A Rose In A Fisted Glove (Soul July 10th 1971)

While “Mr Big Stuff” by Jean Knight & Gladys Knight & the Pips’ “I Don’t Want To Do Wrong” remained at the head of the Cash Box Top 60 in R&B Locations for July 10th 1971 there was significant movement just below these hits. No less than five singles were newly welcomed to the Top 10 so this week’s review will not be crate-digging for barely remembered or perhaps never heard before songs from the lower reaches of the chart. Instead it’s big hits from big stars all the way. Let’s get to it.

The Isley Brothers○Love The One You're With○1971 - YouTube

In 1971 the Isley Brothers were a-changing just like the times. The sleeve of their current album featured Ronald, Rudolph & O’Kelly, the family band whose high-octane early 60s hits “Shout” & “Twist & Shout” had appealed to the wild side of the British Invasion groups. A spell at Tamla Motown was perhaps more appreciated on the UK Soul scene than at home. In 1969 the self-written, produced & released “It’s Your Thing” celebrated the trio’s independence & established their Funk credentials. “Love the One You’re With”, rising a big 10 places to #4 on this week’s chart of 50 years ago was becoming their most successful single since then. Younger brother Ernie, then just 16 (!) had played bass on “It’s Your Thing” & was now the band’s guitarist, his bass duties taken up by little brother, 17 year old Marvin. Rudolph’s brother-in-law, Chris Jasper, another young gun, played keyboards so the Isleys had their own in-home & at the studio band. I don’t know if it was the regulars or all these young dudes who chose the songs for their new album, whatever, it was an inspired move, a step forward for the Isley Brothers.

the Isley Brothers | Members, Songs & Facts | Britannica

The “sounds crazy but it just might work” idea of “Givin’ It Back” was to cover contemporary, familiar hits by mainly white artists. So there’s James Taylor’s “Fire & Rain”, Dylan’s “Lay Lady Lay” & “Spill The Wine” off of Eric Burdon & War. “Love the One You’re With” is one of two songs by Stephen Stills, ascendant as one quarter of Crosby Stills Nash & Young while rising star Bill Withers contributed & played on his song “Cold Bologna”. The album opens with “Ohio/Machine Gun”, Neil Young’s immediate & angry reaction to the killing of four Kent State students by the Ohio Army National Guard segues into a song by Jimi Hendrix, a former member of their backing band. The whole is nine minutes of incendiary, incisive militancy, an atmospheric arrangement, Ronald’s impassioned vocals matched by Ernie’s wailing guitar, influenced & inspired by his friend. This epic track invokes the now less-remembered fatal shooting of two black students at Jackson State a matter of days after the deaths in Ohio, it showcases the fresh energy of the Isley Brothers, confidently moving into social commentary & progressive Soul. Two albums down the line the album “3+3” recognised that the band now had six members who all had their first platinum record.

JAMES BROWN OLYMPIA PARIS DVD - 1971 COLOR - JAMES BROWN PARIS FRANCE

James Brown, Soul Brother #1, Mr Dynamite, The Godfather of Soul, Minister of the New New Super Heavy Funk, had two records in this week’s Top 10. “Escape-ism (Part 1) rose three places to #6 while the impressively double-bracketed “Hot Pants (Part 1) (She Got To Use What She Got To Get What She Wants)” flew from #16 to #5. After 14 years of recording for King Records these two 45s were the first releases on James’ People label, set up for him through his new deal with Polydor. In March of the previous year most of James’ road band had voiced their concerns about payment & quit. With live dates & recording sessions to fulfill “The Hardest Working Man in Show Business” acted quickly by recruiting the Collins brothers, guitarist Catfish & bass player Bootsy, & the first release with this new young band, the J.B.’s, was “Get Up ( I Feel Like A Sex Machine)”. James was still getting on the scene, as popular as ever, same as it ever was. On a European tour in March 1971 disputes over money (again) & Bootsy’s lysergic indulgence left James without a band again. Stalwart trombonist Fred Wesley had returned to the fold, drummer Jabo Starks abided & the new J.B’s were assembled. These two current hits were the first recordings with his fresh crew.

Ad – The James Brown SuperFan Club

So the first album for Polydor can sound like the singer & the group jamming in the studio getting to know each other. On “Escape-ism (Part 2)” James spends three minutes asking his new allies where they are from! Still, musicians taking their chance to show the boss that they’re the guys to keep that distinctive, tight funky groove, with Fred as band leader there’s now a touch more brass in there & it all makes for a pretty good noise. “Hot Pants”, the title track, is the most structured of the cuts, it’s not one from the top shelf of James Brown classics, that’s a high shelf, but it’s on point, one of the great run of R&B hits he had for so long. Oh yeah, Hot Pants were a big fashion thing in 1971, ask your Grandma if she’s still got her’s.

Here’s another cover version taken from one of the singer-songwriters whose softer, acoustic rock was carrying the swing on the Pop Album charts in 1971. Carole King was already a US Pop legend for her compositions, written with her husband Gerry Goffin. Switching coasts from the Brill Building in New York to Los Angeles’ Laurel Canyon she hung out with James Taylor & Joni Mitchell while recording her solo album “Tapestry”. “You’ve Got A Friend” was written in response to Taylor’s “Fire & Rain” & his version, a #1 Pop hit, was released in June 1971. An R&B take on the Grammy “Song of the Year”, a duet by two rising stars of the genre, was shipped on the same day & this week rose to #9 on our chart.

Where Is The Love": Roberta Flack and Donny Hathaway's Collaborations |  WTTW Chicago

Donny Hathaway, from Chicago, was studying the noted Howard University when he was tempted by musical opportunities in his hometown. His name started to feature on records as a writer, arranger & producer & he worked with big names such as Curtis Mayfield, Jerry Butler & Betty Everett. Pretty soon he had a solo deal & in 1970, on “Everything Is Everything”, he displayed a sensitive, velvet voice to match his natural musicality. The record did not sell too well, even “The Ghetto (Part 1)”, a wonderful, influential, jazz-influenced groove, failed to make the mark it undoubtedly deserved & now has over time. Roberta Flack also studied at Howard, her talent earning a full scholarship at the age of just 15. Her progress was hindered by the death of her father & a return to her family home in North Carolina before a move to Washington D.C. & her appearances in the city’s nightclubs led to great appreciation of her talent. Like Donny Ms Flack was not an instant success, “First Take”, her 1969 debut, which included two songs by Hathaway, did not become a #1 hit until 1972 when Clint Eastwood employed “The First Time Ever I Saw Your Face” (you know it) in his film “Play Misty For Me”. In 1971 the two friends, both talents of the highest class, were matched by Atlantic for an album of duets.

180 Donny hathaway ideas in 2021 | music, legacy projects, soul music

Together Donny & Roberta made a fine, mature album, the covers classic & contemporary, original songs are interesting, the combination of Jazz, R&B & Gospel influences are effective & mellifluous. “You’ve Got A Friend” will always be associated with King & Taylor but the more than a little bit of Soul added by Hathaway & Flack make it my personal preference. The album, recorded with the finest New York session players, was released in 1972 & with Roberta’s star newly ascendant “Where Is The Love” reached the Top 10 on the Pop chart. In the following years Roberta confirmed her unique ability to understand & possess a song, her interpretation becoming definitive & selling records to the millions of buyers who could hear this. Donny released a glorious live album including “…Friend”, Marvin’s “What’s Goin’ On” & John Lennon’s “Jealous Guy”. Unfortunately his erratic behaviour led to a diagnosis of paranoid schizophrenia & he was prescribed extensive medication, a regime to which he did not always adhere. His progress stalled until a reunion with Roberta produced a major hit with “The Closer I Get To You” in 1978. While recording a planned album of duets, in January 1979 his behaviour in the studio was described as delusional & the session was aborted. That day he was found dead in the street below his 15th floor hotel; room. Donny Hathaway was just 33, a sad, terrible loss to the music world.

No video is available for this week’s live performance. This is the brilliant, extended version of “The Ghetto” from Donny’s “Live” album. We have these records so keep his memory is eternal.

Hot Stuff, Can’t Get Enough (Soul June 12th 1971)

50 years ago this week the great writing/production team Holland-Dozier-Holland were having it their way on the Cash Box Top 60 in R&B Locations chart. No longer employed by Tamla Motown, still working in Detroit with their Hot Wax/Invictus labels, two of their records were in the Top 4. “Want Ads” by Honey Cone was still toppermost of the poppermost & had been for a month while at #4 was a song that had been released as the b-side of the million selling “Somebody’s Been Sleeping” by 100 Proof (Aged In Soul). Not wanting to put the brake on those sales “She’s Not Just Another Woman”, an urgent drum-propelled slice of pure Detroit Soul & an obvious hit, was re-released under the name 8th Day, a made-up name for a band that didn’t exist. H-D-H were better at making hits than doing business. At #2 the Wicked Wilson Pickett was enjoying his biggest success since 1967 with “Don’t Knock My Love” while the fastest rising record on the chart, this week’s #3, was a record that if you hear it this weekend you will smile & “Get Dancin'” like Disco Tex & the Sex-O-Lettes just like all those record buyers from 50 years ago.

In May 1970 the spectacularly named Wardell Quezergue, a stalwart musician/producer of the New Orleans scene, borrowed a school bus to drive five artists the 200 miles to Jackson, Mississippi where he had made a deal to use the Malaco studio & the musicians who worked there. “Groove Me” by King Floyd was another b-side that was brought to the attention of Atlantic Records after local airplay. National distribution & better promotion made it the final #1 R&B record of 1970. Other labels showed interest in what Wardell had been up to & Tim Whitsett, head of publishing at Stax & a Jackson man, picked up a track from the session for release. This was “Mr Big Stuff” by Jean Knight, “who do you think you are?”, you know it.

Jet magazine August 12, 1971 Jean Knight | eBay

Jean Knight, from New Orleans, had recorded locally without much success & was working in Loyola University’s cafeteria when she was given the chance to work with Quezergue. “Mr Big Stuff” was an instant super smash, a month at the top of the R&B chart, #2 on the Pop listing, double platinum sales (that’s big numbers) & a Grammy nomination. This & the King Floyd record had the slip & slide of the Big Easy sound then added a clear funky punch, even slickness, that sounded very modern. “Mr Big Stuff” is a Stax favourite but it definitely ain’t from Memphis. They made Malaco’s reputation as a place to be & influenced the new Disco music coming out of TK Studios down in Florida. The success of the single led to a very engaging album of the same name, all original songs, no cover version filler. There are some big productions, the studio had the money, but it’s best when guitarist Jerry Puckett, bassist Vernie Robbins & James Stroud on drums are confidently doing their thing. Jean Knight didn’t make another album for a decade & though she did chart again she is remembered as a one-hit wonder & what a hit it is. “Mr Big Stuff” has been a fixture of sets by the UK’s premier DJ Norman Jay since his early “Shake & Fingerpop” times because he knows that it’s a dead stone dance floor filler.

Jet - February 4, 1971 | Jet magazine, Ebony magazine cover, Ebony magazine

Two versions of the same song were on this week’s Top 10, one by the teenage Soul sensations of the day, the other by a man who was discovering a new mass market for albums by a black artist. The Jackson 5’s version of “Never Can Say Goodbye”, a song written Clifton Davis, a songwriter working at Motown West, Los Angeles who later was more visible as an actor, was slipping to #9 having been at #1 for two weeks. Two places higher was a very different take by Isaac Hayes. When, in 1969, Stax found themselves at the wrong end of their deal with Atlantic & lost the rights to their back catalogue it was all hands on deck to provide new material. It was Hayes, best known for his writing partnership with David Porter & their great songs for Sam & Dave, who gave the label the hit they needed with his “Hot Buttered Soul” album. There were just the four tracks on “H.B.S.”, the modern classics, Jimmy Webb’s “By the Time I Get to Phoenix” & “Walk On By” by Bacharach & David were 18 & 12 minutes respectively. Isaac had an ear for a great song then adapting it to an expansive arrangement over a steady groove & his deep authoritative voice. It was a formula that worked & it’s how he rolled on the two subsequent albums released in 1970. The 45s were not major hits but Stax were shipping long-playing discs by the lorryload.

Sasa of In Flagranti - Dalston Superstore

Isaac kept himself busy in 1971. “Never Can Say Goodbye” was the first track to be released from November’s double album “Black Moses”. This time the cover versions, interspersed with “Ike’s Raps”, included Curtis Mayfield & Kris Kristofferson. It’s a monumental work, a little stretched but the arrangements are original & all the elements that made his music so successful are present & in the correct place. A reduced by 90 seconds “Never..” was his biggest single yet, it’s a durable song, both a Discofied Gloria Gaynor (1974) & the High Energy of the Communards (1987) enjoyed hits with it. But hold on, Isaac was working on something else. In June 1971 his soundtrack to “Shaft” was a major factor in taking Blaxploitation movies uptown. The theme track was a #1 Pop hit as was the album, Isaac was dealing with Oscars, Grammy awards & major international recognition.

45cat - The Stylistics - Stop, Look, Listen (To Your Heart) / Stop, Look,  Listen (To Your Heart) - Avco Embassy - USA - AVE-4572

Earlier in 1971 the debut single by the Stylistics from Philadelphia had made the R&B Top 10. “You’re A Big Girl Now” has a slightly clunky construction, a cheesy organ riff & distinctive, if idiosyncratic, drums. It’s great. For the album their label sent them to the local Sigma Sound Studios where Kenny Gamble, Leon Huff & Thom Bell were finessing a sweet Soul sound that became associated with the city & an influence on the development of popular music. Thom Bell had realised a shared symphonic soul vision with the Delfonics. Now he & his lyricist partner Linda Creed prepared eight new songs, custom built for their Stylistics project, four of which would join “You’re A Big Girl…” in entering the R&B Top 10. Rising four places to #27 was “Stop, Look (Listen to Your Heart)”, the first we heard of the way that the Philly Sound was headed.

The Stylistics - the Original Debut Album — The Stylistics | Last.fm

Bell employed the startling soprano voice of Russell Thompkins Jr as lead on all of the album tracks. The other stylists, Airrion Love, Herb Murrell, James Dunn & James Smith were around but, according to those who were too, it’s said that backing vocals were the work of the Sigma Sound crew. The studio band, soon to be world-known as MFSB, provided the gentle, lavish, string-laden grooves. The other cuts from the album were “You Are Everything”, “Betcha By Golly Wow” & the ambitious “People Make the World Go Round”. We know them all & after that run the group were established as a leading vocal group. There were to be two more albums from the Bell/Creed/Stylistics combination, more hits with Russell’s voice making them instantly recognisable. The City of Brotherly Love was making serious Soul Music waves. It will be impossible not to include more music from Philly in my selections from the next few years.

Songs of Innocence And Experience (Soul May 15th 1971)

The Cash Box Top 60 in R&B Locations of 50 years ago this week was topped by a song that, since its release in January of the preceding year, had spent six weeks at the top of the US Pop chart & become a much covered standard across the full spectrum of popular music. Andy Williams had pushed it into the middle of the road, Buck Owens & the Buckaroos were ready for the Country, three Motown acts had added a little bit of Soul & Elvis Presley recorded it in Nashville before including a show-stopping version in his Vegas act. In 1971 it was the turn of Aretha Franklin, “The Queen of Soul” to release her Gospel-inflected take on “Bridge Over Troubled Water” on the “Aretha’s Greatest Hits” album. An edited single release, the one at #1 on the chart, sold two million copies & won the Best Female R&B Vocal Performance at the Grammys. We will get to this later.

The Honey Cone – Want Ads – PowerPop… An Eclectic Collection of Pop Culture

Well OK, “Wanted, young man single and free, experience in love preferred, but will accept a young trainee”. I’m sure that in 1971, after seeing Honey Cone perform their big hit “Want Ads”, climbing one place up to #3 on the chart, on its way to a month at #1, I would have been in that long queue. The trio, formed in Los Angeles, had all been 20 feet from stardom for some time. Featured vocalist Edna Wright was introduced to Phil Spector’s operation as her older sister Darlene Love was the producer’s singer of choice. Shelly Clark had been on Broadway as a 7 year old & spent a short time as an Ikette while Carolyn Willis sang on many sessions, joining Edna & Darlene in the Blossoms. They were signed by Holland-Dozier-Holland the great hitmakers who had left Motown & Honey Cone were the first 45 & album releases on their new Hot Wax label in 1969. H-D-H produced the “Take Me With You” LP & the majority of the songs were credited to “Ronald Dunbar & Edythe Wayne”. Dunbar was around the organisation but Holland-Dozier-Holland’s litigation over publishing with former boss Berry Gordy meant that they often used this pseudonym.

The Honey Cone Photo Gallery

This Motown pedigree did not bring instant success, though the singles “While You’re Out Looking For Sugar” & “Girls It Ain’t Easy” sound pretty good to me. Honey Cone were not the new Supremes, with strong vocals & direct lyrics they were more like Martha & the Vandellas. A little work was put into “Want Ads” by General Johnson, off of Chairmen of the Board, & Greg Perry, both flourishing with their new mentors, to give the song that Pop-Soul bounce that had proved to be so commercial for the Jackson 5. The group had the sass & the style to be memorable & set the song on the way to the top of the R&B & Pop charts. There was another R&B #1, two more in the Top 10, all three made the Pop Top 30. Honey Cone were big, by the end of 1971, the cover of Jet magazine big. Unfortunately the owners of the label could not match their musical acuity in business & Honey Cone’s further releases were hindered by financial uncertainty before, in 1973, the Hot Wax/Invictus combo folded & so did the group. Honey Cone were a modern, modish girl-group whose influence became more apparent as time passed.

290. Smokey Robinson and The Miracles - The Tears of a Clown (1970) - Every  UK Number 1

A consideration of Smokey Robinson & the Miracles up to 1971 leads to a couple of very long lists, one of the group’s hit records, the other of the songs written for others by the man whose name was at the front. I’ll give you three of each but I will be overlooking songs that were fundamental to the Miracles’ success & to that of their label Tamla Motown. “Shop Around” was, in 1960, Motown’s first million selling record, 1962’s “You Really Got A Hold On Me” was covered by the Beatles on their second album & Smokey Robinson was known around the world, the perfect & poignant “Tracks of My Tears” (1965) is one for the ages. Smokey wrote, often with other Miracles, & produced “My Guy”, making Mary Wells the Queen of Motown, “My Girl” for the Temptations & 200 other artists, Marvin Gaye’s “Ain’t That Peculiar” & I’ll stop there. In 1963 the Miracles, with Claudette, Mrs Robinson, still in the group, were topping the star-studded bill of the Motortown Revue, young Smokey’s audience-rousing energy a surprise as he was the sweetest & smoothest of the label’s artists. 1971 was a strange time for Smokey Robinson & the Miracles.

Smokey Robinson & The Miracles – I Don't Blame You At All (1971, Vinyl) -  Discogs

Smokey’s association with Berry Gordy, head honcho at Motown, had begun before there was a label. His influence extended beyond being a star performer & a leading creative force. He was vice-president of the company where plans to move from Detroit to Los Angeles were at an advanced stage. With this upheaval & two young children it was known that Smokey intended to retire from performing with the Miracles. Concurrently over in the UK long-time Motown Mod club favourites were reaching a wider audience putting the Elgins & the Isley Brothers on the chart. A 1967 Miracles album track, “Tears of a Clown”, was released in 1970 & reached the top of the UK chart precipitating a US remixed version which provided the group with their fifth R&B #1 & the first time they had topped the Pop chart. It made both musical & business sense for Smokey to keep on keeping on. The follow-up to “Tears…” was at #8 for the third week on this week’s chart. “I Don’t Blame You At All” is a new song, slick, melodic, it invites you on to the dancefloor & is immediately recognisable as the Miracles. When Smokey sings…well!

Way back then my best friend & I were a couple of teenage music geeks who bought the weekly “Record Mirror”, the only place we could scan the US Top 50 charts for records that we could expect to cross the Atlantic in a month or so. A name we often saw, if not in the chart then in the new releases or “bubbling under”, was Bobby “Blue” Bland. We didn’t hear much of Bobby’s music, if it did get radio play then the show would be way past our bedtime & that smoky dive bar where they played the Blues existed only in our imaginations or a future Tarantino movie. The little we did hear sounded to our young ears a little restrained, even old-fashioned. The energetic Soul sounds of young America coming out of Memphis & Detroit were much more our glass of Dandelion & Burdock. I know, I was so much older then.

RIP Bobby "Blue" Bland - Sing Out!

Bobby Bland was part of an earlier generation of Memphis musicians, the Beale Streeters, who included Johnny Ace & B.B. King. He first recorded in 1951, finding success six years later when signed to Duke Records where he stayed for 20 years. The head of Duke, Don Robey’s, business practice included a tight control over publishing which led to his alias Deadric Malone being credited as the writer of many songs. Bland, disadvantaged by his illiteracy, was signed to a contract which paid reduced royalties consigning him to an arduous touring schedule to earn his living though the singer, aware of limited opportunities for an uneducated Black man, held little resentment towards Robey. Through the 1960s Bobby enjoyed consistent success on the R&B chart with only rare crossover on to the Pop listing. I can point you towards “I’ll Take Care Of You”, “Lead Me On” & “Turn On Your Lovelight” while his string of hits, with sophisticated arrangements by Joe Scott which added colour while Bobby sang the Blues without overwhelming a unique voice, is a formidable body of work. “I’m Sorry”, the highest new entry of the week at #44 is the latest of these fine songs.

Bobby Bland’s instrument was his voice, maturity & fine tuning adding a guttural growl to his rich sensual sweetness. He sang songs about the yearning for, the finding & the losing of Love with an impeccable emotionality, a sophistication & a comprehension that was unmatched. His brand of urban Blues, songs of experience, did not always have wide appeal but the more life you lived the more you understood & identified with this music for grown-ups. A move to a bigger label, with a wider choice of material & better promotion combined with repackaging of his Duke years brought a greater appreciation & recognition for Bobby, He truly was “The Voice”.

For this week’s live clip it’s back to that #1 record. Over the weekend 5th-7th of March 1971 Aretha Franklin played three explosive concerts at the Fillmore West in San Francisco. Backed by King Curtis’ super band, Billy Preston, the Memphis Horns & the Sweethearts of Soul Aretha mixed her back catalogue with contemporary hits in a dramatic, landmark live performance. There are, as far as I am aware, 564 versions of Paul Simon’s “Bridge Over Troubled Water”, none of them are better than this one.

It’s What’s Happening (Soul April 17th 1971)

This week’s review of the Cash Box Top 60 in R&B Locations chart of 50 years ago is a big one. On the previous listings for April 10th “Just My Imagination” by the Temptations ended its month long stint at the top spot. It was replaced by a song that became the title track of my favourite album of all time. So, I had better get this right. Here we go.

Your Morning Shot: Marvin Gaye, 1973 | GQ

The title of a definitive biography of Marvin Gaye by David Ritz is appropriately titled “Divided Soul”. When Marvin re-located to Detroit, following his mentor Harvey Fuqua, his musical aspirations were to become an all round entertainer like Nat “King Cole, playing nightclubs like Sam Cooke at the Copacabana. It was R&B becoming Soul that was the current thing & his label Tamla Motown were in the business of providing & defining this new music. In 1963 Marvin was married to Anna, his boss Berry Gordy’s sister & by the middle of the decade he was the label’s biggest solo male star. There was a long run of hits, none of them from his album of Broadway show songs or the tribute to Cole & by the end of the decade “I Heard It Through The Grapevine” & “Too Busy Thinking About My Baby” were as good as Motown got & his biggest hits yet. However, his albums were still packaged around the current hit single, it had been 1965 since one of Marvin’s songs, “Pretty Little Baby”, had featured as an A-side. The collapse in 1967 & subsequent death in 1970 of Tammi Terrell, his partner on a string of wonderful duets, greatly affected him. As a black man turning 30 Marvin inevitably had concerns about his country’s escalating war in Vietnam & the social conditions experienced by his fellow African-Americans after the hope of the Civil Rights movement. A song, inspired by an incident of police brutality (sounds familiar?), by Renaldo “Obie” Benson had been rejected by his group the Four Tops then was polished & customised by Marvin to express these concerns & how he felt about what’s going on. As Obie said “we measured him for the suit and he tailored the hell out of it”.

This growing assertiveness met with opposition from his brother-in-law. In 1970 a cover of the socially conscious “Abraham, Martin & John”, a UK success, was not released in the US & Gordy’s refusal to release “What’s Going On” as a single brought a stalemate when Marvin refused to record any further tracks. It was without the boss’s knowledge that 100,000 copies were pressed, sold out on the day of release &, proving Berry Gordy wrong, became the fastest selling record in Motown’s history. “What’s Going On” has an insistent, never strident, groove, the party chatter, saxophone intro, cool rhythm section, backing vocals & strings balanced to match the depth of Marvin’s velvety multi-tracked vocals. There’s no question mark in the title, lyrically the song is a statement, a timeless one, that the problems of society could be helped by more love & understanding. Public enthusiasm for this new considered, mature style inspired Marvin to quickly record an album which similarly approached issues of war, ghetto life, ecology & spirituality with an assured, emphatic comprehension complemented by more gentle, imaginative Funk. The record is a snapshot of 1971 that endures as social commentary with the persistence of the same issues. Popular music has sometimes produced transcendent music that can be regarded as Art. “What’s Going On” is one of those landmark records. For the first time “The Sound of Young America” branding did not appear on the label. Motown & Soul was coming of age.

Chi-Lites – Give More Power To The People / Troubles A' Comin' (1971,  Vinyl) - Discogs

Back in 1971 a record took some time before it hit the upper reaches of the chart. “What’s Going On” had first entered at #55 in the middle of February. “Do Me Right” by the Detroit Emeralds, a big success at #5, had been around for 14 weeks. So “(For God’s Sake) Give More Power To The People” by the Chi-Lites, moving from #51 to #29 then to this week’s #10, was kind of a big deal. The vocal group, formed in high school, had been around the Chicago scene from the beginning of the 1960s. The Hi-Lites became the Chi-Lites &, with a settled four man line up Marshall Thompson, Creadel “Red” Jones, Robert “Squirrel” Lester & Eugene Record, their luck changed when they signed to Brunswick Records. With the patronage of the city’s panjandrum of Soul Carl Davis the group were more visible, their records featuring on the R&B chart while Eugene Record flourished as a songwriter for the likes of Jackie Wilson, Barbara Acklin & Gene Chandler. A credit for Young-Holt Unlimited’s million selling “Soulful Strut”established that Eugene had more than potential. In 1971 it was Chi-Lite time.

Google Image Result for  http://www.postercentral.com/Concert%2520Posters/Before%2520They%25… |  Concert posters, Vintage concert posters, Facts about michael jackson

The group’s first two albums were hurriedly framed around the hit singles “Give It Up” & “I Like Your Lovin’ (Do You Like Mine)”. In fact the latter of these included seven songs from their debut. “Give More Power To The People” was a more considered, more experienced effort. Written & produced by Eugene the eleven songs showcase a range of styles & influences. That fast-rising, urgent, socially conscious title track incorporates the rhythms of Sly Stone with the vocal intricacy of the Temptations. When they slow it down the Chi-Lites can be as sweet as their fellow Chicagoans The Impressions. It is a very good album by a group who really did know what’s going on in music. Later in the year the fourth single taken from Eugene’s record, the distinctive, excellently produced slow jam “Have You Seen Her” broke out internationally & into the US Pop Top 3, keeping the album around for some time. The Chi-Lites had arrived & there was more to come from them.

Vinyl Album - Margie Joseph - Margie Joseph - Atlantic - USA

Further down the chart at #29 is a cover version that sounds rather unlikely when heard for the first time. Margie Joseph, from Mississippi, was still in her teens when she signed with the Stax subsidiary Volt in 1969, the year that Isaac Hayes released the blockbuster album “Hot Buttered Soul” which resuscitated the label & with just four tracks in its 45 minutes marked an evolution in Soul. For Margie’s debut album her producer pulled in Dale Warren, the arranger for “The Isaac Hayes Movement” to re-imagine the 1965 Supremes’ hit “Stop! In The Name Of Love”. With a nearly three minute spoken prelude “Woman Talk” before an eight minute elongation of the Motown classic I’m not sure that such a perfect Pop-Soul song has the inherent drama of the classic “Walk On By” & “By The Time I Get To Phoenix” chosen by Hayes but a shortened edit found a place on radio playlists & put Margie on the R&B chart. On her two records recorded in Memphis Margie shows she has a great voice but was unable to find success though some of her more conventional songs sound pretty good to me.

Margie moved to Atlantic Records making three records with ace producer Arif Mardin & the best New York session men. They are classy bits of work which remind me of Minnie Riperton though without the amazing vocal range. Her biggest hit was a cover of Paul McCartney’s “My Love” which reached the R&B Top 10. Later there was an album with Lamont Dozier, one third of the team responsible for “Stop! In The Name Of Love” & many more sure-fire Motown smashes. Again it’s a well-crafted, elegant collection without finding that song to set Margie Joseph apart from the rest of the female singer field.

It’s 1972 & in Washington D.C., his birthplace, Marvin Gaye Day is being celebrated. The singer had been absent from the stage for four years, since the incapacitation of Tammi Terrell. Here, flanked by the master Motown bassist James Jamerson, he returns to perform his great hit & it’s perfect.

 

All The Way From Memphis (Soul March 20th 1971)

The Cash Box Top 60 in R&B Locations for 50 years ago this week was rammed with great records by great artists. The four Tamla Motown singles in the Top 10 by the Temptations, Marvin Gaye, the Jackson 5 & the Four Tops, were joined by Wilson Pickett, Ike & Tina Turner, Aretha Franklin & James Brown. The remaining two, Johnnie Taylor & Z.Z. Hill, are probably not regarded with the same elevation but they were pretty good too. Let’s see what other fine, fine music we can find from the lower reaches of the chart.

The Staple Singers – The Staple Swingers (1970, Vinyl) - Discogs

A good start & how about this clip? For some years the Staple Singers, a family group from Chicago, had been moving towards the mainstream with little success. A reverence for their distinction in the Gospel field had led to a little timidity in both production & choice of material. Their final two records for Epic & those made with Steve Cropper at Stax were interesting but tended to undervalue the rich, emotive voice of Mavis & the individual guitar style of patriarch Pops, reaching back to the Country Blues he heard in Mississippi as a youth, that could distinguish them from the pack. There were some changes in 1970, brother Pervis left to be replaced by sister Yvonne while Al Bell, co-owner of the label, a man with an ear for what got played on the radio, took over production duties.

Press Advert 10x5 The Staple Singers : Be What You Are Album: Amazon.co.uk:  NewspaperClipping: Books

For “The Staple Swingers” LP (1971) Bell, looking to toughen up the testifying, moved the operation to Muscle Shoals. His song choice from the staff writers at Stax was considered. Their lyrics were more socially conscious, more compatible with Pops’ aim of telling it like it should be. On “You’re Gonna Make Me Cry”, an R&B hit in 1965 for O. V. Wright, Mavis sang the Blues & oh my, my. There are songs by Smokey Robinson & the Bee Gees & there is “Heavy Makes You Happy (Sha-Na-Boom Boom)”, co-written by Pop vet Jeff Barry & Bobby Bloom, lifted from Bloom’s debut album. It’s a surprisingly light choice benefitting greatly from its Stapleised treatment & it achieved just what was intended. Rising 6 places to #19 on the chart “Heavy..” was the first of an unbroken run of R&B Top 20 hits that stretched to 1976. Here on an Anne Murray special for Canadian TV, not yet the major stars they would become, they perform that first hit with the joy & affirmation that gave the Staple Singers a very particular, significant place in 1970s Soul.

Booker T. and the MG's – 64 Quartets

Just as Stax were welcoming new stars on their roster at #33 on the chart, up a lucky 13 places, was the final 45 from a group of musicians who had been absolutely pivotal to the extraordinary success of the label. In 1962 17 year old organist Booker T Jones, 20 year old guitarist Steve Cropper & bassist Lewie Steinberg, all already fixtures of the fledgling Memphis label’s house band, took advantage of a session break to jam on a track that was considered good enough to release. A B-side was needed so, with drummer Al Jackson, they quickly came up with “Green Onions”, a Top 3 US Pop hit, one of the most popular, enduring instrumentals of all time. The record made Booker T & the M.G.’s reputation, they continued to record throughout the decade though it would be 1967 before a photo of the racially integrated group appeared on an album cover. Back in the studio at 926 East McLemore Avenue both Jones, while studying music at Indiana U, & Cropper became indispensable as musicians, writers & producers. Their credits are too long to list here, Steve co-wrote “In the Midnight Hour”, “Knock On Wood” & “(Sittin’ On) The Dock of the Bay” along with many others. With bassist Donald “Duck” Dunn joining in 1965 the sound of Booker T & the M.G.’s was the sound of Stax.

Booker T. and the MG's | Members, Songs, & Facts | Britannica

That was then this is 1971, the group were no longer young kids happy to be making music. Just as up in Detroit at Hitsville USA key players at Soulsville USA demanded more autonomy & probably a bigger cut of the money they were making for the company. Booker T left for California in 1969, Steve Cropper formed his own production company in the following year. When time came to record the “Melting Pot” album Booker T refused to return to the Memphis studio, the band travelled to New York between gigs. The title track, abbreviated as a 45, is 8.15 of alchemy between Jones, Cropper, Dunn & Jackson. I can’t pick a man of the match, these guys knew when to step forward when to lay off, just how good they sounded when they played together. The track surges, swells & is as funky as anything. An outstanding instrumental & what a way to finish. In the words of Duck Dunn “we had a band powerful enough to turn goat’s piss into gasoline”.

O. V. Wright – When You Took Your Love From Me / I Was Born All Over (1970,  Vinyl) - Discogs

Less than a mile down the road from the Stax set-up is Royal Studios. It’s on Willie Mitchell Boulevard, the name changed in 2004 to honour to honour the trumpeter turned producer who did so much to maintain Memphis as the Southern Soul capital through the 1970s. Further down the chart at #55 “When You Took Your Love From Me” was the latest 45 from O.V. (Overton Vertis) Wright a singer who made a string of albums of the highest quality with Mitchell. O.V.’s first recording “That’s How Strong My Love Is” was withdrawn when a contract signed while with his Gospel group, the Sunset Travellers turned up. That contract was with Don Robey, gambler turned booking agent turned label boss & not a man to be crossed. There are many R&B songs credited to Deadric Malone (a.k.a. Don Robey) that he probably didn’t write. Whoever did when O.V. sang the outcome was often startling. It’s a sad & beautiful world, other singers like Aretha & Mavis gave us joy but no one did yearning & loss like O.V. pouring it all out.

O.V. Wright | Spotify

As a youth I had yet to have my heart broken, I had never walked around with no more than a nickel & a nail in my pocket. I have now & the voice of O.V. Wright articulates these Blues. Like his contemporary Bobby “Blue” Bland, life experiences are an aid to appreciation of the music. Willie Mitchell called O.V. the most honest Blues singer he ever worked with. He had that gliding, still powerful Hi sound, the rhythm section, the horns, Rhodes, Chalmers & Rhodes on backing vocals but the magic was in waiting for the spirit to move the singer & to capture that special take. “When You Took Your Love…” is one of those records. Have Mercy! O.V. Wright was a troubled man, his career was interrupted by a stretch for narcotics offences then rehab. He returned to recording, his health & his voice affected but not his passion. In 1980, just 41 years old, he died from a heart attack.

This week’s live clip goes back to the Oakland Coliseum on the 31st of January 1970 & inspired by the watching Creedence Clearwater Revival, Booker T & the M.G.’s play, in the opinion of the organist, as well as they had ever done. “Time Is Tight” was written for the film “Up Tight” & a slower single version became their biggest commercial success since the debut hit. Here they have four guns blazing & they are the best band in the world. It’s a great performance underpinned by the metronomic drumming of Al Jackson Jr. Al was older than the rest of the M.G’s. He took a weekly salary from Stax & played sessions for Willie Mitchell where he used a different kit for a lighter touch. For just a moment back then I thought it a coincidence that two great drummers had the same name! His violent death in 1975 was a great loss to Soul music.

Slow Jams And Stevie (Soul March 6th 1971)

The Cash Box Top 60 in R&B Locations for 50 years ago this week was headed this week by “Mama’s Pearl”, the fifth of six consecutive #1 records by Motown’s teenage sensations the Jackson 5. Family bands were all the rage in 1971 & at #3, down from the second spot on the chart were the Osmonds, five Mormon brothers with an age range from 21 year old Alan to Donny, just 13, whose toothy wholesomeness had made them familiar faces on prime time TV shows starring Andy Williams & Jerry Lewis. Reportedly the song “Guess Who’s Making Whoopie (With Your Girlfriend)” was considered to be too racy for young Michael Jackson so new lyrics were provided by a team of Motown writers. Conversely the Osmonds needed to toughen up if they wanted a share of that teenage heartthrob dollar. Sent to FAME Studios at Muscle Shoals they liked “One Bad Apple”, a George Jackson (no relation) song written with the Jackson 5 in mind. The result was a crossover success on the Pop & R&B charts. Anyway, if you think that the Osmond Brothers are making my selection of Classic Soul then think again.

Down in Alabama they may have been expanding their range into Teen Pop but at #16 on the chart, after three weeks in the Top

Candi Staton – He Called Me Baby / What Would Become Of Me (1970, Vinyl) -  Discogs

10, was a great example of the Muscle Shoals Sound. Candi Staton had sung in a teenage Gospel group before spending most of the Sixties raising her four children. She was in her late-twenties when, in 1968, her husband-to-be Clarence Carter introduced her to FAME. Candi was instantly successful, her first album “I’m Just A Prisoner” (1970) came off the back of two Top Twenty R&B hits & displayed a strong, rich, mature voice to handle the emotional songs, comfortable with the innuendo of the women getting together to talk about men ones. The following year’s “Stand By Your Man” repeated two from her debut while for the new tracks producer/arranger Rick Hall did exactly the job that was needed to establish Candi as “The First Lady of Southern Soul”. The title track, a hit for Tammy Wynette, had been covered by most of Country’s female royalty, only Bettye Swann had added a little bit of Soul. Candi’s take has an insistent bass foundation for the string & brass flourishes & earned her a Grammy nomination.

candi staton and Clarence Carter

He Called Me Baby” is another Country standard . Written by the great Harlan Howard the most well known interpretation was by Patsy Cline for whom Howard had also written “I Fall To Pieces”. Candi’s Gospel, Blues & Country ingredients, flavoured with a classy, building arrangement makes for a plaintive, gorgeous dish of Soul. “Stand By…” is not a record full of Country covers. Once again the studio’s staff writers, George Jackson most prominent, provided strong varied material for their new star. The new FAME gang of studio musicians were finding their feet too, it really is a fine collection. In 1976 Candi’s “Young Hearts Run Free” was a feelgood hit of the summer & other dance floor favourites followed. She may have returned to her Gospel beginnings but young British groups like the Source & Groove Armada were happy to have her guest on their dance records leading to compilations of her earlier work bringing a deserved higher visibility & reputation.

Finding the 'Real' Marvin — Adam White

At #14 on the chart was a vocal quartet who had sung with various Detroit groups before signing to Tamla Motown in 1966 as The Originals. Joe Stubbs, briefly a member was the brother of the more famous Levi of the Four Tops while Freddie Gorman, in 1961 & working as a mailman, had co-written “Please Mr Postman” by the Marvelettes, the label’s first #1 record. With few of their own recordings they provided studio backing vocals to many hits & remained 20 feet from stardom until, in 1969, their friend Marvin Gaye intervened. Marvin wrote & produced “Baby I’m For Real”, a song that would not be out place on “Let’s Get It On”. He showcased all four Originals’ voices & the record was a #1 R&B , Pop Top 20 hit. “The Bells” was a follow up success & the early 1970’s became a very productive period for the Originals.

The Originals – God Bless Whoever Sent You (1972, Vinyl) - Discogs

“God Bless Whoever Sent You” is taken from “Naturally Together”, their second album of 1970. That driving Motown beat may not have been apparent, it’s a slow jam in the smooth romantic style becoming more popular with the success of groups like the Delfonics & the Chi-Lites. Producer Clay McMurray, along with British woman Pam Sawyer provided the songs & the Originals all had fine, strong voices without perhaps a distinctive lead voice to make them discernible from other groups. “The Only Time You Love Me Is When You’re Losing Me” sure sounds like a hit but was not released on 45. The Originals made 8 albums with Motown, surviving, reduced success & line up changes before “Down In Love Town” topped the new Disco chart in 1976 ensuring that they left the label on a high. The group is not always considered in the front rank of the Motown roster but they made good records & they made their mark.

Paul McCartney with Stevie Wonder in London, February 3rd, 1966. : beatles

The highest new entry of the week at #44 is one of my favourite Beatles cover versions. This was Stevie Wonder’s first 45 of 1971, the fourth track to be lifted from his “Signed, Sealed & Delivered” LP. Like the title track from that record “We Can…” is sparkling, imaginative & wonderfully sung. Still only 20 years old Stevie was enjoying a fantastic run of great singles & was established as a major artist. More of his own songs were included on the album & he was taking greater control in the studio. His Motown contract came up for renewal on his 21st birthday & he was already recording the more expansive music with an expression of his social conscience that greater independence would allow. In April 1971 the release of “Where I’m Coming From”, produced by Stevie, written by himself & Syreeta Wright, marked that coming of age. It seems that most of Stevie Wonder’s singles are included in these selections of mine. His records certainly all made the R&B chart, they still sound fresh & we know them all. There was much more great music to come & it’s a sure bet that I wont be able to resist those either.

This week’s live bonus is not a contemporary clip. As part of the 2011 Americana Music Awards show Candi Staton stepped out in front of an All-Star band including Don Was, Spooner Oldham & some faces I should be able to put names to & gave a lovely performance of “Heart On A String”. It’s a song from 1969, the B-side no less of “I’m Just A Prisoner (Of Your Good Lovin’)” that never made it on to her albums of the time. Co-written by, here’s that name again, George Jackson, it’s a perfect slice of Pop Soul that has deservedly been resurrected. The blissful smile of ace guitarist Buddy Miller betrays how happy he is to be playing that Muscle Shoals sound, sharing the stage with the effervescent, still gorgeous at 70, legendary Ms Staton. This makes me happy too.

A Funky Family Affair (Soul February 13th 1971)

The fastest rising record, up 16 places to #18 (with a bullet, a Super Soul Sure Shot indeed) on the Cash Box Top 60 in R&B Locations for February 13th 1971 was on it’s way to a month long stay at the top position. “Just My Imagination (Running Away With Me)” headed both the R&B & the US Pop charts in March the third time that the Temptations enjoyed such a double header success. It’s such a great, even significant track that I’m not waiting until the 50th anniversary of this achievement so let’s get to it.

Image result for temptations just my imagination

Despite the defection of David Ruffin in 1968 The Temptations had maintained their position as the US’ premier vocal group. Three one-hour TV specials, two with the Supremes (R.I.P. the wonderful Mary Wilson), one their very own &, beginning with “Cloud Nine” (1968), a move to Psychedelic Soul kept them at the front of the pack. However the group was unhappy this new style was less dependant on their own superlative vocal performance than on the innovative but dominant productions of Norman Whitfield. In 1970 “Ungena Za Ulimwengu (Unite The World)” became the first Tempts 45 to miss the US Pop Top 30 since 1964. With “Just My Imagination” Whitfield & his lyricist Barrett Strong returned to the emotional love ballad in the style of the “Classic Five”, they, arranger Jerry Long & the whole group delivered a beautiful perfect single. Eddie Kendricks had not provided the lead vocal on a Temptations A-side since 1968’s “Please Return Your Love To Me”. His performance of of this reverie about Love is perfectly pitched, the slower, clear reveal that “in reality, she doesn’t even know me” still resonates 50 years later. the Temptations were back.

Image result for temptations just my imagination

However things were not right with the group. Eddie Kendricks was, like David Ruffin before him, looking for a way out & already recording a solo album. The personal & health problems of Paul Williams were affecting his performances in the studio & on stage. In April 1971 doctors advised Paul to retire from the group. Their appearance on the Ed Sullivan TV show highlights the rift within the the Temptations, Eddie putting some distance between himself & his fellow members. Whitfield had lined up “Smiling Faces Sometimes” as the follow-up to “Imagination” but Eddie was gone by then & promotion without his featured vocals was impossible. Of course there were still great Temptations moments, more big hits to come but “Just My Imagination” serves as a poignant watershed in the long career of a great group.

Image result for chambers brothers new generation

With roots in Gospel & Folk the four Chambers Brothers, with the addition of electricity & a drummer, had by the mid-1960s a spirited, still sanctified live set incorporating Blues & Soul. Still, the full 11 minute glory of “Time Has Come Today” was a surprise, An epic, ambitious, assured mix of sock-it-to-me & the Summer of Love incorporating Sly Stone, James Brown & the new Psychedelia this was the shock of the new, Afro-Rock, an instant classic, now an obligatory inclusion on any film or documentary concerning the turmoil of late 1960s America. The edited single version made the US Top 20 & while their subsequent releases didn’t make the same impression or have the same commercial success the Chambers Brothers continued to make interesting, inventive records.

Image result for chambers brothers funky

Well alright! “Come in Mr. DJ, Phife by the microphone. Down with the Tribe Called Quest, yes man”. The rather fantastic “Funky” was at #30 on this week’s R&B chart & this is where TCQ found their introduction to”I Left My Wallet In El Segundo”. 1971’s “New Generation” is the fifth album by the Chambers Brothers since the success of “Time…” & it’s a varied, robust, dramatic collection, a collision of so many ideas that compares to Funkadelic. “Are You Ready?” sure sounds like a hit to me & it’s not the only one. If this had been the soundtrack to a blaxploitation movie we would still be finger-popping along to these tunes today. As it was this was not the group’s time & this line up went their separate ways the following year.

1970 had been a winning year for Sly Stone. A “Greatest Hits” collection would go on to sell five million copies, it included the single “Thank You (Falettin Me Be Mice Elf Agin)” which hit #1 in the US Pop chart in February. The film of the Woodstock Festival, released in June, captured the excitement & immediacy of our music in a new way & Sly & the Family Stone’s electrifying performance of “I Want To Take You Higher” was a highlight of the fifth highest grossing movie of the year. Atlantic Records offered Sly his own Stone Flower imprint for any productions he wanted to give them. it was, of course, a family affair.

Image result for little sister somebody's watching you

Slipping down the chart at #33, Vaetta “Ven” Stewart was Sly’s little sister. Along with Mary McCreary & Elva Mouton she had provided backing vocals for his “Stand” album &, as Little Sister they recorded two singles for his new label. “Somebody’s Watching You” is a re-working of a track from “Stand”, a sparse, atmospheric cover it is too, a Sly & the Family Stone record in all but name so it matters. Alone in the studio with a new-fangled drum machine, a violin case full of drugs & the problems that such fame brought, Sly continued to innovate & redefine urban music. There were only to be four single releases on Stone Flower, Little Sister had returned to the background when later in 1971 Sly & the Family Stone were back at #1 on the chart with “Family Affair” & a ground-breaking, brooding album. The major Soul stars were ready with their state of the nation social commentaries at this time & “There’s A Riot Goin’ On” would sit among the very best of them.

For this week’s live highlight we jump forward three weeks to March 6th 1971, to Black Star Square in Accra, Ghana when great American Soul stars including Wilson Pickett, Ike & Tina Turner, the Staple Singers & Santana honoured that country’s Independence Day. The all-singing, all-dancing, 100% energy of Voices of East Harlem get the funky party started in the best possible way. They are young, gifted & Black, there’s a whole wild bunch of them & it’s irresistible. My friend Mani attended this concert, proud & excited that his American idols should come to his city. I loved to share my lunchtime & his vivid memories of a great day.

Get On Up Get On Down (Soul January 30th 1971)

The artist celebrating his first #1 record on the Cash Box Top 60 in R&B Locations 50 years ago this week was 53 years old, had made his recording debut more than 20 years before, his experiences reaching back to the days of Black minstrelsy, touring the Southern states in travelling tent shows. Rufus Thomas was a legend in his home city Memphis, his show “Hoot & Holler” (“We’re feeling gay though we ain’t got a dollar, Rufus is here, so hoot and holler.”) on WDIA, the city’s premier African-American radio station, played the latest, hippest R&B, in 1953 his record “Bear Claw” was the first hit for Sun Records & he was involved with the Stax organisation when it was still called Satellite. It was his 17 year old daughter Carla who had that label’s first hit & Rufus, who had seen it all, was a mentor to the singers & musicians attracted to 926 E McLemore Ave.

Rufus Thomas at home in Memphis wearing his outfit from the Watt Stax  concert 1973 Stock Photo - Alamy

Here in the UK Rufus was known for his biggest record before “Push & Pull”. 1963’s “Walking the Dog” was covered on the Rolling Stones’ debut LP & included in the set of every teenage band moving from Mersey Beat to Mod R&B. There were 4 “Dog” tracks & then his records had less impact though I have to include here 1968’s outstanding “The Memphis Train”, used in Jim Jarmusch’s appreciation of the city “Mystery Train”. Booker T & the M.G.s propel the song like only they can, the Memphis Horns do their thing & producer Steve Cropper’s guitar stings like a bee. It was another dance record that put Rufus back on the chart when “Do the Funky Chicken”, his only hit this side of the Atlantic, dropped in 1969. His energetic, entertaining encouragements to get on up & get on down backed by hard-edged Funk were back in style & “The World’s Oldest Teenager” entered the most successful period of his long career.

Rufus Thomas - Modus House of Soul

“(Do The) Push & Pull” had first been recorded for the album “Rufus Thomas Live: Doing the Push & Pull at P.J.’s” (L.A.’s first discotheque, corner of Santa Monica Blvd & North Crescent Heights Blvd, you know it). The single version, backed by the Isaac Hayes Band featuring the chiming guitar of Michael Toles, packs a little more pace & punch. Apart from the odd clunker the album “Did You Heard Me” finds Rufus & the band on fine form & further instructions for “The Breakdown” & to “Do the Funky Penguin” made the R&B Top 20. There were more singles, more dances, the Funky Robot, the Funky Bird & the Double Bump. Rufus still D.J.’d in Memphis, always positive & exuberant, never drab or dreary, he was recognised as a great entertainer. There’s a boulevard in Memphis, a park in Poretta, Italy named for him & all those great records where, if you don’t know how to do it he’ll show you how to walk the Dog, the Chicken or whatever.

The Spinners - Classic Motown

At #36, rising from 47, on this week’s chart “We’ll Have It Made” was the Spinners’ follow-up to “It’s A Shame”, a Top 20 Pop hit & a return to the R&B chart after a four year absence. Since signing for Tamla Motown in 1963 the Spinners had found that there was only room for one five man vocal group on the label. A “Best of…” collection of their years in Detroit is very good but they neither established their individuality nor achieved commercial success & they were even working as roadies, chauffeurs & chaperones for other acts. “We’ll Have It Made” was, like “It’s A Shame”, written by Stevie Wonder & his wife Syreeta though while Stevie was in the studio for these tracks eight other producers were involved in the 1970 album “Second Time Around”. This was to be the Spinners’ final single for TM, knowing that Atlantic Records were waiting in the wings their contract was not renewed & they moved on.

The Spinners Vintage Concert Poster from Honolulu International Center, Dec  30, 1973 at Wolfgang's

It was not as easy as that, G.C Cameron had taken the lead on these two songs & he remained at Motown to be replaced by his cousin Philippe Wynne who joined Bobby Smith & Henry Fambrough as one of three lead vocalists. There was a deal of goodwill towards the group & when Atlantic matched the Spinners with producer Thom Bell over in Philadelphia he was able to highlight their individuality & unleash their potential. The first collaboration in 1973 produced three Gold records, four Top 10 R&B 45s & the Spinners were on the way to becoming one of US’s biggest groups of the decade. Here in the UK they were first known as the Motown Spinners then the Detroit Spinners to avoid confusion with a cable-knit jumpered Folk quartet with the same name. None of us were ever confused.

Gary Byrd - Presenting The Gary Byrd Experience | Discogs

On the lower reaches of the chart, at #58 was a young radio DJ who after reading his poem “Every Brother Ain’t A Brother” on his overnight show for WWRL-AM in New York & was encouraged by listeners to commit it to vinyl. It’s a cautionary rhyme that “Everything Black just ain’t Black & baby, that’s a fact”, not as militant as the Last Poets or Gil Scott-Heron but still positive & a reminder that there was plenty of spoken-word flow around before it was called Rap. The Gary Byrd Experience released an album & their 1973 45 “Soul Travelin'” is a review of the early 1970s Soul scene that you would be better served listening to than reading this.

Gary hooked up with Stevie Wonder & his lyrics for “Village Ghetto Land” “Black Man” were featured on “Songs in the Key of Life” (1976). It was in 1983thatthe Experience returned with “The Crown”, an almost 11 minutes long reinforcement of Black potential & positivity, recorded with & released by Stevie Wonder. One that got away in the US but deservedly hit the UK Top 10. Now Imhotep Gary Byrd he has 50 years of broadcasting experience, his Afrocentric talk career has always been of the moment & significant.

My last R&B review ended with a live, joyous performance by Billy Preston & I’d like to make that a thing. In 1972 an idea for a benefit concert by Stax Records affiliated to the Watts Summer Festival in Los Angeles blossomed into “Wattstax”, 112,000 people paying just $1 each to attend the Coliseum. At 6.26 pm Rufus Thomas, avuncular, in a natty pink shorts-suit, cape & white boots combo appeared to perform his current hits. The packed, excited, sharp-dressed crowd spilled out from the bleachers (is that the word?) on to the infield. There was no pushing & shoving, no Crips & Bloods brouhaha, just the beautiful Black people of Southern Los Angeles feeling the need to do the Funky Chicken & why the heck not!

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.