Soul Man On Ice (Jerry Butler)

In the mid-1950s in Cabrini-Green on the North side of Chicago 2 school friends, part of the Northern Jubilee Gospel Singers, were looking to get serious about their music. Jerry Butler was 2 years older than Curtis Mayfield but Curtis came along when Jerry hooked up with the Roosters, a doo-wop group from Chattanooga Tennessee. In 1958, the group now known as Jerry Butler & the Impressions, Mayfield still only 16 years old, made the US Top 20 with their first record “For Your Precious Love”. Butler, who co-wrote the hit, delivers a dramatic, heartfelt vocal which belies his teenage years. They were young men who got it right the first time & were encouraged that their creativity in writing & performance would find an audience. There was just one more 45 from this group before Jerry became a solo act. Over the following 20 years Jerry Butler’s name on the record became a guarantee of quality & excellence.

 

Like his contemporaries, Sam Cooke & Marvin Gaye, Butler aspired to the LP sales & supper club cabaret success of Nat King Cole. His first solo LP is heavy on the orchestral & chorale arrangements. On signing to Vee Jay he got back with Curtis. One of the 4 songs they wrote together, “He Will Break Your Heart” put him in the Top 10. Jerry recorded the original version of “Make It Easy On Yourself” with Burt Bacharach. In the UK the Walker Brothers nicked the hit but, for me, Butler is definitive. The standards & the ballads were assured, the danceable Chicago Soul from Mayfield/Butler sounded great & they made a most acceptable mix.

 

 

When Curtis placed a higher priority on his own group, the Impressions, Jerry’s LPs played a little safe. A sweetheart Soul duet of “Let It Be Me” with Betty Everett was a smash.”The Soul Goes On” is a collection of covers. His style had less grit than the new Memphis Soul but Jerry Butler knew where the action was. He & Otis Redding wrote “I’ve Been Loving You Too Long” together & that song is about as good as it gets.

 

A Philadelphia DJ dubbed Jerry “The Ice Man”. When he was matched with upcoming production team Kenny Gamble & Leon Huff they ran with it & “The Ice Man Cometh” (1968) was his biggest selling LP. This is commercial Pop-Soul at its best, with many of the elements that would make the producers so successful in the near future. The lyrics are mature & emotional, the songs packed with hooks to catch your ear. Five singles were released from the LP, three more from the following “Ice On Ice”. Seven of these eight made the R&B Top 10.

 

 

I carried a cassette collection of these 45s around for years. It’s a tough call to include only one of them here. “Never Give You Up”, “Hey, Western Union Man”, the fantastic “Lost”, it’s a list…3 minute dramas, not a second wasted. “Only The Strong Survive”, the most successful of all, gets the shout because I still find the simple guitar figure under Jerry’s intro, before the big chorus & the sweeping strings, to be irresistible. Gamble & Huff produced 15 Gold singles, 22 Gold albums. In 2008 they were inducted into the Rock & Roll Hall of Fame & it was Jerry Butler, a member since 1991, who stepped up to do the honours.

 

In 1970 Gamble & Huff went off to do their own thing with Philadelphia International records. Jerry’s old spar Curtis was busy with his own label, Curtom but the rest of the Chicago crew were still around. “One on One” is an LP shared with Gene Chandler, a million seller with “Duke of Earl” in 1962, another who had benefitted from Curtis Mayfield’s songwriting skills & back on the scene with a “Groovy Situation”. Black music was getting all funked up. Gene & Jerry take it to the street on  “Ten & Two (Take This Woman Off The Corner)” , a busy version of James Spencer’s original which deserved a wider hearing. The subject matter, pimps & prostitutes, was possibly a little too strong for radio & for fans of the singers’ lighter output in the past decade.

 

 

The ponderously titled  “…Sings Assorted Sounds With The Aid Of Assorted Friends & Relatives” employed the same musicians, arranger Donnie Hathaway, brother Billy Butler & backing singer Barbara Lee Eager. The New Thing is incorporated but Jerry’s style was not going to change too much. He & his associates had been making records for a long time & they knew what worked for them. At the time Curtis Mayfield was recording the coolest original soundtrack to a movie ever. “Superfly” confirmed his membership of the new Soul aristocracy, writing, performing & selling millions of their own LPs. I would not claim that “…Assorted…” belongs in such company but it’s a classic of mature Chicago Soul. The opening track “How Can We Lose It” sounds like a hit to me & sets a standard which is matched by what follows.

 

Jerry continued to record on Mercury records then, in the Disco years, with Motown before returning to Gamble & Huff. There were more duets with Barbara Lee Eager & with Thelma Houston & enough quality from this period to decorate another one of these posts. In 1970 he & brother Billy appeared on US TV. They went back to “I Stand Accused”, a song they wrote together & released in 1964 on the same single as “Need To Belong”. Now that’s a small vinyl disc that’s worth having around & so is this one-off, intimate, informal version.

 

 

Jerry Butler is still around. By all accounts what you see, a stylish, dignified, articulate man, is what you get. Still in Chicago, he has served as an elected commissioner of Cook County since the 1980s. When he performs his great hits the pride & pleasure he takes is transmitted to his audience. It’s 60 years now since he & Curtis hung out at Wells High School working out how to capture a moment of emotion in a simple, memorable pop song. Those young boys were into something good back then. As styles & taste changed they continued to finesse their skills while never forgetting why & where they started out.

Ian Levine: The Northern Soul Men.

Ian Levine has extensive music credentials. His D.J. residency at the Blackpool Mecca, a Northern Soul temple in the Seventies, involved musical archeology & devotion to excavate the rare, forgotten grooves which became dancers’ favourites a decade after they were recorded. His Eighties productions, pioneering Euro Hi-NRG, was, in my opinion, dance music which was a little short on the funk but he had hit records. He seems to be obsessive about most things. He contacted 600 of his mother’s relatives for the biggest family reunion ever before re-assembling  an entire 1960s class from his school. A double nightmare…really ! His fascination with the music though has been of benefit to us all. Well, to me anyway.

So, this is what Billy Butler looks like. I included a track of his in the Okeh records post. In the 1960s a soul artist  had to crossover to the pop charts before any TV station would point a camera at them. The collection of video clips in my computer is an enchanting & addictive thing but the odds on finding those R&B legends-to-be are pretty long. And here is Billy flipping Butler singing the dancetastic “The Right Track”, July 1966, Okeh 7245, #24 on the R&B charts. I know this stuff & I don’t consider myself a Northern Soul geek though I know some men (it is a guy thing) who are. Billy kept on keeping on recording until 1983. There is a solo LP from 1976 on Curtis’s Curtom label which must be worth a listen but his day job was playing in big brother Jerry’s band.

In 1987 Levine began a small collection of former Motown  artists, recording new sessions with these seasoned performers. By the mid-80s this Motorcity project (folly…in the best, most respectful sense) had 108 acts, over 850 songs ! He then moved on to producing & directing “The Strange World of Northern Soul”, a documentary, an anthology, which, once he got started was difficult to stop & became 12 hours of footage with 131 performances. Ian Levine’s You Tube channel is a treasure trove of some familiar, mostly not, faces performing their re-recordings of soul songs which you may have heard but there is a great deal of “where did all this great stuff come from ?” going on.

“If You Ask Me (Because I Love You)” by Jerry Williams, the Swamp Dogg. 1966 again, the first 45 after Jerry dropped the “Little” in the front of his name. Now the Doggfather is a soul legend. He quit his job as the first African-American producer at Atlantic Records just as the Acid kicked in. The psychedelic tinged soul of “Total Destruction To Your Mind”, his solo LP, was matched by the inventiveness of recordings he made with Irma Thomas & Z.Z. Hill among others. Mr Dogg’s brand of Southern Soul was not a grand commercial success but now, at 40 years’ distance, it retains a distinct individuality which makes you go Hmmm. His (deliberately ?) absurd LP covers are classics too. “Rat On !” wins awards but “Surfin’ In Harlem” is a cool one.

Mr Swamp kept hold of his publishing & his masters & he now directs his own small music empire If anybody wants to sample his music (& that would be nothing but a smart move) then they have to show him the money. If labels show interest licensing his tracks he can do a quick deal to re-release a couple of albums. It’s all worth checking out, music like this does not get made anymore. Jerry Williams has more stories than the Burj Khalifa, hilarious & salacious. It is the music that he is about & this 1998 re-recording of a Northern Soul classic is a joy.

Here’s a tune that became more than a floor-filler at the Blackpool Mecca where a teenage Ian Levine was the only DJ to champion “Love On A Mountain Top” by Robert Knight. Robert’s first record, the dramatic “Everlasting Love”, was a Top 20 US hit. In the UK he was gazumped by Love Affair, a teen band later nicked for not playing on their records, who had the #1 smash with an inferior blue-eyed copy. Soul, Northern or otherwise, never went away in Britain. Artists considered one-hit wonders in the US like Edwin Starr & Jimmy Ruffin, moved here because we knew ALL their songs. You did not have to be pilled-up all night at the Casino, the Mecca or the Twisted Wheel to be on this music. Dancers were swinging their Oxford Bags to Motown & Philly in youth clubs & pubs all over. So, around Xmas 40 years ago “Love..” was a big UK hit. This lovely clip of Robert is a fine tribute to a man with a very sweet voice. Here is a grainy version from 1973 with an impressive afro & a suit that is louder than the music.

I cannot give enough props to Ian Levine for his labour of love. Really, I have been spoiled for choice in finding just 3 clips for this. There are Motown memories, Stax stalwarts, Chicago choristers…just get to his Y-tube channel or buy the DVDs for some serious, properly curated, soul history. next time around & soon it’s the distaff side of soul. I can’t wait.