great singles. At the beginning of August James Brown broke the Detroit dominance with “Get Up (I Feel Like Being Like A) Sex Machine), his first chart-topper of the year. For the week of August 29th though half of the Top 10 were from the Motown stable & the order of things was restored with the first #1 hit, a truly resonant, even significant song, for a less celebrated member of the label’s roster.

 

 

Edwin Starr, singer, (1970 US No.1 and UK No.3 single 'War') More Info : Edwin  Starr was an American singer and so… | Number one hits, Edwin starr,  American singers“War HUH! YEAH! What is it good for? Absolutely nothing!” Enough said yeah. Edwin Starr, born Charles Hatcher in Nashville Tennessee, raised in Cleveland Ohio, left the army in 1962 & moved to Detroit to do the music thing. His first three hit records, all R&B Top 10, “Agent Double-O-Soul”, “Headline News” & “Stop Her On Sight (S.O.S.)” are Motor City classics, co-written by Edwin & released on the Ric-Tic label whose artists were expensively bought out by Motown in 1968. The LP “Soul Master” combines these hits with early Motown 45s (check out his boisterous version of Smokey Robinson’s “Way Over There”) to concoct a pretty damn good collection. In the UK both “Headline…” & “S.O.S.” were dancefloor favourites which just entered our Top 40. In 1968 Tamla re-issued them as a double A-side which made the #11 spot. Edwin Starr was a name on both sides of the Atlantic, he just needed the right material to see this reflected in record sales. The pulsating “25 Miles”, a Top 10 US Pop hit, was certainly a start & in 1970 bigger things were to come.

 

Edwin Starr Discography Belgium - Gallery - 45cat“War” had first appeared earlier in the year on the Temptations’ “Psychedelic Shack” LP. The Tempts were recording tracks with a social commentary & “War” attracted attention but the label & perhaps even the group themselves thought that the its lyrics were too extreme for the sizeable part of their audience who knew them from Ed Sullivan’s show & prime-time TV specials with the Supremes.  Motown, never a company to neglect a commercial opportunity, put writer/producer Norman Whitfield together with Edwin Starr to re-record the song. Whitfield boosted the intense, anthemic quality complimented by Edwin’s emphatic, robust vocals. This classic remodel, an obvious commentary on the USA’s involvement in Vietnam but also one for the ages, sold 3 million copies. The partnership brought more R&B success then, when the hits got smaller, Edwin found love, respect & plenty of work entertaining Soul fans in the UK. Settled in Nottingham he continued to record & in 1979 enjoyed two Top 10 hits with songs he had written & produced. Edwin, always popular here, continued to perform until his death in 2003. Buried in his adopted home town, his headstone says “Our Agent 00 Soul”

 

 

The incomparable Soul Diva Mavis Staples!!In 1968 the Staple Singers signed to Stax Records in Memphis. The family group were already established established as preeminent in Gospel-Folk circles & through father Pops’ close relationship with Martin Luther King their music promoted spirituality & morality through the Civil Rights Movement. The voice of Mavis Staples was recognised as a talent ranked alongside the best in the R&B/Soul field. It was perhaps a plan for Mavis to record her first solo, secular records & this week “Since I Fell For You”, a standard written in 1945, a hit again in 1963, stood at #28 on the R&B chart. The track is taken from “Only For the Lonely”, her upcoming second solo release, smoother than the 1969 eponymous debut produced by guitar ace Steve Cropper. Both albums unite the talents of Memphis, Muscle Shoals & Mavis but a rather unimaginative choice of material didn’t always help. They are good records, listening to Ms Staples is always a particular pleasure, which fail to capture the unique warmth & emotion of a very special voice. Back with her family the world was soon to recognise this about Mavis.

 

Hot Music News - KEYS AND CHORDSIn 1971 the Staple Singers released their third LP on Stax. Steve Cropper had left the company & the co-owner, Al Bell, took over production, The single from “The Staple Swingers” (geddit?), “Heavy Makes You Happy (Sha-Na-Boom-Boom)” began a 5 year long unbroken run of Top 20 R&B hits. Bell provided a rich framing for Mavis to blossom ahead of the backing harmonies of her father & sisters. The lyrics were positive & uplifting, the sound warm, often based on the simple Blues inflected rhythm guitar of Pops, undoubtedly rooted in Gospel but, moving to the Funk & thoroughly modern. It has become a cliche to reference the enduring relevance of the message of old music. Just as “War” is a great record & war is still good for absolutely nothing, in these turbulent times when a change surely must come the music of the Staple Singers provides a context for an understanding & a moving forward. Remember “If you don’t respect yourself
ain’t nobody gonna give a good cahoot”. Mavis Staples has continued to perform & to make great records & has achieved a deserved legendary status. When a new collection of hers arrives I’ll be listening.

 

 

 

 

THE VANDALS / IN MY OPINION (45's) - Breakwell RecordsThe Isley Brothers’ latest 45, “Girls Will Be Girls, Boys Will Be Boys”, not one of their best, was at #19 in this week’s chart. A distribution deal with Buddah for their label T-Neck meant that through 1970-71 the brothers were able to record & release a number of other artists. One of these groups was, making use of the extended Cash Box listing, a new entry at #53. The Isleys had signed a high school band from Baltimore calling themselves The Young Tempts after their idols the Temptations. The Y.T.s recorded a couple of Motown covers, including “Too Busy Thinking About My Baby”, before the Detroit label put their legal department on to the kids. “Too Busy…” was re-released under the name the Young Vandals. The Y.V.s were still in their teens but the next records were credited to just the Vandals. “In My Opinion” is written & produced by Ronald, Rudolph & O’Kelly Isley & it’s a predecessor of the slow jams, the “Quiet Storm” that provided contrast to the mighty Funk on the brothers subsequent, massively successful, albums. The lovely falsetto lead for the Vandals was provided by Damon Harris.

 

The Vandals broke up when Damon was looking to college as an alternative to music. The following year, 1971, his role model Eddie Kendricks left the Temptations & was replaced by Ricky Owens who, it was soon discovered, ha problems remembering the words in live performance. Damon Harris auditioned for the group & for the next five years worked in the job he had dreamt about as a kid. The Vandals may be as new to you as they are to myself but you have heard Damon’s falsetto on “Papa Was A Rolling Stone”.  Well’ I was aiming for a varied selection this time around now I’m back with “The Sound of Young America”. On the 1970 R&B scene Tamla Motown ran the game.

Chicago: Second City Soul (July 4th 1970)

I first became aware of Major Lance in the Autumn of 1964. In that first wave of British Beat it was customary for the new groups to record their own versions of US R&B hits, As an 11 year old I knew the meaning of neither “cultural” nor “appropriation”, in fact these energetic Anglo attempts led me to the original versions which, in most instances I found that I preferred. This was certainly the case with the intriguingly titled “Um,Um, Um,Um,Um,Um”, a UK hit for Manchester’s Wayne Fontana & the Mindbenders, a US smash for Major Lance. “Um, Um,Um…” is a smart, melodic little story, a change from the “moon” & “June”, “baby”, “maybe” rhymes. On Wayne & the Mindbenders’ label it was credited to Curtis/Mayfield, a pair to keep an ear on. Turns out that it was just the one man, my introduction to The Man. Curtis & Major had met at Wells High School in North Chicago. Curtis was just 16 when his group the Impressions had a big hit with “For Your Precious Love”. He went to work at Okeh Records under the tutelage of producer Carl Davis & arranger Johnny Pate & this team created Major’s first record for the label, the charming “Delilah”, in 1962. A new entry at #42 on the Cash Box Top 50 in R&B Locations for July 4th 1970 was “Stay Away From Me (I Love You Too Much)”, sung by Major Lance, written, arranged, produced & released through his new label by Curtis Mayfield.

 

 

 

Major Lance PageMajor Lance had been a featured dancer on “Time For Teens”, a local TV show so Mayfield wrote him a dance song.”The Monkey Time” was a breakthrough hit, the start of a run of success that by 1965 brought the release of a “Greatest Hits” album, 12 tracks all written by Curtis. Some were tailor-made for the singer, others were later recorded by the Impressions, all had a bright, danceable Latin tinge. It’s the  the sound of Chicago R&B becoming Chicago Soul. When Curtis started Curtom he brought his friend with him & “Stay Away From Me”, which rose to #13 on the R&B chart, is a great example of the innovation he was bringing to his music. The lively, dramatic interplay of strings & brass underpinned by the insistent percussion of “Master” Henry Gibson & Mayfield’s own guitar would be heard more on the release of Curtis’ solo debut in September of 1970.

 

With The Song Of Life: Major Lance - Everybody Loves A Good Time ...There was just one more 45 on Curtom & in 1972 Major Lance moved to the UK where a thriving Soul scene appreciated his records & his live performances, His 1973 album “Live at the Torch” in Stoke-on-Trent captures the energy of the music & audiences at these all-night clubs. On his return to the US he recorded with various labels before, in 1978 he served three years of a 10 year stretch for selling cocaine & his career stalled. Just as Lee Dorsey & Allen Toussaint were making significant, popular music characteristic of New Orleans so were Major Lance, Curtis & the Okeh team in Chicago. “Everybody Loves A Good Time” is a 40 track collection of his work at that label. It’s essential for those interested in the development of Curtis Mayfield & for fans of great Soul music. I have just found out that Keisha Lance Bottoms, the mayor of Atlanta, so eloquent during the recent BLM protests, is Major Lance’s daughter. His legacy lives on.

 

 

Classic and Collectable: Gene Chandler - Duke of Earl by Gene ChandlerGene Chandler is another Chicago Soul legend. He made his mark before Major Lance when “Duke of Earl”, a song he recorded with his Doo-Wop group, the Dukays, & released under his name sold a million in 1962. Gene ran with it, adopting a cape, top hat, monocle & cane for live performances & releasing tracks under his new title. Any thoughts after a  couple of less successful follow-ups that he could be a one-hit wonder were dispelled when a strong ballad “Rainbow” written by (this is Chicago…you guessed it) Curtis Mayfield put him back in the R&B Top 20. Gene did write his own songs but it was Mayfield’s which brought him the biggest success. I’m sure that Carl Davis & Jerry Pate were already involved. From 1964 their names & others from a team of talented arrangers appeared on the record sleeves. I have to mention the swinging, consummate “Nothing Can Stop Me”, a US Pop 20 hit in 1966 & so popular in UK Soul clubs that a 1968 re-release almost made the Top 40 over here.

 

Gene Chandler - "Groovy Situation" | Songs | Crownnote“Groovy Situation”, a new entry at #41 on this week’s chart, was to become Gene’s biggest Pop hit since “Duke of Earl”. His established team had dispersed to pursue their own things & Chandler had not only signed a new contract with Mercury Records but was confident enough to start his own Bamboo label. “The Gene Chandler Situation” (1970), his first self-produced LP, effectively matches his strong, smooth voice to an updated sound for new songs rather than the cover of standards & recent hits that had filled earlier records. The fine single (“Can you dig it?”) & the less successful but, to my ears just as good, “Simply Call It Love” are great examples of an artist responding to changing times. In 1970 Gene was awarded “Producer of the Year” by the National Association of Television and Radio Announcers (against Norman Whitfield & Gamble & Huff). It was not only his work on his own album that had earned him this accolade.

 

 

Mel & Tim | Discography | DiscogsMel Hardin & Tim McPherson were cousins from Holly Springs Mississippi. Discovered by Gene they were signed to Bamboo (an operation that also involved Mel’s mother) & began work on their debut LP, produced by Gene with the assistance of experienced Chicago hands. It was the track “Backfield In Motion” that caught the record-buying public’s ear & the new act found themselves with a R&B Top 3, Pop Top 10 hit with a gold record for a million copies sold. “Mail Call Time”, rising to #38 in this week’s listings, was the third selection from the album to chart after the title track “Good Guys Only Win In The Movies” had made the R&B Top 20. I’m sure this song about letters from home resonated with those serving in South East Asia & those at home writing the letters. Mel & Tim were no dynamic Sam & Dave, their record, which rather individually includes two covers of British Prog-Rockers Spooky Tooth, still packs a punch & is very pleasant. In 1972 the duo recorded another album, this time at Muscle Shoals, & repeated the million-selling success of “Backfield…” with “Starting All Over Again”.

 

Another track on the record was “Groovy Situation”, obviously a very good call for Gene Chandler to take it for himself. Gene recorded an album with Mercury’s other Chicago Soul star, Jerry Butler, before the hits got smaller. In 1977 he was sentenced to a year in prison when he sold a pound of heroin to undercover federal agents. While still on probation he came straight back to music & the R&B Top 10 with the Discofied “Get Down”. Jeez, these Chicago Soul guys lived some kind of lives.

Tutti Frutti And Disco Cuties (Soul June 20th 1970)

Fifty years ago this week on the Cash Box Top 50 in R&B Locations chart the #1 record was by a new group who were not only the Soul sensations of the day but were enjoying almost unprecedented success on the Pop charts. “The Love You Save” was the Jackson 5’s third #1 of the year & there would be another one to come. Tamla Motown had plenty of experience in the development & marketing of their acts but even they cannot have anticipated the sudden rush of Jacksonmania which became the popular music phenomenon of the year.

 

 

 

Ebony September 1970 | Ebony magazine, Ebony magazine cover, Jackson 5The Jackson family band, Marlon 13, Jermaine 15, Tito 17, Jackie 19 & Michael 10, from Gary, Indiana had been prepared even drilled for stardom by father Joe. With no disrespect to the other four it was apparent from their 1968 Motown audition that young Michael was an extraordinary talent. Initial recording in Detroit with producer Bobby Taylor was heavy on the Motown & contemporary covers, Smokey Robinson’s “Who’s Lovin’ You” captures the prodigy’s precocious agility, ability & maturity beyond his years. Label boss Berry Gordy wanted something extra. He moved the group to Los Angeles, assembled & included himself in a new team, “the Corporation”, who came up with “I Want You Back”, a song that captured the group’s vivacity & became the blueprint for their future singles. “I Want You Back”, as distinctive & fresh now as it was 50 years ago, is a landmark record, Soul music informed not by its Blues & Gospel roots but by the classic Pop & Tamla Motown of the mid-Sixties. Of course the teenagers loved it, the single & debut album “Diana Ross Presents the Jackson 5” sold millions & the snowball was rolling.

 

The Jackson 5 - The Love You Save (1970, Vinyl) | Discogs“The Love You Save”, another Corporation joint is taken from “ABC”, the Jackson 5’s second LP, released just six months after the debut &, like the title track, another sure-fire smash. They are captured in all their glory, energy, threads, coiffures, confidence, choreography & beauty on this appearance on the prime time “The Ed Sullivan Show”. Such chart dominance couldn’t last & two more albums released in 1970 emphasised quantity of product over quality control. After just one more LP in 1971 Michael’s solo career was launched with the “Got To Be There” album & he was able to succeed by himself & with his brothers. In 1975 they left Motown, Jermaine, married to Gordy’s daughter, stayed as did the group’s name. The renamed Jacksons found the increased creative input they sought at Epic & we watched Michael grow into a teen idol. While filming “The Wiz” he met producer Quincy Jones & together they created his fifth solo LP “Off the Wall” (1979). The group’s “Triumph” (1980) included the hit “Can You Feel It”, written by Michael & Jackie, & sold a couple of million. The groundbreaking “Off the Wall” was a statement that Michael, still just 20, was ready to go, it redefined his career, became the first LP to have four tracks reach the US Top 10 & sold 20 million records. He was well on his way to becoming the “King of Pop”, the next record “Thriller” (1982) hit  sales of 66 million. Michael was in a different orbit to not only his brothers but everyone else too. We know the story, we all have our own views but it’s sure that such incredible fame & fortune for an individual who had grown up in public can lead to strange craziness.

 

 

 

The Three Degrees - Maybe / Collage (1970, Vinyl) | DiscogsThis clip & record is new to me (it’s a big reason why I do this thing). We know the Three Degrees as the designated divas of the Gamble & Huff stable that the producer/writers were establishing in Philadelphia. Prince Charles’ favourite group whose “When Will I See You Again” was Bill’s off of “Kill Bill Volume 2” “favourite soul song of the 70s”. Well here are the pre-Philly Degrees with “Maybe”, rising 8 places to #21 on this week’s chart, their first 45 for Roulette records & the title track of their debut LP. It’s the same trio, Fayette Pinkney, Valerie Holiday & Sheila Ferguson, only this time it’s Valerie on lead vocals when we are so used to Sheila being at the front. The dramatic “Maybe”, here with a long spoken intro (“as evil as a wet hen”!), is a track they had first recorded in 1966, reached #4 on the R&B chart. It would be 1974 when they were the featured vocalists on MFSB’s chart-topping “TSOP (The Sound of Philadelphia)” that bigger success came their way.

 

Jet magazine (December 23, 1971) — The Three Degrees with ...There were just the two albums recorded with Gamble & Huff & while they subsequently made little impression in the US their popularity in Europe & the UK (two different places apparently) was maintained. A live LP was recorded at the glamorous (probably) Bailey’s nightclub in Leicester England. Fayette left, was replaced by former Degree Helen Scott & in 1978 they were matched with ace Disco producer Georgio Moroder & his Music Machine team. The two records they made in Germany were hardly “I Feel Love”, the Three Degrees always did lean towards middle-of-the-road cabaret Soul, but when the master’s electronic Disco barrage is at its most effective it was pretty good. It brought them more UK Top 10 hits, they seemed to be never off the TV & for a while there the Three Degrees were the most popular female group around here.

 

 

 

Paul McCartney and Ringo Starr pay tribute to Little Richard – The ...Back in the days of Rock & Roll Little Richard had been as sensational as the Jackson 5. During his stint at Specialty Records, from 1955 to 1957, the frantic, almost feral, accelerated take on R&B matched to an uninhibited, unpredictable showmanship changed & defined the new teenage music. The first hit “Tutti Frutti” (“A-wop-bop-a-loo-bop-a-wop-bam-boom!”), a fresh, wild, kinetic explosion started a run of 17 Top 20 R&B hits before “The King of Rock & Roll” abdicated his position. “Long Tall Sally”, “Rip It Up”, Ready Teddy”, “Lucille”, it’s a list. His recordings in the next decade were Gospel-oriented & sporadic but Little Richard’s work was done, He influenced all his fellow rock & rollers from Elvis on down, inspired his fellow Macon, Georgia native Otis Redding & a generation of young British musicians, especially the Fab Beatles, in their own attempts to emulate him while the sexuality & stagecraft of Prince tips its beret Richard’s way. When Michael Jackson bought the Beatles’ publishing catalogue it included the rights to those Specialty songs & he gifted them back to the Originator, nice move.

 

Little Richard "Rolling Stone" cover. I twisted a lot of carpet ...In August 1969, two weeks before Woodstock, the Atlantic City Pop Festival had brought together a similarly impressive lineup of contemporary music. An electric performance by Little Richard, at a white grand piano, closed the concert & had brought an audience too young to remember his heyday to their feet. Encouraged Richard put up his own money & entered Muscle Shoals studio to record his first album in three years. “Freedom Blues”, climbing a healthy 15 places to #33 on this week’s chart, is the opening track on “The Rill Thing”, a meeting of Rock & Roll & swampy Funk which proves to be very effective. Richard’s voice is still gymnastic & surprising & the musicians, particularly guitarist Travis Wammack & the horn section grasp the space afforded by the singer’s production. “Freedom Blues” sets the tone, “Greenwood Mississippi” shows where John Fogarty & CCR were coming from & a spirited “I Saw Her Standing There” would make his Mersey Beat friends proud. The title track, a 10 minute long Funk instrumental jam, gives the band a workout that you don’t often & is a joy to hear. Little Richard’s death in May 2020 was marked by many tributes but there was a lot of bad news about in those days. He really was a treasure of our music.

 

 

 

Boom Shaka Laka-Laka (Soul June 13th 1970)

In March 1970 the “Woodstock” movie gave fans the opportunity to experience the already seminal festival, 3 days of Music, Peace & Mud, from the comfort of a cinema seat. The documentary, a box-office smash, captured the spirit of the counterculture & showcased its music with new levels of camerawork, editing & sound. Of course Jimi’s incendiary “Star Spangled Banner”, the charge, the bolt, the buzz of “With A Little Help…” by Joe Cocker & the dynamism of the Who. Man, the film even made Ten Years After seem exciting. Another highlight had been a Sly & the Family Stone b-side in 1969 but “I Want To Take You Higher” was revived & climbing to #33 in the Cash Box Top 50 in R&B Locations for this week in 1970. Just two places above it was another version of the song.

 

 

 

Ike & Tina Turner - I Want To Take You Higher (1970, Vinyl) | DiscogsIn 1951 Ike Turner & his Kings of Rhythm featuring Jackie Brenston recorded “Rocket 88” now recognised as a foundation stone of Rock & Roll. When the record was released it was credited to Jackie Brenston & the Delta Cats it sold half a million copies & Ike & his band were paid just $20 each for the session. Undeterred he continued as a session player, songwriter (again not always credited) & talent scout, making connections with what seems to be most everyone on the R&B scene. Relocating to St Louis the Kings of Rhythm were a hot live act & in 1957 Ann Bullock, a young singer joined the group. Ike was offered real money ($20,000 in 1960!) by the Sue label who recognised the earthy power of his new vocalist. “A Fool In Love” by Ike & Ann, now Tina Turner, sold a million records & they were on their way. The Ike & Turner Revue, the Kings of Rhythm Orchestra, the Ikettes & the electrifying Tina regularly shook up the US TV Pop shows & I’m sure that anyone who saw a live show by them had quite an experience. In 1966 ace producer Phil Spector bought their contract so that Tina could front his Wall of Sound. The result, the monumental “River Deep Mountain High”, is an artistic triumph yet barely scraped into the US Top 100. In the same year the Rolling Stones invited the duo to join their UK tour.

 

Tina Turner on the Cover of Rolling Stone - Rolling StoneIn 1969 Ike & Tina supported the Stones again on a US tour, they were reaching a wider, more diverse, audience & Tina, photographed by film director Robert Altman, made the cover of the “Rolling Stone”. Ike, always astute to changing tastes, adapted the Beatles’ title track & Jagger/Richards’ “Honky Tonk Women” to his bluesy R&B for the “Come Together” LP (1970). Sly’s “I Want To Take You Higher” was another track that people would know. It’s lacking the flexibility of the Family Stone but became a furiously Funky opener to the Revue’s set, Tina & the Ikettes dancing & singing up a storm while the bandleader kept it tight. These were good years for the duo, their records were more popular, European tours were a great success & they travelled to Africa for the “Soul to Soul” concert. This goodwill towards them stood Tina in good stead when she relaunched as a solo singer. Ike Turner was undoubtedly a piece of work. I’m more inclined to believe Tina’s autobiography than I am the “What’s Love Got To Do With It” film but he was violently abusive towards Tina, controlling over her & his band. There’s no doubt though his talent as a Blues guitarist & arranger contributed to a great deal of fine music & kept Ike & Tina Turner at the top for over 15 years.

 

 

 

JET MAGAZINE NOVEMBER 12, 1970 *ARETHA FRANKLIN*: Various, Various ...By 1970 Aretha Franklin was the “Queen of Soul” & she still is. While signed with Columbia there had been 9 varied LPs which established her versatility & her quality. A move to Atlantic Records, matched to more contemporary material, brought instant then enduring success. Between 1967 & 1974 every 45 but one released by Ms Franklin reached the R&B Top 10 while many of them & her albums crossed over into the higher reaches of the Pop charts. (The one exception was her remarkable live Gospel version of Marvin Gaye’s “Wholy Holy”, a highlight of the “Amazing Grace” filmed concert, which I’m guessing didn’t receive the same radio airplay as the others). The African-American female voice was very influential in the development of twentieth century popular music, Bessie Smith, Billie Holiday, Ella Fitzgerald & Nina Simone all brought an emotional honesty & a progression to their art. I grew up with “Respect” & “I Say A Little Prayer”, Aretha Franklin is as important as those great singers.

 

45cat - Aretha Franklin With The Dixie Flyers - Spirit In The Dark ...“Spirit In The Dark” is the title track of Aretha’s second LP of 1970. The lead track “Don’t Play That Song (You Lied)” had been her ninth R&B #1 & the new release, rising to #17 this week, was on its way to the Top 3. The album, including 5 songs written by her, was recorded with three different bands, the New York session men, the Muscle Shoals boys, flown up the the Big Apple from Alabama & the Dixie Flyers, the new unit established at Atlantic’s Criterion Studios operation in Miami. The groove though is strong & consistent throughout another outstanding album for Lady Soul. Both singles credit the Flyers on the label & for “Spirit..” her friends & regular back-up Sweet Inspirations showed out adding to the lovely, extempore Blues-Gospel feel. In March 1971 Aretha, the Sweets & King Curtis’ group played three nights at San Francisco’s Fillmore West. Joined onstage by Ray Charles & Billy Preston, “Spirit…” became a joyous 15 minute long jam, one of the greatest things you could hear & see. In October 1970 Angela Davis, a former UCLA professor, an activist, a Communist, “a dangerous terrorist” according to President Nixon, was arrested & charged with aggravated kidnapping and first degree murder of a judge. Aretha Franklin, a friend of Martin Luther King Jr who had sung at his funeral, expressed her support for Davis & publicly offered to pay her bail. “Black people will be free. I’ve been locked up and I know you got to disturb the peace when you can’t get no peace”. I’ll just leave it at that

 

 

 

 

Bobby “Blue” Bland, official picture of Duke Records, Houston, TexasWhen we were kids my best friend & I always bought the British music weekly “Record Mirror” because their charts page included the US Top 50. We liked to be ahead of the game about any new sensations or the latest 45’s from our favourite acts. Bobby “Blue” Bland was a name we often saw in the chart’s lower reaches, the “Bubbling Under” & “New Releases” lists but his records were rarely played on even the UK pirate radio stations. When we did hear Bobby his music seemed to lack the immediacy of the shiny Soul sounds that excited us so much. Of course we were wrong, we were young. Bobby “Blue” Bland, absolutely from the top shelf of American singers, was making music for grown ups & I’ve been one of those for some time.

 

Bobby had been recording since 1951 & had been a big deal since his breakthrough with the swinging Blues “Further On Up The Road” in 1957. In the early years of the new decade his voice matured into a unique, often understated combination of sophistication & grittiness allied to an unsurpassed interpretive gift. With Joe Scott’s Big Band Blues arrangements there was a long run of R&B Top 10 hits including the stately, passionate “I’ll Take Care Of You”, a definitive “Stormy Monday Blues” & intense “Lead Me On”. It’s a list & if you know Bobby’s work then you have your own favourites.

 

Bobby Bland (@BobbyBlueBland) | TwitterBobby Bland saw little of the cash generated by these hits. “If Love Ruled The World”, #48 in this week’s Top 50, was the latest to have his label head’s name on the credits of a song he probably didn’t write. The song’s idealistic lyric has its heart in the right place & Bobby’s performance finds both the heart & the soul of it. The records kept his name at the top of the bill on an endless & exhausting touring life often in clubs ill-suited to his talents. By 1968 he was disillusioned, dependent on alcohol & his band had quit on him but all Bobby could do was sing & there was a string of dates to fulfill. He continued with just a rhythm section before finding a new band &, in 1974, a bigger record label. The hits, including “Ain’t No Love In the Heart of the City”, kept on coming & so did the respect of a new generation of artists & fans (myself included). Bobby kept on keeping on until just before his passing in 2013 by which time he was in the Blues, the Grammy & the Rock & Roll Halls of Fame. Nowadays there’s little better than a Bobby “Blue” Bland album & a glass of fine single malt whiskey to indicate that maybe, just maybe, I’m finally a grown up.

 

 

The Brother Got The Rap (Soul May 30th 1970)

It’s the last week in May already, 2020 is flying by isn’t it (yeah right!). On the Cash Box Top 50 in R&B locations for May 30th 1970 “Love On A Two Way Street” by the Moments retained the top spot for the seventh consecutive week. At #12, with a bullet as I believe our transatlantic friends say, up a massive 30 places, the Jackson 5 were heading for their third #1 of the year. This week’s selections are by three acts whose class & longevity qualifies them for “legendary” status. All three of the records are not necessarily those that would be in the first 5 or even 10 that first come to mind by any of them but this is James Brown, the Isley Brothers & Jackie Wilson so you know it’s going to be good.

 

 

James Brown-Brother Rapp-1970 Sheet Music-Original USA issue-Rare ...James “Mr Dynamite”, “The Hardest Working Man In Show Business”, “Soul Brother #1”, “Minister of the New New Super Heavy Funk” Brown was already a sure thing for the Mount Rushmore of Soul by 1970. Since the release of “Please, Please, Please” in 1956 he had maintained his position at the forefront of Black music as a live act & on record. The two came together in 1962 when the “Live at the Apollo” album, essential to any record collection, sold a million copies. In the mid-1960s when I became aware of “The Godfather of Funk” through records like “Out of Sight”, “Papa’s Got a Brand New Bag” & “Cold Sweat”, it was apparent that James was forging an individual path that many fans & musicians were happy to follow. The word “Funk” first appeared on his tracks in 1967. Three years later & Funk was that new bag. Now, whether it was established stars or the new groups, everything they did gonna be funky & James Brown could be heard in all of them.

 

James Brown - Brother Rapp (Part 1 & 2) / Bewildered (1970, Vinyl ...“Brother Rapp (Parts 1 & 2)” was at #2 on this week’s chart, it had been released & withdrawn earlier in the year then speeded up before a re-release. Of course it was a big R&B hit, everything James recorded at this time was. Even if you don’t know the song you already know it has the most insistent, irresistible groove & that, on Part 2, saxophonist Maceo Parker probably blows up a storm (he does). James used “Brother Rapp” later for his soundtrack to the Jim Brown blaxploitation movie “Slaughter’s Big Rip-Off” (1973). It was to be one of their last recordings together for some time as Maceo & other members of the band left in March 1970. James recruited a new crew including the Collins brothers, Bootsy & Catfish. At their first recording session they made “Get Up (I Feel Like Being A) Sex Machine. This was followed, before the year was out, by “Super Bad” & Get Up, Get Into It, Get Involved”. These tracks are part of the DNA of Soul music. In 1970 & for years to follow James Brown was unstoppable.

 

 

 

THE ISLEY BROTHERS 1970 Poster Ad KEEP ON DOIN' | eBayThe Isley Brothers were in a good place in 1970. In the previous year, dissatisfied with their treatment at Tamla Motown, they had revived their own T-Neck label & the first release “It’s Your Thing” was a bigger hit than their 1962 pre-Beatles “Twist & Shout” & was influential on the move from Soul to Funk that many were making. Two LPs in six months used their backlog of songs & with a mix of confidence & experience the brothers Ronald, Rudolph & O’Kelly had at least a couple of ideas that they thought just might work. Two younger Isleys, Ernie & Marvin along with brother-in-law Chris Jasper were showing great musical promise & they were encouraged to participate in the studio. Having these young guys around brought new energy & put the brothers in contact with more contemporary music. The Isleys were in no rush to make these changes, & their patience served them well. They had a thing going on anyway.

 

The Isley Brothers - If He Can, You Can (1970, Vinyl) | DiscogsThe next album “Get Into Something” was released in March 1970. The songs developed the Funk of “It’s Your Thing”, the ballads intimate the “Quiet Storm” gloss at which they became so proficient. Of the 10 tracks six were R&B Top 30 hits. “If He Can You Can”, stalled at #23 this week, is a solid slab of Funk, heavy on the guitar effects & possibly my favourite on the record. I’ve seen Ernie Isley, just turned 18 on the day before the LP’s release, praised for this work but I’ve a feeling that Charles “Skip” Pitts & his wah-wah pedal are responsible. 1971’s “Givin’ It Back” is a covers album, seven well-chosen tracks by the likes of Dylan, Neil Young & James Taylor. It reflected the growing contribution of the junior Isleys & Stephen Stills’ “Love The One You’re With” crossed over to the Pop charts. In 1973 the group fully embraced the changes & doubled in size. After 15 years of making records “3+3” & the lead single “That Lady” were a whole new ballgame for the Isley Brothers. Ronald, Rudolph & O’Kelly needed to clear some wall space for the Gold & Platinum records that came their way in the next decade.

 

 

 

Elvis with friend Jackie Wilson. July 11 1966 (With images ...In 1956 Elvis Presley, taking a Las Vegas break from all  that Rock & Roll brouhaha, went to see Billy Ward & His Dominoes on four successive nights. Their singer, the unbilled Jackie Wilson, performed a slower, more dramatic “Don’t Be Cruel” & on his next appearance on “The Ed Sullivan Show” you could hear that Elvis had been taking notes. The following year Jackie made his solo debut with the stunning, innovative “Reet Petite” (oh oh oh oh!). It was co-written by fellow Detroiter Berry Gordy who contributed to the following singles including the massive hit “Lonely Teardrops”. Jackie Wilson had earned the “Mr Excitement” tag & Gordy split with his royalties to form Tamla Motown. The hits kept on coming, 5 R&B #1s & often crossing to the Pop charts. Jackie Wilson was as popular & as influential as Sam Cooke during the developing urbanity of African-American music, retaining its emotion as R&B became Soul. His “…at the Copa” live album was two years before Sam’s, a Christmas record made the US Top 10. In the mid-60’s the great Chicago producer Carl Davis updated Jackie’s sound, hits like “Whispers”, “(You’re Love Keeps Lifting Me) Higher & Higher” & “I Get the Sweetest Feeling” brought renewed success.

 

Jackie Wilson - Let This Be A Letter / Didn't I (1970, Vinyl ...The Chicago crew were still working with Jackie on the “This Love Is Real” album (1970) & his latest single, “Let This Be A Letter (To My Baby)” is at #38 in this week’s chart. Arranger Willie Henderson was having great success with Tyrone Davis, Eugene Record was writing songs as well as singing with the Chi-Lites & Carl Davis invited Motown’s Funk Brothers along to pay their respects & add their expertise. Jackie’s voice is still gymnastic, versatile & consummate. It’s hardly a cutting edge record, Jackie was not about to sing the inner city blues, but it’s a fine showcase for one of the great vocalists with enough innovation to keep him current & it still sounds good. Jackie Wilson was old school & experienced many of the problems associated with the music business. In 1961 he earned over $250,000 but bad investments, withholding of royalties & non-payment of tax left him broke. It didn’t improve when his manager was running his record label. When the indictments did arrive he was unable to state his case as in 1975, the constant workload & personal problems brought on an onstage heart attack & subsequent coma which meant that he never performed again. Incredibly & tragically Jackie Wilson was initially buried in an unmarked grave. Fans rallied round to purchase a mausoleum but that’s no way to say goodbye to such an influential artist.

 

Got To Have It (Sixties Soul Power)

OK, I’ll take a break from the 1970 R&B chart & dial it back just a few years to the Sixties…I know, I just can’t stop it…These three clips, recently arrived on the Y-tube are of such good songs, of such good quality &, in the case of two of them, can justifiably be categorised as “rare”, a much overused term on that website. I am working on a couple on non-Soul posts I promise but I love this music. What else could I do?

 

 

Bar-Kays - Soul Finger | Releases, Reviews, Credits | DiscogsWay, way back when I was just old enough to go to the weekend Youth Club disco it was the first time that the exciting Stax Soul records I had heard on the radio were played at a serious volume with other people in the room. Wilson Pickett’s “In the Midnight Hour” & Eddie Floyd’s “Knock On Wood, every week or questions would be asked & “Soul Finger” by the Bar-Kays, the soundtrack to my first attempts at dancing in public. I was not a Mod, my mother still bought my clothes but I would have been if I could have been. This wonderful record was as Mod as it got for this 13 year old boy. Man, I even missed Emma Peel in “The Avengers” to be out on the floor on a Saturday night.

 

We remember...Otis Redding - 50BOLD“Soul Finger”, with its nursery rhyme intro, blaring horns, stinging guitar & the neighbourhood kids, hyped on sugary drinks, chanting the title, still sounds immediate & thrilling. Things were happening quickly for the Bar-Kays in 1967. Memphis boys recruited & groomed as the back up studio band for when Booker T & the M.G.s were not around, selected by Otis Redding to be his backing band for live shows & they had written a hit record of their own. Here they are in all their optimism & glory on the US TV show “Upbeat”  that has been around the Y-tube for some time but never in such clarity. Of course there’s an unavoidable poignancy to this clip. On the 10th of December 1967 Otis & four of these young men, friends from high school, still in their teens, were killed when their plane crashed into Lake Monona, Wisconsin. Trumpeter Ben Cauley survived the crash, bass player James Alexander was not on the flight but Jimmie King (guitar), Ronnie Caldwell (organ), Phalon Jones (sax) & drummer Carl Cunningham were lost & their memory, young, fine & Funky, will be eternal.

 

 

28 Best Motown Adverts images | Motown, Tamla motown, Berry gordyBack to the beginning of 1965 now & the marvelous Marvelettes, the girl group who, in 1961, had achieved the first #1 for the new Tamla Motown organisation with “Please Mr Postman” a song that became part of the Beatles’ live set & was included on their second album “With the Beatles”. There were other R&B hits before first Martha & the Vandellas & then the Supremes claimed the position of Motown’s premier girl group. Originally a quintet, the Marvelettes had recently become a trio, before this promotion of “Too Many Fish In the Sea”. Georgeanna Tillman had sung on the record but illness had forced her departure. Still Gladys, Wanda & Kathy, their dress & dance moves courtesy of the Motown charm school are as sharp & as energetic as the song, written by Norman Whitfield & Eddie Holland & the Marvelettes’ biggest hit for a couple of years. There are not many clips of The Marvelettes, what a treat this is.

 

Story Behind The Image - Classic MotownIn 1966 Smokey Robinson took over production/songwriting duties. “Don’t Mess With Bill”, “The Hunter Gets Captured By the Game” & “My Baby Must Be a Magician” were distinctive, a little idiosyncratic & brilliant. A non-Smokey track, the emotional, dramatically  produced “When You’re Young & In Love” was equally successful & the Marvelettes only UK hit. In 1980 there were plenty of white men in Hammersmith Palais to see Graham Parker & the Rumour on “The Up Escalator” tour & the Marvelettes were the support act. I have no idea how many of the three African-American women of a certain age were original members of the group & I didn’t care as we were treated to a set packed with Greatest Hits that made us dance, sing along & glad to be out of the house on a chilly October evening. (Remember going out to gigs? Ah well, someday).

 

 

The Sweet Inspirations (album) - WikipediaWell known in Gospel circles, Cissy Houston, mother of Whitney, had been so wary of secular music that she continued her factory employment while nieces Dionne & Dee Dee Warwick progressed from backing vocals to solo recording contracts. Helping out when Dionne was otherwise engaged Cissy discovered that two days in a New York studio paid better than a week assembling tubes for TVs so…y’know. These women were the classic “20 Feet From Stardom”. If it was recorded in New York & had female backing singers (& they all did) then that was the Sweet Inspirations. They were there on Van Morrison’s “Brown Eyed Girl” & for “Burning of the Midnight Lamp” when Jimi Hendrix came to town. Atlantic gave a settled line-up, Cissy, Sylvia Shermwell, Estelle Brown & Myrna Smith a chance to record & two singles put their name out there. In 1967 they went to American Sound Studios in Memphis to make an album.

 

The Sweet Inspirations - Sweet Inspiration (1968, Vinyl) | DiscogsThe eponymous debut LP is heavy on covers of the hits of the day but Cissy’s lead & the natural interaction of all four voices bring a vivacity & originality to songs you know well. The exception is “Sweet Inspiration”, written by Dan Penn & Spooner Oldham, regulars at American & onlookers at the session it was quickly recorded & became a Top 20 Pop hit. The Sweets continued to record, for themselves & for others then in 1969 Elvis Presley, a fan of the single, returning to the stage after 9 years away, engaged them as his opening act & as part of his backing singers for a run of Vegas shows. Cissy left for a solo career while the remaining Sweet Inspirations toured & recorded with Elvis until his death in 1977. That gig & the occasional concert tour with Aretha Franklin maintained their reputation as the best support singers in the business.  In 1968 Motown seemed to have the girl group scene, such a big deal in the early years of the Sixties, to themselves. I have no idea where the above promo for their big song comes from, I just know that it’s flipping brilliant to see the Sweet Inspirations, an essential female group of the time, as well as hear them.

Sweet Home Alabama (Soul May 23rd 1970)

In my weekly reviews of the Cash Box Top 50 in R&B Locations from 50 years ago it has been inevitable that the records coming from the Soul music production lines of Detroit, Chicago & Memphis have predominated. This week my three selections were all recorded at a much more unlikely,  smaller operation. FAME (Florence Alabama Music Enterprises) had moved their studio just across the Tennessee River to Muscle Shoals (population around 10,000) in 1961 & when the money came in from the first hit, Arthur Alexander’s “You Better Move On”, they were able to upgrade to a place on Avalon Avenue. The word was out that something was going on. The New York bosses of Atlantic Records sent Aretha Franklin down to record while the “hippie cat who’s been living in our parking lot” turned out to be Duane Allman who had come up from Florida hoping to get a gig. By 1970 there had been changes but that “Muscle Shoals Sound” picked me up when I’m feeling blue, now how ’bout you?

 

 

 

Rick Hall, Muscle Shoals soul music pioneer – obituary

Rick Hall & Clarence

Clarence Carter, blind from his birth in Montgomery, Alabama, came up to FAME in 1965 to record his song “Tell Daddy”, an inspiration for Etta James’ answer “Tell Mama” & successful enough to gain him a contract with Atlantic. This week his latest 45, “I Can’t Leave Your Love Alone”, entered the R&B Top 10, the sixth time a song of his had achieved this mark. It’s not one of Clarence’s most remembered songs but his strong, gritty voice & his lascivious laugh when the innuendo got close to the bone complemented by the swampy, mid-tempo rhythms & the punchy Memphis Horns always got you in the end. The three albums Clarence had already recorded at FAME are sprinkled with hit singles & plenty of songs that you know given the Muscle Shoals treatment.

 

Clarence Carter - I Can't Leave Your Love Alone (1970, Vinyl ...“I Can’t Leave Your Love Alone” is the lead single from Clarence’s newest record. The title track “Patches” was a track from the debut LP by Chairmen of the Board. Written by General Johnson, the main Chairman & Ron Dunbar, who may or may not have been a pseudonym for Holland-Dozier-Holland, it’s a story/song about a tough upbringing in rural Alabama which Clarence certainly identified with as did others at FAME. “Patches was everywhere, his biggest hit in the US, his only one here in the UK. At the time I thought that it was over-sentimental (tough guy eh?), that he had made better records. Millions of others didn’t, Clarence deservedly (I think now) got a gold record & a Grammy nomination. As public tastes changed Clarence was less in the public eye but he continued to record, he’s still around & his great music always will be.

 

The group of young Alabaman musicians, inspired to fuse their Rock & Roll, R&B & Country influences, who first assembled in their local studio soon dispersed to either Chips Moman’s American Studios in Memphis or to Nashville where FAME co-founder Billy Sherrill was establishing himself as a major Country producer. Two local men, bassist David Hood & Jimmy Johnson (guitar) together with Barry Beckett (keyboards) & drummer Roger Hawkins stepped up & became the celebrated & in-demand Muscle Shoals Rhythm Section. In 1969 the quartet left FAME to open their own set-up less than a mile away. The guy who started it all & stayed was owner/producer Rick Hall, who integrated the fluid, funky rhythm section with the brass swagger, added strings when a little sweetness was needed & captured the brightness of it all. Hall recruited a new unit & to get them into the groove recorded an album of covers of the hits of the day. “Sweet Caroline” & “Sugar Sugar” are songs that will never make my favourites playlist but “Solid Gold From Muscle Shoals” by the Fame Gang is my kind of middle of the road Pop-Soul.

 

 

45cat - Candi Staton - Sweet Feeling / Evidence - Capitol - France ... Staton married Clarence Carter in 1970 so was a natural to be signed to the relaunched FAME label. Already 30, with four children from her first marriage, Canzetta (lovely name) was prepared for the switch from backing singer to being out at the front & her work at Muscle Shoals soon justified claims to the title “First Lady of Southern Soul”. “Sweet Feeling”, #25 on the chart & rising fast, with producer Hall, husband Clarence & Candi herself sharing a composing credit, was the fourth in a run of 8 R&B Top 30 hits & it was included on both of her first two LPs issued by the label. There are four albums recorded at the Shoals before Warner Brothers & “Young Hearts Run Free” (1976) made Candi a Disco Queen. Candi is a Soul survivor, still around she had hit records across four decades, whatever she sang she did it with class & style.

 

In 1970 Rick Hall received a Grammy nomination for Producer of the Year & in 1971, when of all people the Osmonds called in to FAME to record “Crazy Horses”, he was awarded that accolade by Billboard magazine. He achieved this with a lot of new people around the studio & mention must be made of Harrison Calloway Jr whose trumpet playing & arrangements for the Muscle Shoals Horns made them so distinctive & such a pleasure.

 

 

Willie Hightower - Walk A Mile In My Shoes / You Used Me Baby ...Well, thanks to a Swedish documentary crew, here’s  how they did it a FAME in 1970. Rick Hall is running a session where Willie Hightower is recording “Walk A Mile In My Shoes”, already a hit that year for Joe South, & at #45 on the R&B chart this week, while the Fame Gang, most notably Clayton Ivey on keys, do their thing. Willie, an Alabaman had grown up with Gospel, a meeting with his idol Sam Cooke inspiring him to make music his business. A couple of local hits brought him to the attention of Capitol Records where he made the “If I Had A Hammer” album (1969) where he’s not as smooth as Sam but the influence is clear. He came to FAME & released just three 45s, “Walk A Mile…” was the most successful though “Back Road Into Town” sounds to me like a better record. A planned LP never came around & Willie returned to shows around the South where he was still known before he did a 15 year stretch singing with a revived line-up of the Drifters.

 

In 2016 producer Quinton Claunch, a Shoals resident as a teenager before moving to Memphis & starting Goldwax Records (James Carr, O.V. Wright), called up Willie & asked if he was interested in recording again. QC got some of the old gang back together, including Clayton Ivey & guitarist Travis Wammack, at his Wishbone studio in…where else?. The resulting LP “Out of the Blue” is a fine example of retro Southern Soul, Willie may be over 75 but his voice still strong, more experienced & controlled while Claunch, over 90, still knows his way around. The last week in May 1970 was a good one for FAME with three records on the chart. They probably didn’t know then that 50 years later people would still want to hear that Muscle Shoals sound & that musicians would still want to emulate it.

 

 

Here’s a little lockdown bonus. In 2014 Candi Staton returned to FAME to record three tracks with Rick Hall for her “Life Happens”. Here Ms Staton, 74 years old , looking & sounding fine on it, performs a stripped down version of  one of those songs, “I Ain’t Easy To Love”, & all I have to say is Flipping Heck

Coming To Ya On A Dusty Road (Soul May 16th 1970)

The highest new entry on the Cash Box Top 50 in R&B Locations for May 16th 1970 was by a singer who was better known as a songwriter. When I say “better known” I’m talking one of Rolling Stone’s Greatest Songwriters of All Time, Songwriters’ Hall of Fame, having a street in Memphis named after you better. David Porter, you know him, well maybe not.

 

 

Isaac Hayes and David Porter | Isaac hayes, Music poster, SongwritingDavid Porter was a teenager hanging out at Satellite Records in Memphis when it changed its name to Stax in 1961. Apart from his songwriting talent he introduced high school friends Booker T Jones, William Bell & saxophonist Andrew Love to the label. It was in partnership with Isaac Hayes where he made the most impact. In 1969 Sam & Dave released a glorious “Best Of…”, 14 tracks & the Hayes/Porter team were responsible for 11 of them. Carla Thomas’ “B-A-B-Y”, that was one of theirs, in fact most every Stax artist recorded their songs. In 1968, still reeling from the premature death of its major star Otis Redding, Stax found themselves on the wrong end of a distribution deal with Atlantic Records & lost control of their back catalogue. Hayes & Porter were kept busy in the studio as the label, desperate to have something to sell, released 27 LPs & 30 singles in mid-1969. When the dust settled it was Isaac Hayes’ “Hot Buttered Soul” setting new standards in Orchestral Soul, selling millions & saving the company. “Black Moses” had the road to international stardom to follow so David Porter finally got down to making his own solo album.

 

Featured Album: Stax Legend David Porter enlightens on "The ...“Can’t See You When I Want To”, straight in at #37, is taken from “Gritty, Groovy & Gettin’ It” (1970). A plea from “the other man” in a love triangle & over 7 minutes long on the LP the song most resembles his former partner in its drama & scope. It’s also the only track composed by David & then it’s a serious remodel of a 45 he had recorded in 1965. On other tracks he takes Curtis Mayfield & a couple of Motown tracks to Memphis & the transposition is enjoyable. Subsequently “…Into a Real Thing”, issued later in the year, is more Hayes-like though the Garage-Pop classic “Hang On Sloopy” can hardly carry the weight of the 11 minute treatment it receives. 1971’s “Victim of the Joke…an Opera” is an ambitious conceptual mix of music & dialogue. David Porter’s solo work is worthy of consideration. “When Something is Wrong With My Baby”, “Hold On I’m Coming” & “Soul Man” contributed to the dignity of Soul music & for that “I Thank You”.

 

 

 

Whitney Houston: film alleges singer sexually abused as a child by ...At the beginning of the 1960’s a New York recording session was not complete without the backing vocals of the Gospelaires, a group started by the Warrick sisters Dionne & Dee Dee. The older sister’s gig singing on demos for Burt Bacharach & Hal David led to Dionne Warwick becoming the interpreter, even muse, for the great songwriters. Young Dee Dee’s early career was guided by Jerry Leiber & Mike Stoller, a more experienced & established partnership. While Dee Dee lacked the smooth, rich, Pop sophistication of Dionne the girl could certainly sing. Her R&B hits released by Mercury display a great range. In 1966 “I Want to Be with You” was a big production of a number from a Broadway show & “I’m Gonna Make You Love Me”, later a hit for Diana Ross & the Supremes & the Temptations, was cool & possibly ahead of its time. In 1969 “Foolish Fool” displayed Dee Dee’s power, earning her another chart placing & a first Grammy nomination.

 

Dee Dee Warwick - She Didn't Know (She Kept On Talking) / Make ...When Dee Dee signed for Atlantic she was sent down to Florida where, at Miami’s Criteria Studios where the label were setting up a new operation. Keyboard player Jim Dickinson assembled a band of Memphis session aces & the Dixie Flyers, guitarist Charlie Freeman, bassist Tommy McClure & drummer Sammy Creason  moved in. With stellar backing & well chosen material “Turning Around” (1970) is a very fine showcase for Dee Dee’s talent. Her Gospel grounding is undeniable but her forceful voice is no Soul shout, comfortable with songs that require a touch of Country or a shot of Blues. “She Didn’t Know (She Kept On Talking)” is the flipside of the David Porter record, a wife finding out that her husband is cheating. It was written by Swamp Dogg & Gary “U.S.” Bonds who were getting developing a knack for dramatic lyrics that were almost conversational & certainly distinctive. A Top 10 R&B hit, “She Didn’t Know…”was nominated for a Grammy in the Best R&B Vocal Performance-Female category. Others in the frame were winner Aretha Franklin, Nina Simone, Candi Staton & Esther Phillips. Dee Dee Warwick was keeping good company & was by no means out of place.

 

I am aware of & not ignoring the allegations made against Dee Dee in Kevin McDonald’s movie “Whitney” (2018). My take is that both parties are no longer around to either confirm the events or to defend themselves. I am more sure that Dee Dee Warwick’s openness about her sexuality, the lack of promotion of her records & possibly just being the little sister of a major star prevented greater recognition than she is given.

 

 

The Five Stairsteps – O-o-h Child (1970) | SamuelsoundsAnother new entry this week, in at #45, gets the nod because I will never tire of this great clip. In 1970 the five Burke siblings’ title as “The First Family of Soul” was under threat from Motown’s new contenders the Jackson 5. Chicago’s Five Stairsteps were all teenagers in 1966 when Curtis Mayfield produced their debut album, released on his own Windy C label. There were four R&B Top 20 hits on the record & while there are distinct Curtis touches the songs were mainly co-written by Clarence Jr. The partnership continued for two more records, with a mix of sweet ballads, funky uptempo tunes & a sprinkling of Mayfield songs the Five Stairsteps (& Cubie as they were known when the very youngest brother joined them) always proved to be popular. By 1970 Curtis was busy with his own plans, the Stairsteps signed to Buddah & were put under the care of the label’s house producer Stan Vincent. The first 45 “Because I Love You” missed the chart but “Ooh Child”, written by Vincent, was their first crossover to the Pop listing & the song for which they are mainly remembered.

 

The 5 Stairsteps* - O-O-H Child (1970, Vinyl) | Discogs“Ooh Child” has found it’s way into popular culture now. It was immediately covered by by the Spinners & Nina Simone, reggaefied by Bruce Ruffin & many versions have followed. Featured in “Boyz n the Hood” & “The Simpsons”, Spike Lee used the song in his movie “Crooklyn”, & it’s Peter Quill’s choice when offering a dance-off to Ronan the Accuser in “Guardians of the Galaxy”. It’s this original version & this “Soul Train” appearance that keeps me coming back. The group are growing up, Alohe, the eldest steps to the front sounding (& it has to be said, looking) as fine as her name. Clarence Jr & James take their turn & all the boys, ditching their lounge suits & straight out of the Superfly boutique, look confident & hip. In the backline drummer Jerome “Bigfoot” Brailey, later of Funkadelic, drives the thing along. “Ooh Child” is such an optimistic song, the one I turn to when I need a little pick-me-up, a sharpener. In strange days like these we all need reminding of better days to come. “Some day, yeah we’ll walk in the rays of a beautiful sun. Some day when the world is much brighter”. That’s right!

 

Can’t Help Myself (Soul May 9th 1970)

In the Poptastic mid-1960’s there was a heaving rush of perfect 45’s, seven inch vinyl discs that broadened the scope of popular music not only appealing to a massive audience but forcing me to use the word “zeitgeist” here. In 1964 Phil Spector hooked up his Wall of Sound to the vocal talents of the Righteous Brothers for “You’ve Lost That Lovin’ Feelin'”. The following year “Satisfaction” showed that there was much more to the Stones than their R&B influences, Folk god Bob Dylan picked up an electric guitar for “Like A Rolling Stone” & the double whammy of “We Can Work It Out/Day Tripper” confirmed the growing maturity of the Merseyside moptops. In 1966 Brian Wilson immersed himself in then emerged from his studio with “Good Vibrations” while “the Sound of Young America”, Tamla Motown, released “Reach Out, I’ll Be There”, an urgent, exciting & assertive instant classic to rank with the aforementioned. The Four Tops, already established in the US, became international stars.

 

 

The Four Tops: 'Reach Out I'll Be There' | Classic TracksOn the Cash Box Top 50 in R&B Locations for May 9th 1970 “It’s All in the Game”, the latest record by the Four Tops, rose from #34 to #26. The quartet were friends from Detroit high schools, formed in 1953, releasing their first single in 1956 as the Four Aims, they were older than other emerging groups at Motown. Matched with producer/songwriters Holland-Dozier-Holland in 1964 they were immediately successful with a string of records featuring the quintessential, magnificent, mature vocals of Levi Stubbs, the sweetness added by Obie Benson, Duke Fakir & Lawrence Payton, a line-up that endured until 1997. The “Reach Out” LP (1967) launched the Tops into the stratosphere. The album included an incredible 6 singles all of which charted in the Top 20 of the Pop & R&B listings. “Standing in the Shadows of Love”, “7 Rooms of Gloom” & “Bernadette” are all in the same class as the title track. In 1968 the first volume of The Four Tops’ “Greatest Hits” was some kind of wonderful.

 

Four Tops - It's All In The Game - sheet music – A Nickel And A NailPerhaps the Four Tops were affected more than most by the departure of H-D-H from Motown. “Reach Out” was to be their final collaboration but the later singles from the record “Walk Away Renee” & “If I Were a Carpenter”, soulful reworkings of contemporary Pop hits, indicated a change of pace. I wouldn’t say more restrained because Levi was still giving it his all. They recorded with different producers & there was a period where their records were more successful in the UK than at home. In 1970 the LP “Still Waters Run Deep” put their name back in the top frame. “It’s All In The Game”, a melody written in 1911, a hit in 1958, an arrangement where the other members were, for once, more prominent, started another run of Top 20 R&B hits which continued after they left Motown in 1972. The live clip above, recorded in a Vietnam veterans hospital for “The Ed Sullivan Show”, is a little extempore but still charismatic. We all know just how great the Four Tops were.

 

 

 

Flaming Ember | Discography | DiscogsThe Flaming Ember originally Embers, named after a Detroit hamburger joint, had made some records for small local labels. George Clinton was involved with 1967’s “Hey Mama (What’cha Got Good For Daddy) but their big Rock & Soul sound met with little attention. The group’s luck was in when they were signed by Holland-Dozier-Holland’s new post-Motown operation. The trio’s reputation for quality & commercial appeal was reinforced with “Mind, Body & Soul”, Flaming Ember’s debut for them & the group’s first hit.

 

Flaming Ember - Westbound #9 (1970, Vinyl) | Discogs“Westbound #9”, at #45 on this week’s chart & headed for a much higher position, is the title track of the Ember’s debut LP on the Hot Wax label. I reckon that Levi Stubbs would have heard the 6 H-D-H songs on the record & thought that he & his group could have made a fair go of them. Featuring drummer/vocalist Jerry Plunk, that’s him out front in the love beads & bell bottoms giving it loads on the TV show “Upbeat”, the album’s instrumentation suggests that the house band, the Politicians, were busier in the studio than the four group members. They have more input on the next LP “Sunshine”, Jerry wrote a couple of the songs, but “I’m Not My Brother’s Keeper”, the standout track, another chartbound sound, followed by “Ding Need Dong (To Ding-A-Ling-A-Ding-Dong)” is an indication of its variable quality. The label was having bigger hits with other artists & Flaming Ember were soon back in the Detroit clubs. Still, you hear “Westbound#9” & that song sticks around for the rest of the day.

 

 

El Chicano - Viva Tirado (1970, Monarch Pressing, Vinyl) | DiscogsFrom blue-eyed to brown-eyed Soul. El Chicano were representing for their Mexican-American community in East Los Angeles who were developing a more visible political & cultural voice in parallel to the Civil Rights movement. “Viva Tirado”, an instrumental regional hit in their hometown was breaking nationally & was at #30 on the chart. There seems to have been an indeterminate number of members of El Chicano with a whole bunch of fine percussion surrounding the virtuoso Hammond B-3 organ playing of Bobby Espinosa complemented by the Jazz influenced guitar of Mickey Lespron. “Viva Tirado” is a Jazz tune & the integration of Funk, Soul, Latin, Salsa & Rock rhythms makes for a very tasty & moreish El Chicano sound.

 

Mexican-American band "El Chicano" including members Rudy Regalado ...I’m making up for lost time with El Chicano. The group released an LP a year until 1976 & there are new favourites to discover. Guest vocalists were added on later records but the instrumentals are the ones that hit the spot. Placing them somewhere between Santana & War their covers of well known tunes may not immediately impress new listeners but the band always hit the coolest of Latin grooves where foot-tapping & smiling is no longer optional. Here’s their take on Marvin’s “What’s Going On” to prove it. In the words of novelist Carlos Fuentes  “Soy chicano en todas partes. No tengo que asimilarme a nada. Tengo mi propia historia.” (I am Chicano everywhere. I don’t have to assimilate to anything. I have my own story). El Chicano are part of that story.