Brothers And Sisters (Soul 2nd April 1972)

There are a lot of good & interesting R&B entries in the Cash Box album chart for the first day of April 1972. Some, Al Green, Denise La Salle, Honey Cone, were selling on the back of their smash hit singles, “Pain” by the Ohio Players was eventually to become the first of a run of big-selling collections & Stevie Wonder had the significant “Music of My Mind”, a coming-of-age record that we had all been waiting for. Oh look, there’s a Bobby Womack album & anything Quincy Jones released under his own name is surely worth checking out. But wait this is Cash Box R&B Top 60 week not albums,& a new entry at #57 on that chart is the lead 45 from a very high class 33 and a third .

“Little Esther” Phillips, mentored by bandleader Johnny Otis, had her first R&B #1 in 1950 when she was just 14 years old. It was a momentous year for the teenager, two more chart-toppers in a run of seven Top 10s ended when a dispute over royalties led to Esther leaving the Otis band & signing to Federal where there was just one more R&B hit two years later. The singer’s addiction to heroin meant that recording & performing was sporadic for the next decade before “Release Me”, a Country Soul ballad in the current style of Ray Charles, found her high in the Hot 100. In a couple of spells at Atlantic Records they couldn’t decide if Esther was a Blues, Jazz or Soul singer. “And I Love Her”, a classy cabaret Beatles cover attracted deserved attention & for “Burnin'” (1970) King Curtis brought along his saxophone & his band for a live album that consistently showcased her mature range & ability to sing the heck out of her set of chosen songs. It was Esther’s last album for Atlantic but Creed Taylor, boss of CTI Records, had plans for her.

“Home Is Where The Hatred Is” had been written & recorded in 1971 by rap-poet Gil Scott-Heron. It’s a harrowing story of ghetto addiction, unflinching & the truth, a brave, inspired choice for Esther who sings it like she knows it – because she does. Creed Taylor was a Jazz guy who, with his new Kudo imprint, wanted to set a standard for a new, polished Jazz-Funk sound. He had access to the finest New York session men & had hired the saxophonist Pee Wee Ellis, former musical director with James Brown, as arranger & conductor. Pee Wee is a Jazz guy with a co-writer’s credit on, among others, “Cold Sweat” & “Say It Loud, I’m Black & I’m Proud”, he was around when Funk was invented. The combination of Esther’s voice, great playing, well-chosen songs matched to sumptuous, empathic arrangements made “From A Whisper To A Scream”, the atmospheric title track one of two songs by Allen Toussaint, an outstanding album. Esther & Pee Wee were involved in some fine, fine music in their long careers & this is a highlight for both of them. The story goes that at the following year’s Grammy Awards Aretha Franklin, winner of Best Female R&B Performance for “Bridge Over Troubled Water”, handed over her trophy to the also nominated, deserving Esther. You know that I hope this story is true.

The Isley Brothers in two paragraphs – that’s not gonna happen! Ronald, Rudolph & O’Kelly made their first record in 1957, had their first hit “Shout” two years later. The mid-60s were spent at Tamla Motown where the quality of releases like “This Old Heart Of Mine”, “I Guess I’ll Always Love You”, “Behind A Painted Smile” & others was not reflected in higher chart placings. In 1969 the trio’s first post-Motown 45, “It’s Your Thing”, an influential Funk anthem, established their independence & them as a force in the new music. With full control over their recordings for their own T-Neck label “Giving It Back” (1971), a collection of contemporary covers, had included a hit version of Stephen Stills’ “Love The One Your With”. “Lay Away”, the first single from their upcoming record rose a healthy 12 places to #29 in the R&B chart this week.

“Brother, Brother, Brother” has its share of Soft Rock covers too, three from Carole King (a 10 minute take on “It’s Too Late”) & Jackie DeShannon’s “Put A Little Love In Your Heart”. It’s the three self-written tracks that stand out, “Work To Do” an insistent classic, the rumbling “Pop That Thang” & the Soul-Rock of “Lay Away”, performed on “Soul Train” by a group who don’t have dance moves – they just groove. “Brother…” is a significant progression of a long-held, well thought out strategy by the Isleys. Two younger brothers, guitarist Ernie & bass player Marvin, along with brother-in-law Chris Jasper had been more involved in the studio, the young guns had probably put the older guys on to the more current songs they had covered. Now, for the first time, these three appeared on the sleeve credits of a record that still featured Ronald, Rudolph & O’Kelly on the cover. Chris had one of his songs on the album. Everything was in place for a big move, T-Neck’s distribution was moved from Buddah to the bigger Epic & the expanded group recorded “3+3” (1973) with the smash hit “That Lady”. It was the first of a run of 12 LPs to make the R&B Top 3, eight of them in the Pop Top20. For the rest of the decade it was gold & platinum albums all the way for one of the most popular, most enduring groups in the world.

We didn’t get to see “Soul Train” here in the UK. Starting in Chicago in October 1971, shown in just eight cities, a black music programme produced by black people quickly proved to be something to see. It was also a great opportunity for artists to get the kind of national TV exposure they had never had before. So here’s Millie Jackson promoting “Ask Me What You Want”, her second single taken from her eponymous debut album, rising 11 places to #18 on this week’s chart & on its way to the Top 10. Working with producer Raeford Gerard there’s a variety of styles on Millie’s record, “Ask…” & the next hit “My Man, A Sweet Man” both have more than a touch of Motown melodicism & danceability. After a fine start the following year she recorded “It Hurts So Good”, included in the blaxploitation movie “Cleopatra Jones” & her biggest hit yet, crossing over to the Pop chart.

Millie had always talked to her audience between songs. Initially it helped her nervousness but she was good at it, she would say what she liked & people liked what she said. The chat, about how women were treated, how they expected & deserved to be treated, became a bigger part of her show. After three quality albums that tended to follow current styles, with “Caught Up” (1974) Ms Jackson played to her strengths & hit her stride. The songs suited this strong, opinionated woman, a side from the other woman’s viewpoint, another from the wife’s, both of them taking no crap from their man. The Muscle Shoals crew were as strong or as silky as necessary & Millie had the first of her gold records. More were to follow, her tours were a sell out, she was a Soul superstar. I may not be the biggest fan of Millie Jackson though plenty were, anyway she wasn’t talking to me she was talking about me!

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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.

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 “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, 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.

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.

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.

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.

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 “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.

 

“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 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 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.

 

 

 

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.

 

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.

 

Brothers Gonna Work It Out (Soul April 69)

So the Billboard R&B charts from 1969 Episode IV …a new hope indeed. I’ve not looked ahead but this series is sure to run & run, the only problem with finding 3 (the magic number) tunes to feature is which ones to leave out. April 1969 looks like being the best month yet & I’m pretty sure that it’s going to have to be 4 selections this time around. I’m teasing…it’s 4. So, let’s start at the very beginning with the #1 R&B record of the day.

 

 

“It’s Your Thing”, still a wow after 50 years, still a fresh & funky anthem. When , in 1966, the trio,  Rudolph, O’Kelly & Ronald, signed with Tamla Motown they had already been making records for 10 years. Things started well & their first LP, largely overseen by Motown’s A Team, Holland-Dozier-Holland, included the immaculate “This Old Heart of Mine”. The group knew how the music business worked & felt that subsequent songs & promotion provided by the label were not from the top shelf. Here in the UK we knew the original recordings of “Shout”, a hit for Lulu & of course “Twist & Shout”. We loved their Motown stuff & judicious re-releases brought the Isleys 4 Top 20 hits in 1968-9. How in the heck the label & the USA had missed out on the thunderous “Behind A Painted Smile” remains a mystery.

 

After a successful UK tour they decided that they should do what they wanna do, left Motown & resurrected, unused since 1964, T-Neck, their own label. With their own songs, their own production/arrangements & their kid brother, 16 year old Ernie on bass the Brothers showed that they had not only been listening to Sly & the Family Stone & James Brown but they absolutely got the new Funk. The family that played together took their New Thing, a surefire smash, a Grammy Award winner, ran with it & refined a style based around Ronald’s distinctive vocals & Ernie’s prominent lead guitar. The group’s time came in 1973 when the “3+3” album began an unbroken run of gold & platinum selling records which lasted into the next decade. There are landmark songs across their long career & “It’s Your Thing” is a pivot between Isley Soul & Isley Funk.

 

 

Between numbers 30-40 there is a cluster of newcomers to the chart. The Impressions, Percy Sledge, Ann Peebles & the Meters are favourites of mine, all of them over there on those shelves, but it’s the highest new entry of the week, in at #30, that makes the cut. Since “Hold What You’ve Got”, his breakthrough hit in 1964, Joe Tex made a lot of records that scored on the R&B charts without crossing over to the mainstream. “I Want To (Do Everything For You)” & “A Sweet Woman Like You” both made #1. None of his 14 Top 20 discs between 1964-68 troubled the UK chart compilers, we even missed “Skinny Legs & All” but we knew who he was. Every local British Soul band included “Show Me” in their set & many of them attempted “S.Y.S.L.J.F.M.”.

 

There’s an attractive genial good humour in the records of Joe Tex. He could rip up the dance floor then switch to a fine line of semi-spoken homilies, all delivered with a chuckle in his warm voice. I’d compare him to a Southern preacher but his advice could often concern rather earthy matters. “Buying A Book” has been a particular favourite since its inclusion on a home-made mixtape (from the radio, remember that?) which, in the early 1980’s, reminded me just how much I loved classic Soul music. This story of the perils of May to September romances remains so because it’s such a well put together record, the brass, the backing vocals & Joe Tex telling it like he sees it. Great stuff.

 

 

 

On the chart that keeps on giving there are names on the labels on the songs between 41 & 50 that are legendary. At #50 Sly & the Family Stone had “Stand” backed with “I Want to Take You Higher”, a show-stopper at the Woodstock Festival later in 1969. #43 was none other than Howlin’ flipping Wolf! “Evil” was from an album that matched the great Bluesman with younger musicians, a formula that his label Chess had previously used for Muddy Waters. Mr Wolf thought the record was “dog shit” (“Why don’t you take them wah-wahs and all that other shit and go throw it off in the lake – on your way to the barber shop?”) but it’s so great to see Chester Burnett’s name on the list among Archie Bell & the Drells & Bobby Womack. At #46 was an extraordinary song by Nina Simone & if you think I’m able to knock out a couple of crisp paragraphs capturing her magnificence then you must be crazy!

 

Back in the mid-1960’s, when it came to female vocalists, I was all about Dusty & Aretha. I’d hear Ella or Billie & knew that there had been something special going on before then. Nina Simone’s Jazz & Broadway standards seemed to be for an audience more mature than myself but as she included more contemporary material on her records it became apparent that the “High Priestess of Soul” had a talent to inhabit & express emotion in song like few others. I bought her live “Black Gold” LP (1970) with her interpretation of “Ain’t Got No – I Got Life”, the best thing to come out of the shoddy, sensationalist musical “Hair”. There’s a 10 minute version of the celebratory “Young, Gifted & Black” & a chilling, perfect exegesis of Sandy Denny’s “Who Knows Where The Time Goes”. Nina Simone’s music, its forthright integrity on record & in live performance, continues to thrill. Many people make great music, not so many make great Art.

 

“Revolution” is Nina Simone’s take on the Beatles’ (John Lennon’s) song of the same name. It keeps the same structure, the “It’s gonna be alright” & that’s about it. It’s not an “answer” record more an indication that pacifist idealism, a white millionaire imagining no possessions & that all you need is love, is less of an option if you are young, gifted & black living in a racist society where “the only way that we can stand in fact is when you get your foot off our back”. Written by Nina & her bandleader Weldon Irvine the swinging studio version, with a Sunday morning choir & a discordant ending, is a powerful statement. This strong live version, an excerpt from her performance at 1969’s Harlem Cultural Festival, a series of concerts celebrating the best of African-American music, features her terrific backing unit. Conscious music, an irresistible groove & Nina Simone, these are a few of my favourite things.

 

 

I am not the biggest fan of the Bee Gees. At the height of their Disco dominance a British comedy group released the parody “Meaningless Songs In Very High Voices” & that still raises a smile. It is undeniable that the Gibb brothers have written some very good songs, Al Green’s “How Can You Mend A Broken Heart” is a perfect thing & shows just how soulful they could be. At #44 on the chart was James Carr with a song apparently written for Otis Redding. I’ve not heard all of the many cover versions of “To Love Somebody” but have long thought that it is difficult to mess up such a well-crafted song. Released in 1967 it was soon picked up by American artists. The Sweet Inspirations, the best backing vocalists of the time were first, it was the title track of a Nina Simone LP & the great James Carr was the one who did bring it to Memphis. I feel that I’ve gone on a little too long today but I couldn’t leave April 1969 behind without including a favourite Soul singer of mine & a fine record. If you are interested I wrote about the complicated life of James Carr here. OK I can’t wait to see what May brings.

Better Late Than Never (Motown Hits)

In March 1965 a series of 6 four track EPs marked the establishment of the Tamla Motown label in the UK. Previous releases had been through London American, Fontana, Oriole & finally Stateside. The assembly line at Hitsville USA in Detroit was sustaining 5 subsidiaries, Tamla, Motown, Gordy, Soul & V.I.P. The same writer/producers, the same musicians, a unique & successful operation, “the Sound of Young America”. There were 43 singles on the new label in the first 9 months. They couldn’t all be chartbusters, weren’t all by the great stars of the roster. Sometimes it took a little longer for the record buying public to catch on to some of the gems from Tamla Motown.

 

 

“This Old Heart of Mine” by the Isley Brothers was the #1 record of my youth club years (that’s the ones immediately before I could get served in pubs). The debut Motown release for the Brothers, January 1966 in the US, March in the UK, it was their only Top 20 hit in the US for the label & scraped into the Top 50 over here. If you were not already out on the floor then you certainly were before Ronald started singing. Over two years later the song was still being played in the great Soul/Ska sets I attended in the upstairs rooms of bars. A re-release saw it become a Top 3 hit, another smash for the crack Holland-Dozier-Holland unit. Trouble was, for Motown, the Isley Brothers had already left the label before this success.

 

“The Isleys’ wild call & response songs “Shout” & “Twist & Shout” had been picked up by the British Beat Boom & the group were a little too rugged for the sophisticated Detroit sound. The first LP for Motown had heavy involvement from H-D-H but 3 of their songs were a little second-hand having already been hits for others. On the “Soul on the Rocks” LP (1967) the A Team were absent & , while talented people were around to produce, the Isleys were dissatisfied with with the material & promotion they received. Motown went back to an old hit “I Guess I’ll Always Love You” & it did well again. “Behind a Painted Smile” had not been considered as a single in 1967. By May 1969 it & other stomping Isley tracks were favourites in the Soul clubs. This dense, dramatic classic, a perfect blend of impassioned vocals & the driving Funk Brothers rhythm section (James Jamerson, Benny Berrigan ?), Joe Messina’s fuzz guitar became a Top 5 hit. The Brothers Isley were more popular in the UK than at home until “It’s Your Thing”, on their own T-Neck label, scored their biggest sales yet. A couple of years later resistance was futile as their expanded family band just took over.

 

 

Oh yes ! The Elgins only got the one shot at Motown. The LP “Darling Baby” (1965) was produced by Brian Holland & Lamont Dozier, again featuring song’s by Detroit’s most talented songwriting trio with 4 covers of Atlantic hits as the filler. The title track & “Heaven Must Have Sent You” were R&B hits but there was to be no second LP from the group. In 1967 singer Saundra Mallett Edwards left the group & though she was replaced just look at the clip, from “Swingin’ Time” & you will see why she was missed. “Swingin’ Time” was a music show out of Windsor, Ontario, just across the river from Detroit. They got some great Motown acts as guests & the surviving Y-tube clips are worth searching out.

 

By 1970 columnist Dave Godin had identified a North-South divide in UK Soul fans. While Funk began to carry the swing in the USA “Northern Soul” fans were more interested in crate-digging for obscure uptempo dance records from the mid-60’s. In 1971 the 6 year old “Heaven Must Have Sent You” was re-released, broke out of the clubs & was a Top 3 hit. In the Spring of 1971 Stevie Wonder released “Where I’m Coming From”, Marvin Gaye “What’s Going On”, Diana Ross, no longer a Supreme, was filming “Lady Sings the Blues” & plans for Motown to leave Detroit for Los Angeles were in advanced stages. The success of “Heaven Must…” showed that the public still wanted to dance & sing along to those classic Holland-Dozier-Holland, themselves no longer with the label, songs OK…♫ I’ve cried through many endless nights, just holding my pillow tight. Then you came into my lonely day, with your tender and your sweet ways. ♫ Smashing !

 

 

 

Canadian R Dean Taylor signed for Motown as a songwriter & recording artist in 1964. The records didn’t go so well but writing credits kept his name in the frame. There was a Marvelettes track with Norman Whitfield, a Brenda Holloway A-side with Frank Wilson. In 1967 “7 Rooms of Gloom” was the 4th single from the 4 Tops greatest LP “Reach Out”. It was the B-side, “I’ll Turn to Stone”, with the credit Holland-Dozier-Holland-Taylor (that’s good company to keep), which became a dancefloor favourite. A dramatic self-produced single from that year, “Gotta See Jane”, written with Brian Holland, failed at home but reached the UK Top 20 in 1968. With the departure from the label of the great trio Motown’s production staff had to step up to keep the hits coming. Taylor had co-credits on two singles by Diana Ross & the Supremes, “Love Child”, a #1,& “I’m Living in Shame”. You know more R Dean Taylor songs than you thought you did.

 

In 1970 R Dean moved to Rare Earth, a label Motown set up for white artists. He scored with “Indiana Wants Me” an odd song about a murderer chased & caught by the police. It was his only US success but we hadn’t finished with him yet in the UK. Back in 1966 he had recorded “There’s a Ghost in my House”, another track with that impressive H-D-H-Taylor credit. Another irresistible Motown stomper that went missing at the time, it became a staple of Northern Soul DJ sets & reached the Top 10 in 1974. That’s 3 Top 20 hits for R Dean Taylor, an individual Motown talent.

 

All 3 of these songs were resurrected by the Northern Soul scene but you didn’t have to be a regular at the Casino or the Twisted Wheel to appreciate & enjoy them. The scene was big in the early 1970’s, these rediscovered breakout hits received wider radio play & sold to a bigger audience. We were listening to Sly, Marvin, the Isleys, Funkadelic, the new sounds of Black America but the fact remained that you could not beat a bit of classic Tamla Motown to make your weekend go better.

It’s A Family Affair (The Isley Brothers)

On the long ago, momentous, Xmas Day that Santa kindly brought me a record player he also provided two 7″ vinyl discs by the most popular beat combo of the day, the Beatles. The 4 track “Twist & Shout” EP was matching the sales of that single about holding someone’s hand. Surely no vocalist had ever matched the wild drive & urgency of leather-lunged John Lennon on the title track. Wasn’t this powerful energy an innovatory part of the the sound that was taking over the world ? Of course the Fab Four’s music introduced my generation to the rock & roll originators. Buddy Holly, the Everly Brothers, Little Richard, they were from the olden days of the 1950s. On the first LPs their Mop Top take on Motown opened a lot of doors for Detroit’s soul label. it was no archaeological stretch to unearth the original Twisters & Shouters.

The Isley  Brothers’ first successes made them the Sultans of Screech & they were then always around. The trio were not always consistent hit makers but  now & again they found themselves at the cutting edge. A talent for reinvention, to react to the changes in music, has become a requisite for long term commercial success. The Isley Brothers knew this before many others did. It was 10 years after the Beatles covered their song that the group’s new sound struck gold records & brought a rich funk/disco vein that they were able to mine for the rest of the 1970s.

 Here come the incredibly expanding Isley Brothers. Ronald, Rudy & O’Kelly, the original trio are joined by 2 more brothers Ernie & Marvin along with brother-in-law Chris Jasper. So, “3 + 3” geddit ? “That Lady” is the opening track of the 1973 LP which put the group back into the US Top 10 for the first time since 1969. Then “It’s Your Thing”, the first single on their own T-Neck label, had socked it to Berry Gordy & Motown. The Isleys made some classic Motown records but were, they felt, never given a fair shake. Independence, success & confidence led to more than 10 LPs in 4 years, that’s a whole lot of variants on “things” & “thangs”. The records before “3 + 3” had included the junior Isleys & there had been a gradual move to this new sound. Now, with the marketing might of Epic behind the group for the first time a lot more people got to hear it & a lot more records got sold.

“That Lady” is a reworking of a 1964 Isley song. Back then the trio were copying the Impressions but now they could unveil a couple of new weapons while still keeping it in the family. The influence of Jimi can be heard in the funk of the time but Brother Ernie had a direct line to the source when Hendrix had lived in the Isley house while gigging with the group. Now the 21 year old was ready to wail, a black guitar hero bringing the rock to the funk. Chris jasper was on to the ARP synthesizer thing. He hooked up with Malcolm Cecil & Robert Margouleff, programmer/engineers who had worked so effectively with Stevie Wonder. The Isley Brothers had been in music for 15 years & they were bang at the front of it with this record.

“3 + 3” included covers of tunes by James Taylor, the Doobie Brothers, Seals & Crofts. The group made it there thang to turn soft rock melodies into quiet storm soul ballads. They had full LPs of this, a 10 minute long version of a Carole King song ! For an audience unfamiliar with the group but who knew the songs it was a wrinkle that appealed. Now I have no great beef with this side of the sound, Ronald Isley stepped up & showed himself to be a great & distinctive vocalist on these tunes. I just think that the song choice leans towards the cheesy & I do have a serious problem with the still-around “Summer Breeze”. I mean, come on, here is the worst excess of hippy-dippy nonsense, a mush-minded meaninglessness. I am no neurological expert, I am not prepared to ask Mr Google. I am pretty sure that there are, never has been, never will be, any such thing as “the jasmines of my mind”. Bah !

“Hello It’s Me” seems to be a more imaginative selection, a Todd Rundgren song, the only cover on 1974’s “Live It Up”. In the early 1970s Todd wrote a lot of songs that could have, maybe should have, been hits. The Isley Brothers were sussed enough to know this. Here on “Soul Train” Ronald knows that he has work to do, that people are listening to his slow songs on national TV & he wins in a canter. “Hello” is the best of the Isley ballads.

It was the slabs of funk what did it for me. There was an LP a year, 1975’s “The Heat Is On” was a #1 album, black groups just didn’t hit that market. Each record had a couple of variations on a theme by Ernie that just hit the spot & kept on going into Part 2. “Live It Up”, “Fight the Power”, “The Pride”…it’s a great & longer list… especially “Fight The Power”. Man, this was before the 12″ extended mix. Some 10 minute jam of these songs would have been solid. The brothers had always tended to stick with what worked. By 1978, with disco ubiquitous & Ronald’s sexed-up ballads a little complacent, they had perhaps been to the well too often. There were still platinum records though & the Isleys were still one of the world’s biggest bands.

“Harvest For The World”, prelude & all, opened the 1976 LP of that title. I know that the uncomplicated, catch-all lyrics have a touch of “I believe that children are the future” about them but come on…this is a perfect pop-soul anthem, anthemic & uplifting. The Isley brothers had a worldwide audience at this time. A slice of social-conscience was surely better than being growled at by the Walrus Of Love or slimed by the Stylistics (post-Philly). “Gather every man, gather every woman. Celebrate your life, give thanks for your children”…a great record.

Just before the release of “3 + 3” the Isley Brothers released a “Greatest Hits” LP, a fantastic collection of  their work on their own T-Neck label. Earlier Motown had a “Best Of” from the group’s years on that label. The three original brothers had already compiled a seriously impressive body of work. Then along came the next generation of the family & new blood brought new inspiration & energy. Now there were “Ultimate”, “Essential” even “Definitive” collections with a whole shedload of new hit records to be collated. For a few years there the Isley Brothers were as good as gold.

It’s like being on soul train

Over here in the U.K. we never got to see “Soul Train” on our TVs. There would be an occasional clip on “Top of the Pops” if an act was not coming over to Europe but there has never even been any retrospective compilation of a show which seemed to get all the acts you needed in a very creative period for American black music. I know there was a lot of lip-synching going on & those dancers were all “look at me, look at me” but it looked to be a pretty cool show when we were afforded a glimpse.

The Five Stairsteps, out of Chicago, a family group who were originally arranged in descending order of size & had a kind of Platters deal which was already out-dated. The first single had a Curtis Mayfield written B-side which swung a little more. They tried out a more Motown sound (James Burke did a fair Smokey impression)  before hooking up with Curtis again at his label, Curtom. The next singles were R&B hits, produced by Curtis & often covers of Impressions songs. They would sit really well alongside Baby Huey, Sister Love & Major Lance on a Curtom mix which should exist if it already doesn’t.

“Ooh Child” is the Top 10, gold record moment for the Burke family & what a lovely, optimistic song it is. The boys had been down to the Superfly boutique to get some new threads for their TV appearance. Alohe went for the jumper & slacks combo. She looks and sounds as beautiful as her name. Clarence Jr & James do their bit but this is Alohe’s song…wonderful.

At this time the Stairsteps were handing over the title of “first family of soul” to the boys from Gary, Indiana, the Jackson 5. It was of no consequence because the true first family were these guys…

By 1972 the Isley Brothers, Ronald, Kelly & Rudy, had been making records for 15 years. “Shout” & “Twist and Shout” were known to everyone who listened to pop music even if they did not know the original versions. They joined Tamla Motown, made some records that were more popular in the UK than in the US. Man, I hear the intro to “This Old Heart Of Mine”, I am back in that scout-hut youth club & a dancing fool again. Wanting more freedom than Motown would allow they left to write and produce for their own label T-Neck. The first single “It’s Your Thing” cleaned up.

The new sound served them well & 10 more singles used this winning formula. However the brothers were not just listening to James Brown. Covers of songs by Buffalo Springfield, War & Dylan got them airplay outside of the R&B stations. There were some young Isleys around, brothers Ernie & Marvin, brother-in-law Chris Jasper, who were putting the old hands on to these rock tunes. “Pop That Thang” comes from the 1972 LP “Brother, Brother, Brother” the first the new boys played on.

This is a confident performance of the song. The Isleys had made the move from soul to funk and were more popular than ever. They had some new sounds coming & they were ready to shake some action. The next LP “3 + 3” was by the new sextet. It was distributed by Epic & had the weight of major label promotion behind it. The brothers had been around the block & were ready for this new success. In the next 5 years they were one of the biggest black music acts around. I have favourite Isley tracks from all their long career. “Pop That Thang” is da funk with no frills and Ronald’s unmistakable lead vocal…love it…bang, bang, bang !

Gladys Knight, and her Pips, came late to Motown after some success elsewhere. Ms Knight always thought she got the short end of the stick from the label, being given songs that bigger acts had turned down. Her producer, Norman Whitfield, did give her first shake at “I Heard It Through The Grapevine” but it was Marvin who had the worldwide hit 2 years later. Whitfield had, in 1969, taken over production of the Temptations. Looking for a piece of Sly Stone’s action he developed a “psychedelic soul” sound. If  “Friendship Train” was rejected by the Tempts then Gladys got lucky this time.

This clip is from episode 1 of the syndicated “Soul Train” . The Pips have hardly pimped their strides but despite the odd leisure wear are as swinging & as dancing as Don Cornelius promises. Gladys is just stunning. The song, obviously linked to “Cloud Nine” & “Papa Was…” benefits from only having the two lead voices & not being over-complicated. The early attempts by Motown at socially conscious lyrics (selling records came first) could be clumsy. By this time they were getting it right. If you want a less pop version of this song check for Whitfield’s extended edition by the Undisputed Truth…suitably nuts.

Gladys brought a country tinge to her music with, among others, a cover of Kristofferson’s “Help Me Make It”. It proved commercial, when she left Motown for Buddah she mined a very successful seam & became the star Motown never made her.

You know, maybe “Soul Train” was not always all that. In the UK we had the late night “Old Grey Whistle Test”. There are some great highlights from that show but it could often be flat and worthy. You needed a cup of tea, a fat one & some decent music after too many of the episodes. “Soul Train” is not like that in my imagination & from the clips I love to watch.

In the 80s two friends and myself were having the sort of weekend that only the finest pharmaceutical amphetamine made possible. A Friday night/Saturday morning session, a visit to Upton Park to see the Hammers, topped off with a Nigerian christening party. The living room of the house was dark and was now a dance floor. The room was filled with beautiful African princesses dressed in those sparkling dresses you saw in the market and wondered who wore them. The room was moving as one to the fine, fine music. My bug-eyed friend bobbed towards me with a big smile. He leaned into me & shouted “This is like being on Soul Train !”. I laughed because it was as close as we were ever going to get to it.