Brothers Work It Out (Soul January 16th 1971)

At #8 on the Cash Box Top 60 in R&B Locations for January 16th 1971 was a powerful, no punches pulled protest against the Vietnam War, a conflict that in 1968 involved over 500,000 US troops, that in 1970 President Nixon had expanded into neighbouring Cambodia. An increase in opposition culminated in the killing of four Kent State University students by the Ohio National Guard while the scenes of US troops returning home in body bags on nightly TV news disturbed American homes. “Stop The War Now” is Edwin Starr’s follow up to the classic “War” & perhaps unfairly sits in the shadow of that great hit. The troubles of present day USA has been brought sharply into focus by last week’s events in Washington, incited by the soon-to-be ex-President. 50 years ago the best summation of the wider tumultuous state of the nation sat at #3 in the Cash Box R&B chart.

Curtis Mayfield was, by 1971, already recognised as a significant contributor to American music. During his apprenticeship at Okeh Records young Curtis’ aptitude for simple, sweet melodies that caught a radio listener’s ear developed into a string of hits for his group the Impressions & others. Singles with more than a tinge of Gospel, “Amen”, “Meeting Over Yonder” were released alongside the gently romantic like “I’m the One Who Loves You” & “Talking ‘Bout My Baby”. A growing involvement in the Civil Rights Movement & an association with Martin Luther King Jr inspired songs that promoted Black positivity & pride. The spiritual “People Get Ready” was as early as 1964. Later “We’re A Winner”, “This is My Country” & “Choice of Colors” were more assertive & polemical. In 1970 Curtis left the Impressions & his first solo LP was rightly much-anticipated. The innovation & realisation of this new phase was still a surprise & a delight.

45cat - Curtis Mayfield - (Don't Worry) If There's A Hell Below We're All  Going To Go / The Makings Of You - Buddah - Germany - 2011 055

Curtis Mayfield was ambitious for & far-sighted about his music, his business & his race. The first minute of “(Don’t Worry) If There’s A Hell Below, We’re All Gonna Go”, an ominous fuzz bass, a female voice talking about the Book of Revelations, Curtis’ echoed shouts “Sisters! Niggers! Whities! Jews! Crackers! Don’t worry…” then a scream, shows that things have changed, doors have been kicked open, new ground has been broken. What follows is an update on Chicago Funk, an urgent, perfect mesh of brass, string, rhythm guitar & percussion. The radio edit of the track is half the length of the 8 minutes on the album, that introduction too strong for mainstream airwaves. Like “Move On Up” “If There’s A Hell…” is best appreciated as originally intended. There are still those so-sweet, romantic, melodic love songs on “Curtis” but this solo debut showed that Mr Mayfield knew it was time for shit to get real, that things needed to be said, that lyrically & musically he was a great force.

Kool & The Gang | Samuelsounds

Meanwhile at the Sex Machine club in West Philadelphia, on 52nd & Market, (long gone, a good time, you know it) Kool & the Gang were recording their first live album. The New Jersey school friend Gang got together in the mid-sixties as a Jazz group who soon found that for an eight piece band it was more financially viable to play Soul covers & back touring acts in local clubs. Spotted, signed, produced & managed by Gene Redd, bassist Robert “Kool” Bell’s name was moved to the front in 1969. A debut album, instrumentals dominated by a fresh, funky & kool horn section, included two Top 40 R&B hits & got their name about. On stage the band put on quite a show & the Sex Machine set was one of two live albums released in 1971.

Looking at a Kool & The Gang concert poster from back in the days feat. The  Chi-Lites & Major Har… | Vintage music posters, Concert posters, Vintage  concert posters

“Who’s Gonna Take the Weight (Part II), from “Live at the Sex Machine”, is at #28 on this week’s chart. I suspect that the relatively mild opinions expressed at the beginning of Part I meant that this was the side of the 45 played on the radio. Of the 10 tracks on the album four are covers of well-known songs that are difficult to improve upon (“Walk On By”, “I Want to Take You Higher”). Given the Kool treatment they become part of a tight Soul-Jazz set that’s very enjoyable even with the over-dubbed audience screams. “Who’s Gonna…” has a solid rhythm section underpinning the so fashionable wah-wah guitar & a hot brass ensemble. In 1973 Kool & the Gang had a commercial breakthrough when their “Wild & Peaceful” record produced two Pop Top 10 singles. As Disco became more prominent they smoothed out their style, still making the R&B chart but the albums were no longer going gold. In 1979, a new singer, J.T.Taylor & a change to ballad oriented material found the resurgent group hitting a run of success that lasted until the mid-1980s. Man, Kool & the Gang were a big deal. I know that “Celebration” (Wah-Hoo!) & “Get Down On It” are still well-loved by many but if I need a little K & the G around it’s the rougher Funk of “Live At the Sex Machine” I’ll be reaching for.

sgt. pepper's lonely hearts club blog. | Billy preston, George harrison,  The beatles

Master keyboard player Billy Preston was a late contender for the “fifth Beatle” belt. When, in January 1969, George Harrison invited him along to the “Let It Be” sessions it was to join a bickering not-so Fab Four who would break up before the year’s end. As George hoped the group were accepting of their guest & tensions were eased. Just a week later Billy was on the roof of Apple Corps in Savile Row (London’s glittering West End, just off Regent St, you know it) performing alongside them in their final live appearance. In April “Get Back” had “The Beatles with Billy Preston” on the label, the only time such credit was given. The respective beliefs of George & Billy in Krishna & Christ had a mutual credo of all you need is Love & after signing for Apple the pair began work on Billy’s album. For the title track of “That’s the Way God Planned It” Eric Clapton, Keith Richards & Ginger Baker showed out to assist on an impressive, positive song that sure sounded like the hit it was in the UK. The single suffered in the US from an inexperienced record label who had never really needed to promote Beatles records. Billy had recorded his first album when he was 16 years old, the respect for his talent was reflected in the demand for his services from many major artists. This Beatle association brought a whole different level of attention.

Billy Preston - My Sweet Lord (1970, Vinyl) | Discogs

“Encouraging Words” was recorded with another all-star cast. Co-producer Harrison, possibly hoping that his group would continue to record, contributed two of his song stash to the project. That’s how Billy Preston’s version of “My Sweet Lord”, at #50 on this week’s R&B chart, came to be released in the UK two months before the “original”. Billy takes the song to church, guests the Edwin Hawkins Singers making it more “Hallelujah” than “Hare Krishna”. It may lack the impact of Phil Spector’s Wall of Acoustic Sound on George’s version but Billy, aided by the Temptations’ touring band, sure gets his groove on. “Encouraging Words” is a fine mix of Soul, Gospel & Rock with Delaney & Bonnie’s stellar band providing great back up. Billy had a good 1970s with big solo success while maintaining an involvement with the Rolling Stones in the studio & on tour. In August 1971 he joined George & his friends for the “Concert For Bangladesh”. His barnstorming “That’s The Way…”, Billy feeling the spirit & dancing across the stage, almost stole the show. We’ll end with that because I & probably you could use a little Joy at the moment.

Back In The New Year’s Groove (Soul January 2nd 1971)

The Cash Box Top 60 in R&B Locations was a little static for the week starting January 2nd 1971. Just two records climbed into the Top 10, two others were new to the Top 20. The releases from Tamla Motown’s production line, still stood predominate with three of the Top 5 & a further four in the Top 20 originating from Detroit’s “Hitsville USA”. There will be plenty of time in the rest of the year for a deeper dive in search of those pearls whose quality was not matched by a high chart position. On this first post of the year I’ll start with the two songs that headed the chart 50 years ago. For the Supremes this was the eighth time the trio had enjoyed a #1 R&B placing, same as it ever was it seems but things were changing for Motown’s most established act.

The Supremes, 1970 | Natural hair styles, Afro hairstyles, Black hair

Since 1968 the Supremes had to manage without Holland-Dozier-Holland, the team who had written & produced enough songs for the trio that “Golden Hits Volume 3” was already on the racks. In January 1970 Diana Ross, the vivacious singer whose name had been placed at the front of the group, made her final on stage appearance, introducing her replacement Jean Terrell. Jean, Mary Wilson & the mellifluously named Cindy Birdsong began work on their LP “Right On” with new producer Frank Wilson, the man whose own Soul super rarity “Do I Love You (Indeed I Do)” was reportedly bought for £100,000 this year (I have it on CD so not me!). Mary was the only original Supreme now but the most popular female group in the world were still guaranteed spots on US prime time TV & radio. It was Frank’s first job to find the songs that would keep them in the spotlight.

The Supremes Stoned Love of Tamla Motown 45 Rare XL Sheet Music /  HipPostcard

The producer was tipped to Kenney Thomas, a Detroit teenager, by a local DJ. Invited round to Frank’s house young Kenney was startled & starstruck, as any 17 year old boy in 1970 would have been, to find beautiful superstar Mary Wilson there to check out his song. Frank added a little shape & a few words to the bare bones of a song, star Motown arranger David Van DePitte provided the lustre & that driving beat while the label persuaded radio stations that the nation’s darlings hadn’t given them a drug-related song to play. Kenney Thomas (credited as Yennek Samoht) had, with “Stoned Love”, a million-selling record on his hands, a glorious record too, instantly recognisable from when Jean sings the title & you still know now that something good is coming up. The Supremes would have other big hits like “Floy Joy” & “Nathan Jones” but “Stoned Love” is the finest post-Diana single. They sure look happy & fine on this TV appearance. Kenney didn’t write much more for Motown, his mother was wary of her son mixing in such starry circles & didn’t want him to neglect his studies. I hope that he heeded his mum’s counsel.

Gladys Knight & The Pips If I Were Your Woman Soul demo F 35078 Soul  Northern mo | eBay

Arranger David Van DePitte was also all over the record rising one place to #2 on the chart. “If I Were Your Woman”, a ballad that builds to a soulful crescendo, is the latest in a run of successes for Gladys Knight & the Pips, records that made Top 3 R&B & Top 20 Pop. Beautiful Gladys gradually raises the level while her Pips are, as usual, impeccably in synch with their steps & backing vocals. That’s another Hitsville classic. Gladys had over a decade’s experience before she & her group signed with Motown & they raised concerns about the adding of extra backing vocals to their songs as well as the choice of material they were given to record. At this highpoint in their popularity negotiations for a new contract proved to be unsatisfactory. In a case of “you don’t know what you got till it’s gone” “Neither One Of Us (Wants to be the One to Say Goodbye)”, the group’s final single, was one of the group’s biggest selling records to date. A move to Buddah in 1973 realised their crossover appeal, Gladys became an international superstar while the Pips were rightfully celebrated for their support, their choreography & their Whoo-Hoos.

PAM SAWYER: SoulMusic Hall Of Fame - 2020 Inductee (Songwriter) | Soul Music

“If I Were Your Woman” had three names on the songwriting credits. Clay McMurray, formerly head of Quality Control, had made the move to producer. In the coming years he was to leave his mark on Soul Music. Pam Sawyer, from Romford, Essex, had moved to New York in 1961 then, encouraged by Holland-Dozier-Holland, on to Detroit six years later. As part of the Clan, Motown’s new writing collective, Pam had her name on the labels of “Love Child” & “I’m Living In Shame” by the Supremes & David Ruffin’s “My Whole World Ended”. Now 83, Pam was inducted in 2020 to the Soul Music Hall Of Fame. She is responsible for the biggest British contribution to the label’s great success & deserves wider recognition here at home. In the UK Gloria Jones (a.k.a. LaVerne Ware) is better known for her original 1964 recording of “Tainted Love”, our best-selling single in 1981 for Soft Cell, & as the partner of Marc Bolan in the years before his tragic death. Encouraged in her songwriting talents by Ms Sawyer the Grammy nominated “If I Were Your Woman” was the best known song in her time at Motown.

Impressions, Gene Chandler, Jerry Butler, Gladys Knight & Pips, | Lot  #89221 | Heritage Auctions

OK, this great record is not actually on this week’s Cash Box chart but a cover version of it is & that’s how I discovered this gem. That’s close enough isn’t it? At #47, rising from #59 was “You Just Can’t Win (By Making the Same Mistake)” by Gene & Jerry, two Chicago Soul legends, Chandler & Butler. Jerry Butler had started out with Curtis Mayfield in The Impressions. His recent work with young producers Kenny Gamble& Leon Huff had established his straight-from-the-fridge cool as “The Ice Man”. Gene Chandler styled himself as “The Duke of Earl” after his #1 million-seller of 1962. A close relationship with ace producer Carl Davis (& thus Curtis M) kept his name in the frame throughout the decade. I mean no offence to Gene but if Jerry Butler is singing then I’ll be listening. “One On One” is a fine album of uptown Chicago Soul duets by the experienced stars.

Simtec & Wylie - Gotta Get Over The Hump (1971, Vinyl) | Discogs

Gene was expanding his interest in the business of music, producing & releasing a million-seller with Mel & Tim. On January 1st 1971 his new Mister Chand label (his face is on the records) introduced “Getting Over the Hump” by Simtec & Wylie. Walter “Simtec” Simmons and Wylie Dixon brought their own band & a dynamic style that gained comparison with Sam & Dave. “Getting Over…”, their only album, has a funked-up version of Rod Stewart’s “Maggie May” & “You Just Can’t Win”, their own song, twice as long as the one on the chart is absolute fire. It’s new to me & such discovery is why I so enjoy these investigations of 50 year old Soul. Well, that’s 1971 in 2021, a fine start & undoubtedly more of the good stuff to come.

Move To Another Groove (Soul December 19th 1970)

This final selection of the year from the Cash Box Top 60 in R&B Locations of December 19th 1970 leaves me, just like all the others, spoilt for choice such is the quality of this 50 year old chart. This week’s Top 10 is Motown-packed, the Supremes, Smokey Robinson & the Miracles, Stevie Wonder & Gladys Knight & the Pips grouped together at numbers 2, 3, 4 & 5. Rising 7 places to #7 is the ground-breaking “(Don’t Worry) If There’s A Hell Below We’re All Going To Go”, Curtis Mayfield’s solo debut after leaving the Impressions while at #9 Al Green’s “I Can’t Get Next To You”, a Motown cover, began a run of success which made him the most popular male vocalist in Soul. Keeping all these great records from the #1 spot was the only major hit by King Floyd & it is this good…

In late 1969 celebrated arranger/producer Wardell Quezergue (pronounced Kuh-zair) whose work had earned him a place at the top table of New Orleans music set up a deal with the Malaco label to use their modern studio in Jackson, Mississippi. In May 1970, in a borrowed school bus, he & five artists made the three hour drive north. During the resulting sessions he supervised the recording of two stone Soul classics. Jean Knight’s “Mr Big Stuff” (“who do you think you are?”) will still fill a dancefloor anywhere in the world & “Groove Me” by King Floyd was the current #1 record on the Cash Box chart.

King Floyd Tulsa Civic Center Concert Poster (1970s).... Music | Lot #89620  | Heritage Auctions

After a stint in the Army King Floyd III joined a gang transplanted from NOLA to Los Angeles led by producer Harold Battiste & Dr John. His album failed to attract attention so he returned to New Orleans to take a job with the Post Office. his trip to Malaco studios changed his fortunes when the self-penned, punchy, irresistible “Groove Me”, initially a b-side picked up regional airplay before busting out when Atlantic stepped in. Quezergue, with steadfast support from the session men, created a lovely collision between the rhythms of New Orleans & the drive of Memphis to create a new Southern Soul sound. It made the name of the studio & the rhythm section, labels sent their artists to Jackson hoping to share & it was influential on the pioneering disco of TK Records in Florida. King continued to record some fine tracks at the studio, the groovy “I Feel Like Dynamite” featured in a 2018 TV commercial back when Corona was just a beer, without the same success. Hey, he & we will always have “Groove Me”

The CHI-LITES | Soul music, Funk bands, Black music

Eugene Record’s high school group the Chanteurs became the Hi-Lites & both incarnations released singles. Another unit had claims to their current name so, in honour of their home city Chicago, they became the Chi-Lites. In the mid-Sixties they came to the attention of Carl Davis who had gathered & encouraged the city’s young talent at the Okeh label & aimed to repeat that in his new role as head of Brunswick’s Chicago operation. In Eugene he signed an ambitious musician & a prolific songwriter who responded to the mentorship of Davis. A fruitful partnership with singer Barbara Acklin found hits for her & others. When a piano track was added to the backing of Barbara’s “Am I the Same Girl” & released by Young-Holt Unlimited as “Soulful Strut” Eugene found himself as the writer/producer of a gold record. Having earned his trade & proved himself it was time for the Chi-Lites to step into the spotlight.

Chi-Lites / Delfonics / Chairmen of the Board 1970 Chicago Jumbo | Lot  #89526 | Heritage Auctions
Er…WOW!

OK Ms Beyonce Knowles, you got good taste. The opening blaring brass hook of “Are You My Woman? (Tell Me So)”, #20 this week, was a prominent sample on “Crazy In Love”, a world-wide super smash from her debut album. Eugene, properly, had a writing credit, a 21st century Grammy &, I’m sure, sizeable royalty cheques arriving in the post. In 1970 the Chi-Lites were consolidating the reputation they had made on their own debut “Give It Away” with two hits from the album “I Like Your Lovin’ (Do You Like Mine)”. Both the title track & “Are You My Woman” have got the Funk & owe quite a lot to the urgent vocal gymnastics of the Temptations’ new direction. The following 45 “(For God’s Sake) Give More Power to the People”, there was a fondness for a bracket in early 70s Soul, was in a similar vein & the group’s most successful yet. At the end of 1971 Eugene, gauging a change in taste, dusted of an older, slower song “Have You Seen Her”. This & “Oh Girl” took the Chi-Lites to the top of the Pop charts, giving the group a popularity on both sides of the Atlantic which they maintained for some years even after Record left for solo pursuits.

Burt Bacharach and Hal David Songs, 10 Works of Genius

I was painting the exterior of a shop in South West London directly opposite a vintage vinyl emporium…irresistible, of course. This was before record collecting became the new trainspotting for middle-aged men so bargains were to be had. These used records may have been slightly scratched but would sure look good in our stack so the right thing had to be done. That’s how unplayed copies of Dionne Warwick’s Golden Hits Parts I & II, on the US Sceptor label ended up round my house & it’s difficult to think of any other 24 track collection that is more beautifully crafted tunesmithery, wonderfully & sympathetically interpreted by a singer. Young Dionne’s group, the Gospelaires, were in-demand backing singers in New York when she was called upon to record demo vocals on the songs of Burt Bacharach & Hal David. The synergy was immediate, Dionne was signed to Sceptor & when “Anyone Who Had a Heart” & “Walk On By” were recorded in a morning session in November 1963 the only problem was which one should be released first. Both records made the US Pop Top 10 at a time when the British Invasion was all the rage. The reputations of the singer & songwriters were firmly established.

Dionne Warwick - Very Dionne (1970, Unipak, Vinyl) | Discogs

“Make It Easy On Yourself” was one of the first Bacharach/David songs Dionne was given but housewife turned Sceptor label boss Florence Greenberg passed on it & Jerry Butler ended up with the US hit record. Dionne would later express resentment about other artists having chart success with songs she considered hers but for the rest of the decade her sophisticated interpretations of often intricate songs ,which challenged the ephemeral nature of Pop music, provided an uninterrupted run on the Pop & R&B listings. “I Say A Little Prayer”, had us at the “wake up/make up” opening rhyme, the eerie beauty of “Walk On By” is another perfect record. We all have our favourites & I will never fail to be charmed by “Are You There (With Another Girl)” & “You’ll Never Get to Heaven (If You Break My Heart)”. Dionne’s original of “Make It Easy…”was included on her 1963 debut album “Presenting…”. At #30 on the Cash Box chart this week was a live cut of the song performed at the Garden State Arts Center in her home state of New Jersey. This time around Marie Dionne Warwicke from East Orange was returning as an urbane, assured international superstar & on this track you can hear why.

I really do enjoy writing these posts about the R&B chart of 50 years ago. There have been times in 2020 when my coping mechanism for all this isolation business has caused a flatlining which affected any inspiration to write for the blog. I always found that a look at the current Cash Box listing would clear the cobwebs. I’m always saying that this was a Golden Age of Soul Music but listening to old favourites, re-discovering forgotten ones, hearing tracks that are new to me is genuinely exciting & transcends nostalgia. I haven’t looked at any of the charts from 1971 but it’s sure that I’ll keep on keeping on with this. Here’s to a busier, still soulful 2021 for us all.

Soul Brother & Sisters (Soul November 14th 1970)

At #17, rising 10 places, on the Cash Box Top 60 For R&B Locations for 14th November 1970 was “Big Leg Woman (in a Short, Short Mini Skirt)” by Israel “Popper Stopper” Tolbert. This credit alone justifies inclusion in any monthly chart review & it’s a fine bluesy, brassy Muscle Shoals party. While I could knock off a couple of paragraphs concerning big leg women & skirts that no-one needs to read, I know very little about the Big Popper so we’ll leave it with the link. Anyway, this week there was a new chart topper by one of the greats of Sixties Soul. The first time he had hit #1 since 1967.

Remembering Wilson Pickett; daughter, Veda, helping to keep his memories  alive - Music Life Magazine

Yeah ! In 1966 this 13 year old cast his vote in the New Musical Express Readers Poll for Wilson Pickett in the World Male Vocal category. The Wicked Pickett released 4 singles that year, “634-5789”, “Ninety Nine & a Half (Won’t Do)”, “Land of 1000 Dances” & “Mustang Sally”, Blimey! My pocket money was still spent on discs by the British Beat groups but the raw, impassioned vocals & that driving beat made these records the highlight of the weekend Youth Club dances. They, more than any other, first brought the Stax studios in Memphis & the Alabaman FAME gang of session musicians to my attention. It’s a devotion that endures to the present day. “Spotlight on Wilson Pickett now, that wicked wicked Pickett. Singin’ Mustang Sally, Oh yeah, oh yeah”.

Wilson Pickett In Philadelphia - Rolling Stone

By 1970 Wilson may have been supplanted in my affections by the greater sophistication & wider range of Otis, Marvin, Stevie. After his 1968 success with the Beatles’ “Hey Jude” he released a number of Souled-up covers of Rock & Pop hits. It was in 1970 that Atlantic moved Pickett away from his usual recording setting, matching him with Kenny Gamble & Leon Huff the young writer/producers rapidly establishing their reputation. The resulting album, “Wilson Pickett In Philadelphia”, introduces more varied instrumentation, a little sweetness, without changing his gritty, forceful voice. That was his trademark, what made him “Wicked”, there would be no point. The record is a little uneven but when it was done right, & the groovy, funkified “Engine Number 9” certainly is that, it worked. Both 45s lifted from it returned Pickett to the US Pop Top 20 & that was the point. In the following year , Gamble & Huff having their own thing to do, Wilson successfully returned to Muscle Shoals before leaving his long-time home at Atlantic & not bothering the chart compilers so much. “Engine Number 9”, a welcome update on his sound, is not always included in the top rank of his hits, it should be.

Ann Peebles | Concert posters, Music concert posters, Vintage music posters

Down in Memphis bandleader Willie Mitchell had been working at Hi Records since 1961. Increasingly involved in production, by 1970 he had his ducks in a row & made his move. Taking over as executive vice-president of the label he had two new singers, Ann Peebles & Al Green, to record & develop along with a stellar studio band anchored by the Hodges brothers, Charles, Teenie & Leroy & star drummer Al Jackson Jr. from Booker T & the M.G.s. “Part Time Love” was the fourth single released by Ann Peebles. It was at #3 on this week’s chart, a breakthrough, the biggest hit yet for the new kids on the Memphis block though how “Generation Gap Between Us”, the lead 45 of 1970, missed out remains a mystery to me.

Ann Peebles - Part Time Love / I Still Love You (1970, Vinyl) | Discogs

Ann’s “Part Time Love” album re-works four of the tracks from her debut of the previous year & includes covers of contemporary hits that are very good but y’know it’s difficult to improve on the Isley Brothers’ original of “It’s Your Thing”. It’s a showcase for a great singer, tough, confident & passionate, beautifully matched to Mitchell’s new Hi sound, a tight, smooth, mid-tempo groove, the Memphis Horns less urgent but just as prominent as they were on their Stax recordings. In the near future Al Green used this template to join the pantheon of male Soul stars while Ann Peebles, apart from “I Can’t Stand The Rain” (1974) struggled to find more commercial success. Together with her writing partner & later husband Don Bryant, she did have more input in her later more mature recordings & while her individual albums are worthy of investigation any “best of” assemblage, 17 or 18 tracks showing how well Memphis Soul was done in the first half of the 1970s, is essential.

ARETHA FRANKLIN "BORDER SONG" SHEET  MUSIC-PIANO/VOCAL/GUITAR/CHORDS-1969-NEW!! | eBay

The two highest new entries on this week chart were songs written by white British musicians. (the third highest was Curtis Mayfield’s “(Don’t Worry) If There’s Hell Below We’re All Gonna Go”, a good week or a Golden Age? You decide). Santana’s performance at the Woodstock Festival, the barnstorming “Soul Sacrifice” being a highlight of the movie & of the million seller soundtrack album, had brought much wider attention. “Black Magic Woman”, in at #38, is a Peter Green song. Green had made his reputation as Eric Clapton’s replacement in John Mayall’s Bluesbreakers. His instrumental talent & a developing individuality as a songwriter made his group Fleetwood Mac one of the best & most interesting of the British Blues bands rather than the coked-out, polyamorous purveyors of Soft Rock it became after his departure.

Elton John Recalls Aretha Franklin's Final Performance in Heartfelt Tribute

In late August 1970 the buzz created by Elton John’s US debut at the Troubadour in Los Angeles had set him on the path to becoming Elton John. Aretha Franklin was, of course, “Lady Soul”, the Queen, on an incredible run of 10 albums between 1966 & 1974 that defined & refined the emotional intensity of African-American music. In 1970 her current LP “Spirit in the Dark” brought another pair of hit singles, adding to a list so long that I can’t be bothered to count. Her latest 45, entering the chart at #36, was a song from Elton’s eponymous second LP &, oh my, she took “Border Song (Holy Moses)” to church. Aretha’s vocal, her own piano, Billy Preston’s Hammond organ & a choir led by the Sweet Inspirations invest the song with a grandeur & a spirituality that surpasses the original. I sure that Elton John & his lyricist partner Bernie Taupin, still finding their way, still some months away from the success of “Your Song”, were equally stunned & thrilled that an artist of Aretha’s stature would cover one of their songs. I’m sure too that they would agree that she made it better.

Getting Down To It (Soul October 17th 1970)

On the Cash Box Top 60 in R&B Locations chart for the 17th of October 1970 there was a new #1 record. “Express Yourself”, the toppermost for the past two weeks, was to be the only time that Charles Wright & the Watts 103rd Street Rhythm Band would attain such heights. Its successor “I’ll Be There” was the fourth time that the Jackson 5 had reached that pinnacle in 1970! The Top 3 was rounded out by another from the Tamla Motown roster. On the departure of Holland-Dozier-Holland from the label the Four Tops had adopted a smoother, less urgent style. Of course the inimitable lead vocals of Levi Stubbs were still prominent & popular. Still Water (Love), supplied by producers Smokey Robinson & Frank “Do I Love You” Wilson, was their latest hit.

It’s been a month or so since my last review of the R&B chart of 50 years ago & there are plenty of new records around. The Top 10 is of such high quality that it would be easy to select three from there. Let’s start with one of them & see where it leads us.

Blues & Soul 44/ October 9 1970

At #9 on the chart, climbing 5 places, the Philadelphia trio the Delfonics were enjoying a run of hits. William Hart & his brother Wilbert had been in vocal groups since high school. An introduction to young producer/arranger Thom Bell led to a contract with Cameo-Parkway & a couple of 45s. On the demise of their label a move to the new Philly Groove gave Bell the freedom to realise his vision. Their next single “La-La (Means I Love You)”, released in January 1968, crossed over into the Pop chart, sold a million & placed the Delfonics in the vanguard of a new effortlessly smooth, pristine, symphonic Soul. Over the next 4 albums Bell developed his fastidious orchestrations of songs written by himself & William Hart. William’s falsetto leads over a dramatic, melodic backdrop blew our minds on succeeding hits & they were very soon the favourite of Ms Jackie Brown from the film of the same name.

“When You Get Right Down To It” is the fourth song from the group’s eponymous 1970 LP to make the R&B chart. “The Delfonics” is an album of such quality that the truly majestic “Delfonics Theme (How Could You)” was almost overlooked. The “La-La…” record (1968) has the shock & the thrill of the new. Now Bell could bring confidence & imagination to a proven hit sound providing a showcase for his & the group’s talents. “When You Get…” is the only one of the 10 tracks not written or co-written by Bell & Hart. The songs of Barry Mann & Cynthia Weill had progressed popular music in the 1960s. “On Broadway” (the Drifters), “We Gotta Get Out of This Place” (the Animals) & “You’ve Lost That Lovin’ Feeling” (Righteous Brothers) are just three. I’ve missed out the Crystals & the Ronettes, it’s a long list. Mann’s new song was in good hands & it’s a gentle, beautiful noise.

Just one place lower,at #10, is a record by Bobby Byrd. Bobby worked for James Brown whose own rapidly rising “Call Me Super Bad” would enter the Top 10 the following week. It hadn’t always been this way, way back in the 1950s Bobby had met James when the future “Minister of the New New Super Heavy Funk” was serving time in juvenile prison & the Byrd family had sponsored his parole. Byrd’s band was called the Flames by the time James joined, initially as a drummer then singing. The label of “Please, Please, Please” said “James Brown & the Famous Flames” which displeased the other members but that was the way it stayed when the record sold over a million copies. After a brief split the Flames & Bobby rejoined Brown & stayed for over a decade, partners in a production company, singing backing vocals, carrying James’ cape & recording his own singles through the 1960s.

1970 King Promo 45: Bobby Byrd I Need Help (I Can't Do It Alone) Pt. 1/I Need  Help (I Can't Do It Alone) Pt. 2 – The James Brown SuperFan Club

In 1970, after a break for a couple of years Byrd returned to Brown’s set up when the singer’s band had left over the same financial disputes experienced by the singing Famous Flames. The pair quickly hired the young Collins brothers, Bootsy (bass) & Catfish (guitar), who alongside trombonist/arranger Fred Wesley brought an energy & drive to the Funk which maintained James’ popularity & his reputation as an innovator. Bobby co-wrote & can be heard on Get Up (I Feel Like Being A) Sex Machine” & “Get Up, Get Into It, Get Involved”. The new band, the J.B.’s, continue that same brio & groove on “I Need Help (I Can’t Do It Alone)” with Brown shouting encouragement in the background. James had always produced tracks for Bobby, his female singers & his band. They are companion pieces to whatever he had going on at the time & are often great records, not all of them were as successful on the chart as this one. The following year Bobby released “I Know You Got Soul”, extensively & memorably sampled by Eric B & Rakim on their landmark debut “Paid In Full”. Over a 21 year long professional relationship Bobby Byrd & James Brown…they got it!

Signed, Sealed & Delivered by Stevie Wonder (Album, Soul): Reviews,  Ratings, Credits, Song list - Rate Your Music

Over the past 55 years Stevie Wonder has recorded many, yes many, songs that remain significant in Soul music. “Heaven Help Us All”, at #40, the highest new entry on this week’s chart from 50 years ago is one of them. In 1965, still only 15 years old, Stevie dropped the “Little” from his stage name & confirmed the “Wonder” with “Uptight (Everything’s Alright)”, straight from the fridge, a new deeper voice & the first single on which he had a co-writing credit. In 1970 Motown released 2 “live” records, fine collections but I can’t imagine that many of his young Mod fans made it to the Talk of the Town, a cabaret club in that London. The “Signed, Sealed, Delivered” album was a step forward, the title track, “We Can Work It Out”, one of the best Beatles covers, “Heaven Help Us All” & others. Written by Motown staffer Ron Miller, a man with the knack who had previously provided Stevie with songs, “Heaven Help…” reflected the singer & Soul’s growing social conscience. Live appearances on US TV by Motown artists could suffer from the backing band not being the Funk Brothers. No problem here as Stevie’s impassioned Gospel-inflected vocal bring it all on home. When, at around 2.54, he screams & flashes the peace sign on the prime time “Johnny Cash Show”… Ah man!

Call Answered: Mark Arthur Miller: "SOUL SEARCHING" at The Triad Theater  NYC — Call Me Adam
A Wonder & Ron Miller

Subsequent to this Stevie asserted himself against his label, took over production duties & 1971’s “Where I’m Coming From” was solely written by himself & his new wife Syreeta. On his coming of age, with full artistic control, this led to “Music of My Mind” & “Talking Book” in 1972 & he was unstoppable. Stevie was driving the car, choosing the route & we were happy to learn from him & go along for the ride. It’s a debate point as to when Stevie Wonder’s imperial phase began but certainly “Heaven Help Us All” stands as a signpost of things to come. In 1977 Tamla Motown released a well-compiled three album retrospective of Stevie’s career up to 1971. That first thing in the morning slouch from the bed to the kettle, to the turntable, finding Side 6, Track 1 of “Looking Back/Anthology”, put a little love in your heart & more of a spring in your step. “Heaven Help Us All” did it then & still does.

This week there were two new tracks from Stevie Wonder. It’s a problem that 50 years on we still need songs about racial injustice. Stevie was never going to ignore the events of 2020 & if I want to hear from anyone then he’s certainly that one. The toe-tapping Go-Go groove of “Can’t Put It In The Hands Of Fate” includes Busta Rhymes & three other rappers who I’m much too old to know much about. I love it. “You say that you believe in all lives matter. I say, I don’t believe the fuck you do”… Ah man!

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 can’t 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.