Archive for the ‘Atlantic’ Category

Roberta Flack

Monday, February 28th, 2011

Listen: Reverend Lee / Roberta Flack
Reverend Lee / Roberta Flack

Do yourself a favor. Go see Roberta Flack next chance you get. That shimmering voice over near ambient arrangements is perfectly offset by her XXX risque between song jokes. It’s amazing that both come out of the same mouth.

When she breaks into ‘Reverend Lee’, preceded by a lengthy delta introduction, it’s as close as you can get to a religious experience that I know of.

Composed by Eugene Booker McDaniels, best known for his black consciousness songwriting form, it led to an even bigger hit a few years later when he delivered her ‘Feel Like Makin’ Love’. Go ahead, just imagine the onstage intro that one gets.

Barbara Lynn

Wednesday, February 16th, 2011

Listen: You Left The Water Running / Barbara Lynn
You Left The Water Running / Barbara Lynn

Girls with guitars. You can’t top them. Especially when they’re playing RnB. That’s exactly what Barbara Lynn did then and does now.

A personal production project for longtime creative partner, Huey P. Meaux, I imagine he had equity in Tribe Records, or possibly a lot of sway as a result of The Sir Douglas Quintet hits. ‘You Left The Water Running’ was the second of four singles for the label.

Listen: Take Your Love & Run / Barbara Lynn
Take Your Love & Run / Barbara Lynn

Not by design I’m sure, ‘Take Your Love & Run’ reeked of Northern Soul before any of us knew what that even meant. Still under the production supervision of Huey P. Meaux, this unlikely July ’71 B side will empty your wallet fast, but deservedly so. Be careful, it’s an easily addicting record.

JUDY CLAY

Monday, February 14th, 2011

Country Girl, City Man / Billy Vera & Judy Clay

Listen: Country Girl, City Man / Billy Vera & Judy Clay
Country Girl, City Man / Billy Vera & Judy Clay

Judy Clay got a raw deal. An early member of The Sweet Inspirations, she grew up singing with her relatives, Cissy Houston, Dee Dee Warwick and Dionne Warwick. She’s on endless sessions (mostly Atlantic) for Wilson Pickett, Don Covay, Aretha Franklin, God only knows how many. When she finally had a hit with ‘Storybook Children’, as one half of the intentionally multi-racial duo Atlantic Records had masterminded: Billy Vera & Judy Clay; network television wouldn’t touch them. Instead Nancy Sinatra and Lee Hazelwood got their slots, including performing ‘Storybook Children’ on The Hollywood Palace. Hey, we love Nancy & Lee but hold on.

I used to hear the follow-up, ‘Country Girl – City Man’, on a bunch of stations. It featured The Sweet Inspirations (as did ‘Storybook Children’ and most tracks on their Atlantic LP), mixed RnB with country beautifully, and appealed to lots of formats. It’s another permanent jukebox fixture. I play it a lot. She sounds like she could’ve been an actress, that phrasing.

JudyClayPrivateUKA, Judy Clay, William Bell, Stax

Listen: Private Number / Judy Clay & William Bell
Private Number / Judy Clay & William Bell

If you’re not a believer, check her duet with William Bell.

Otis Redding

Thursday, February 10th, 2011

Listen: Mr. Pitiful / Otis Redding
Mr. Pitiful / Otis Redding

The last time I saw The Rolling Stones, at The Pheonix in Toronto, they played this number. The secret club show, a warm up or some such angle, kicked off their 2005 world tour on August 10th of that year. It felt unreal, in such a small place, making eye contact with The Rolling Stones.

Listen: That’s How Strong My Love Is / Otis Redding
That's How Strong My Love Is / Otis Redding

The first time I saw them, October 30, 1965, the band played this one. Like ‘Mr. Pitiful’, ‘That’s How Strong My Love Is’ seems to have been an Otis Redding inspired choice.

That show felt unreal too, this little boy being transported to a seemingly far away land of British rock, yet right there before these unprepared eyes. Life’s first high, impossible to ever forget.

Ben E. King

Friday, January 7th, 2011

Listen: Groovin’ / Ben E. King
Groovin' / Ben E. King

This was an easy one. Everybody knows Ben E. King’s crooner greats, and God knows, there can’t be a living soul on earth who doesn’t cherish ‘Supernatural Thing’. But in the ultimate quest for something more formative, something that proves the hits were complimented by stuff way more raw, look and you will find ‘Groovin”, his B side from ’64.

The Modern Jazz Quartet

Saturday, December 25th, 2010

Listen: Summertime / The Modern Jazz Quartet MJQSummertime.mp3

The Modern Jazz Quartet’s run with Atlantic Records was a superior one, every new album as superb as the last. Their vibes/piano/bass/drums template perfectly proceeded to calm my nerves. When it comes to jazz, gentle and sparse wins over harsh and busy any day of the week.

In the early 90′s, many a company trip to Seattle became my norm. Corinne and I loved it there, and near moved into one of the endless 50′s ranch houses seemingly round every corner. The junking was superb and the vinyl shops were as close as you can come to dying and going to heaven in the US.

It’s where my fetish for jazz 7″s began. There was a chain of used vinyl only stores, all sectioned within by genre. Nobody seemed even slightly interested in the jazz singles. Albums yes, singles no. If virtually no competition wasn’t enough, the $1 price tag was the straw. Basically anything on Verve, Blue Note, Prestige and Atlantic were no brainers. In only a few visits, my jazz collection went from zilch to very complete. Plus they fed the jukebox perfectly.

‘Summertime’ looked radiant sitting there in The Modern Jazz Quartet’s bin. Shiny Atlantic label (on plastic as opposed to vinyl) + original stock sleeve + unplayed pressing + can’t-lose song delivered via their signature approach + $1 price tag = jackpot.

When I finally got home, ‘Summertime’ went directly onto the Seeburg. It still resides there today, having weathered, I would guess, hundreds of spins hence it’s lovingly played condition. Their version turned out to be better than I could ever have expected.

Heads, Hands & Feet

Wednesday, November 17th, 2010

headshandsfeetonewomanuk,Heads Hands & Feet, Atco, Atlantic, Tony Colton, Chas Hodges

headshandsfeetonewomanusa, Heads Hands & Feet, Atco, Atlantic, Tony Colton, Chas Hodges

Listen: One Woman / Heads, Hands & FeetHHFOneWoman.mp3

Albums came in rapid succession during the 70′s. The first by Heads, Hands & Feet was a double, and not long after came it’s followup, TRACKS. These were issued on Island UK and Capitol US, during the era when those Capitol labels were that beautiful lime green. I wasn’t paying much attention to the band, they had an intentionally American sound. I was put off.

Fast forward to summer ’72. They’re third on the bill to The J. Geils Band and Humble Pie. I was certainly not about to miss Steve Marriott. So, we got there early to see Heads, Hands & Feet. After all, they were English. By now, I was becoming a fan. They’d recently switched labels to Atco/Atlantic, and their single ‘One Woman’ was pretty great. I particularly appreciated that lead singer, Tony Colton, doubled as a producer for one of my all time favorite albums: ON THE BOARDS by Taste.

Plain and simple, they were tremendous live. I would say they stole the show, certainly preferring them to the headliner by miles. At this point, Peter Frampton had left second-on-the-bill, Humble Pie, but it was sure fun being invited back to the Holiday Inn by Steve Marriott for a party. More on that in some other post.

So yes, Heads, Hands & Feet ripped up a storm, and their extended version of ‘One Woman’, the show closer, took the cake. I mean these guys were super great musicians. You can hear it in the recordings. Guitarist Albert Lee has been cited as a bit of a virtuoso over the years, and he certainly was on fire that night. Chas Hodges on bass was equally important to that fire, playing off of Albert Lee almost like a second guitarist.

We wormed our way into their crowded dressing room and they seemed somewhat impressed to have a few fans. It was fun complimenting Tony Colton on his work with Taste. I remember him being appreciative, and a bit surprised. All in all, it was obvious they weren’t having a very good time, and I’m pretty sure they called it a day soon afterwards. Too bad.

John Hammond

Wednesday, November 10th, 2010

Listen: Mellow Down Easy / John Hammond JohnHammondMellow.mp3

Never got to hear or see John Hammond in his introductory years, despite a few chances at The Fillmore. The sleeve of his Atlantic album, I CAN TELL, made me way curious. He looked like a cross between Mick Jagger and Arthur Lee. But it wasn’t until this single, a few years later, that I finally got the chance.

One of John Hammond’s consistently strong points was his ace ability to interpret classic blues tracks, using what turned into a signature style: minimal unprocessed guitar and harmonica.

His version of ‘Mellow Down Easy’ not only gave the song possibly it’s best white rendition ever, but spilled into Dr. John’s space. Like electric blues in the late 60′s, New Orleans music was brand new. Seems there were so many singles that introduced me to yet more genres and styles in a short period, and I became insatiable for them all.

Listen: As The Years Go Passing By / John Hammond JohnHammondYears.mp3

‘As The Years Go Passing By’ slotted right in with then current versions from Chicken Shack and Savoy Brown, pretty much equaling if not topping them. With no small contribution being a fantastic voice.

Both tracks on this double sider ignited a John Hammond 7″ catalog completion process on my part that took years. Basically I wanted his every single and the two on Atlantic preceding this were oddly not easy finds. All great records as it turns out and worth the effort. Don’t pass any of them up.

Shirley Scott

Tuesday, September 28th, 2010

Listen: It’s Your Thing / Shirley Scott ShirleyScottThing.mp3

In my world, there is no bad version of ‘It’s Your Thing’. Unlike many, many original classics that are pointless to try re-doing (‘Be My Baby’, ”Sheena Is A Punk Rocker’ – someone please tell The Red Hot Chili Peppers and U2 to stop making fools of themselves trying, ‘See Emily Play’….the list is looooong), some songs seem written to be personalized, reinterpreted. This is one.

Now Shirley Scott can do no wrong in my small place of the universe. Ever seen a bad picture of her? No.

From the great era when being black and trying to get your hair blond resulted in a beautiful orange do, Shirley Scott was queen. And when she got behind that Hammond B3 in those southern juke joints, it had to be heaven.

Found this, her version of ‘It’s Your Thing’ featuring King Curtis in Cleveland a week or so back. On tour with Matt & Kim not only means I get to watch one of the world’s greatest bands every single night, but also allows me to wander the streets looking for used records after soundcheck.

I didn’t need to go far. Stumbled on this, right there inside the Beachland Ballroom complex (2 live music rooms, 2 additional bars with incredible 7″ jukeboxes plus a hip antique clothing/kitch collectables/ great junk/record shop in the basement). In addition to about one hundred-ish 7″ singles that I struggled back to the bus with (Kim commenting ‘How do you plan to hide these from Corinne?’), this particular one had the additional value of it’s original jukebox tab stapled to the sleeve. I already had the promo back home, but a stock copy with the tab intact was just calling out my name.

Solomon Burke

Monday, July 5th, 2010

Listen: You Can Make It If You Try / Solomon Burke01 You Can Make It If You Try.mp3

A Philadelphia native, and trained in gospel, Solomon Burke had his biggest success during the ’60′s in the south, where they coined his sound ‘river deep country fried buttercream soul’. Who on earth would not want to hear this guy after a description like that?

I found out about Solomon Burke like every other white kid in the day, through the English groups covering all the classic blues and RnB hits. Yes, the originals were right here in my own back yard. Occasionally one of these would slip into the pop stations’ playlists, but not near enough. At the time, I would have probably dismissed the original anyways, preferring all the hepped up excitement of the British Invasion version and how that movement was changing my culture, my haircut and my clothes.

But on further investigation in the early 70′s, it was fantastic to find a whole world of great records yet to own and cherish. The Rolling Stones were clearly Solomon Burke fans, covering a bunch of the songs he had RnB success with. Those covers were spread out over the first 5 US albums including this one ‘You Can Make It If You Try’ (on their debut, ENGLAND’S NEWEST HIT MAKERS). So really, it’s through The Rolling Stones that I discovered him. The flip side of this single is equally great: ‘If You Need Me’, also recorded by them and included on 12 X 5 (as is his ‘Everybody Needs Somebody To Love’). OUT OF OUR HEADS included ‘Cry To Me’, although The Pretty Things’ version is true to Solomon’s exactly.

Listen: The Price / Solomon Burke 01 The Price.mp3

The covers of Solomon Burke’s catalog are many, from Dr. Feelgood’s ‘Stupidity’ to The Herd’s ‘Goodbye Baby (Baby Goodbye)’. So fierce was his vocal bite, that certain songs were just not even tried by others. One such favorite of mine, ‘The Price’, arranged by Northern Soul great Teacho Wilshire and produced by Bert Berns, could certainly have been served well at that time by Janis Joplin or maybe Chris Farlowe, but no other white voices that I know of. Great news: Solomon Burke is still alive. Go see him sing and get ready to lose it.

The Sweet Inspirations

Thursday, June 24th, 2010

Sweet Inspiration / The Sweet Inspirations

Listen: Sweet Inspiration / The Sweet Inspirations
Sweet Inspiration / The Sweet Inspirations

That's How Strong My Love Is / The Sweet Inspirations

Listen: That’s How Strong My Love Is / The Sweet Inspirations
That's How Strong My Love Is / The Sweet Inspirations

Cissy Houston, Lee Warrick with daughters Dee Dee and Dionne Warwick, Judy Clay, Doris Try – they were all members of The Sweet Inspirations at one time or another. Even if you haven’t heard these classics by them – you have heard these voices many times, contributing to endless sessions by Solomon Burke, Wilson Pickett, Aretha Franklin, Esther Phillips, Van Morrison’s ‘Brown Eyed Girl’, The Jimi Hendrix Experience’s ‘Burning Of The Midnight Lamp’, even Elvis. Ahmet Ertegan finally decided in 1967 to record them as their own entity. Not only cutting an initial album, but in a one year window, they recorded three. Their versions of current hits became hits again – this time for themselves: ‘Why (Am I Treated So Bad)’, ‘To Love Somebody’, ‘Unchained Melody’. They really hit pay dirt with The Muscle Shoals Rhythm Section in Alabama during the early months of 1969 – from which these singles come. Their theme song is a classic. And the gospel purity of ‘That’s How Strong My Love Is’ makes for difficult upstaging.

Aretha Franklin

Wednesday, May 12th, 2010

ArethaTakeALook, Aretha Franklin, Columbia, Atlantic, John Hammond

Listen: Take A Look / Aretha Franklin ArethaTakeALook.mp3

It’s well known that Aretha Franklin and her family’s musical beginnings were in Gospel. Yet in early 1960, she signed with John Hammond at Coumbia, a historically well respected A&R executive, but oddly a musical mismatch for Aretha. Despite initially scoring a few semi-hits on the Billboard Pop and RnB Singles charts, those initial results began a slow downward spiral of misjudged A&R song choices, bland jazz leaning arrangements, tiringly safe, and quite frankly, dull results. However, by the end of ’66, with little commercial success in those six years with Columbia, they threw her on the scrapheap, a policy that insensitively continued and in fact grew exponentially during my time there.

As the story goes, desperate for a sound of her own, she signed with Atlantic Records to work with producer Jerry Wexler. By ’67, Aretha Franklin issued her first Atlantic single, ‘I Never Loved a Man (The Way I Love You)’, a blues ballad that eliminated the safe musical stench Columbia forced her way, and introduced listeners to her original Gospel influences. Recorded in Muscle Shoals, Alabama, and produced by Wexler, the song became her true breakthrough single, reaching the Hot 100 Top 10 and holding the #1 spot for seven weeks on Billboard’s R&B Singles chart. In fact, the B-side, “Do Right Woman, Do Right Man”, charted on the R&B side as well, and again introduced a more Gospel element to Franklin’s developing sound. It also set a pattern for ballady bluesy B sides ahead.

Her next single, ‘Respect’, written and originally recorded by Otis Redding, instantly became her signature tune for life, reaching #1 on both the RnB and Pop charts—holding the top spot on the former for a then record eight weeks. In the next eighteen months, she released a number of singles we all know and love: ‘Baby I Love You’, ‘Chain of Fools’, ‘Since You’ve Been Gone’, ‘The House That Jack Built’ and ‘Think’, to name the cream of her early successful, now decidedly upbeat run.

Part of all that fun in the spotlight was, behind the curtain, Columbia’s attempt to ride Atlantic’s successful coat tails by releasing what sure did sound to me like records parallel with her now current sound – from their vaults. Finally, at least, Coumbia was doing some work on her, and doing it pretty well. With just about everyone from the label then now long gone, it’s impossible to ever know if it was astute planning or random desperation.

A first of these, ‘Take A Look’, was a good vault find, and to be fair, probably previously released as an LP track. It was during that summer (’67 – read past post on WMCR to understand) when the little local station, WMCR, was in the full-on groove of giving me all their non-easy listening singles during my regular Friday night visits to their studios. And I ended up loving it, as I did “Ain’t No Way’, B side of ‘Since You’ve Been Gone’ – both interestingly recorded and performed in an almost identical style.

ArethaMockingbird, Aretha Franklin, Jerry Wexler, John Hammond

Listen: Mockingbird / Aretha Franklin ArethaMockingbird.mp3

Despite the play to piggy back onto Atlantic’s marketing spend toward making Aretha Franklin a household name, ‘Mockingbird’ was a great choice on Columbia’s part to compete with, yet actually compliment the groove her hits were in.

Written by Inez & Charlie Foxx, who had a Top 10 of their own with it in ’63, Aretha shined on ‘Mockingbird’. Had it been released at the time, things may have turned out differently. A great song, it did Carly Simon no harm when she took it to #4 in ’74.

ArethaSoulville, Aretha Franklin, Columbia, Atlantic, John Hammond

Listen: Soulville / Aretha Franklin ArethaSoulville.mp3

This was originally an A side Columbia issue (reaching #121) in ’64, then reissued in ’68, coinciding timewise with ‘Think’, where it dragged it’s way to a tired #83. But I admit, I picked up the original as a closeout (it’s pictured above) on it’s title alone. In fact it was to be my first Aretha Franklin single, price: 10¢.

Although Columbia tried issuing a few more 7′s, none charted and basically they retreated, tail between legs.

Archie Bell & The Drells

Sunday, March 28th, 2010

ArchieBellShowdown, Archie Bell & The Drells, Gamble Huff, Atlantic

Listen: (There’s Gonna Be) A Showdown / Archie Bell & The DrellsARchieBellShowdown.mp3

God bless The New York Dolls. They couldn’t have picked a more perfect song to cover. I never heard Archie Bell’s version when it peaked (’69). I just found a copy at a record stall and figured it’d be fun to have. They made a bunch of good singles, but how do you top ‘Tighten Up’?

A very good way to spend 50¢.

Bobby Womack / The J. Geils Band

Friday, March 26th, 2010

JGeilsLookinUKA

Listen: Looking For A Love / The J. Geils Band JGeilsLooking.mp3

I used to pretty much ignore The J. Geils Band during this period, well always if the truth be told. They were a six piece, one too many in my imaginary rule book, and man did they look bad. Endlessly touring, always playing upstate New York, mostly with some up and coming UK band as support. So, I’d go to the show, but usually found my way backstage to talk with said English group, stalking them for obscure info and details while they boogied through their headline set. It was way more exciting to stand in a crowded dressing room talking to Steve Marriott or Phil May than listen to The J. Geils Band’s blues jams.

Now I wish I could have found a way to do both. Eddie & The Hot Rods were big fans, and I started to appreciate them in hindsight. Barrie Masters constantly pestered everyone about them. So now, I can listen and appreciate them a lot more. Please accept my apologies guys, but you did need a visual make over I’m afraid.

BobbyWomackLookinUSA, Bobby Womack, The J. Geils Band, United Artists, Atlantic

BobbyWomackLookin, Bobby Womack, The J. Geils Band, United Artists, Atlantic

Listen: Lookin’ For A Love / Bobby Womack BobbyWomackLookin.mp3

Bobby Womack, on the other hand, was always a favorite. Funny enough, the English group fan in me had a lot to do with that as well. I was very friendly with Rich Fazekas from United Artists’ LA office in the early 70′s, when they had two distinct sounds to their roster: one a bunch of UK bands like The Move, Hawkwind, Brinsley Schwarz and Family; then the other RnB via Ike & Tina Turner, Monk Higgins, Marlena Shaw, Donald Byrd and Bobby Womack.

It was Roger Chapman who cornered me at the label’s LA location on Sunset, giving a stern lecture about both Bill Withers and Bobby Womack. He took me into Marty Cerf’s office and forced several new tracks from Bobby Womack’s then current COMMUNICATION album on me, at the same time recounting he and Family’s first exposure to Bill Wither’s ‘Ain’t No Sunshine’. It was on the car radio somewhere between Houston and Dallas, and they would literally pull over every time it came on, drooling as it played. Being a Family freak, I hung on his every word of advice, hence my initial Bobby Womack crash course and eventual worship.

Stephen Stills – Manassas

Tuesday, March 16th, 2010

StillsAboutTimeUKA, Stephen Stills, Manassas, Atlantic

Listen: Isn’t It About Time / Stephen Stills – Manassas StillsAboutTime.mp3

I play this often, all the more shocking because it’s true. And unlikely. Never a fan of The Buffalo Springfield nor Crosby, Stills & Nash, never followed the family trees of all those Southern California bands – my friends simply do not believe me when I tell them, I love this track.

Pretty sure this was from the very final days of Manassas, having overloaded even the most loyal followers with their debut double album. ‘Isn’t It About Time’, from the follow up, DOWN THE ROAD, is all full of slide guitars, shakers and drums playing bongo patterns. You could safely tag their sound as tasty.

I wrongly assumed this was a Tom Dowd / Criteria Studios creation, as it sits nicely next to the feel of those Derek & The Dominoes records. But lo and behold, it is not.

Seems Chris Hillman was a big contributor to both the production and the band. He’s a bit of an under-sung talent – and always had a good haircut too.

Boney M

Sunday, February 28th, 2010

BoneyMRivers, Boney M, Atlantic, Sire

Listen: Rivers Of Babylon / Boney M BoneyMRiver.mp3

BoneyMBrown Boney M, Atlantic, Sire

Listen: Brown Girl In The Ring / Boney M BoneyMBrownGirl.mp3

If ever there was a double sider, this one qualifies. Probably by accident, Boney M’s massive worldwide success, their cover of The Melodians’ Jamaican hit ‘Rivers Of Babylon’ was coupled with ‘Brown Girl In The Ring’. Who knew? The A side was such a smash in the UK (#1) that even the flip took hold, got played and charted on it’s own right (also #1). It was a time when Boney M could do no wrong, German accents and all, one of many consistent ‘phenomenas’ in England. When they get themselves worked up, they really get themselves worked up.

Boney M was everywhere – and seemingly all walks of musical taste liked them. I know I did.

BoneyMRasputin Boney M, Atlantic, Sire
BoneyMRasputinUSA Boney M, Atlantic, Sire

Rasputin /Boney M BoneyMRasputin.mp3

Their NIGHTFLIGHT TO VENUS album contained both ‘Rivers Of Babylon’ and ‘Brown Girl In The Ring’ as well a bunch of other classics: the title track, a version of The Creation’s ‘Painter Man’, ‘He Was A Steppenwolf’ and ‘Rasputin’ (which became the followup reaching #2). One of those huge selling albums, like we don’t really have much anymore, the ‘Painter Man’ track became a single, charting at #10, a whole year after the double A whammy peaked.

BoneyMPainter, Boney M, The Creation, Atlantic

Painter Man /Boney M BoneyMPainter.mp3

Somewhere in that team, good taste prevailed. Not only did they cover The Creation, they had a go at The Smoke’s ‘My Friend Jack’, Bobby Hebb’s ‘Sunny’, The Yardbirds’ ‘Still I’m Sad’ as well as Dave Dee, Dozy, Beaky, Mick & Tich’s ‘Zabadak’.

Mary Wells

Friday, February 26th, 2010

MaryWellsBeatMeUSA, Mary Wells, Atco, Motown, Oriole
MaryWellsPunchUK, Mary Wells, Atco, Motown, Oriole

Listen: You Beat Me To The Punch / Mary Wells MaryWellsPunch.mp3

I agree with those who say Mary Wells was the first lady of Motown, well if I turn a blind eye to Brenda Holloway, Kim Weston and Tammi Terrell that is. I guess because she had the biggest pop crossover hit out of the bunch with ‘My Guy’ sort of justifies it. Whatever, she had the voice and the presence. There are some fantastic shots of her on various UK album sleeves, and that blond hair dye job turned brassy orange – I just love it.

No question, she and Smokey Robinson were a perfect match and gave her the biggest successes. Same with The Marvelettes. It’s just something about his productions, maybe it’s the drum sound or use of vibes combined with handclaps. Some magic recipe was definitely at work, I never could put my finger on it though.

MaryWellsTwoUSA, Mary Wells, Atco, Motown, Oriole
MaryWellsTwoUKA, Mary Wells, Atco, Motown, Oriole

Listen: Two Lovers / Mary Wells MaryWellsTwoLovers.mp3

Then there’s the lyrical twist, most prevalent on ‘Two Lovers’. It doesn’t get much more clever than this. What happens at the end of this song again, how does the two lovers thing play out? I forget every time.

It’s a drag about the royalty issue that drove Mary Wells from Motown. Once burned, it’s sometimes hard for certain folks to move beyond it – by all counts, that summed up her attitude toward Berry Gordy. And so the downward spiral began.

MaryWellsDearLover, Mary Wells, Atco, Carl Davis
MaryWellsDearLoverUKA, Mary Wells, Atco, Motown, Oriole

Listen: Dear Lover / Mary Wells MaryWellsDearLover.mp3

The fact that ‘Dear Lover’ was substandard compared to any of the Smokey songs, in a way, became the appeal. I do love a struggle to polish up something fairly mediocre in the world of singles and follow-ups. I find it rather interesting, the way all parties involved go through the motions, hoping no one else will notice that it’s actually not very good.

In the case of ‘Dear Lover’, seems producer Carl Davis basically tried copying the Motown sound – unsuccessfully. Is that a description of Northern Soul or what? Exactly the whole point of the genre, making substandard copy attempts glorious in their own way.

Probably the most Northern of any Mary Wells track, it’s absolutely become a favorite.

Mott The Hoople

Saturday, January 23rd, 2010

Honaloochie Boogie / Mott The Hoople

Honaloochie Boogie / Mott The Hoople

Listen: Honaloochie Boogie / Mott The Hoople MottHonaloochieBoogie.mp3

‘Honaloochie Boogie’ was the first record I heard upon arriving in London, June ’73. My Aunt Tess collected me at Heathrow, we went back to hers, where she prepared me a traditional English fry-up, and then went to meet Uncle Mick at the pub. It was playing when we walked in. I was more excited about racing toward the jukebox than catching up with my relatives. Very wrong.

I knew of the single, it was one of many I planned to hear/acquire while there. Things were off to a great start.

Prior, I had really tried to love Mott The Hoople. Those four albums on Atlantic (Island in the UK) were a bit of a struggle for me – they just felt a little prog rock bloated. My roomates loved BRAIN CAPERS, and so did I. Well liked, not loved, that is. Suddenly the stars lined up for Mott and they were working with David Bowie. New sound and new label (CBS). They segued onto the glam bandwagon pretty seamlessly, no easy feat considering they weren’t young or thin or androgynous. Overend Watts, like Chris Squire from Yes, always looked pathetic in crotch high silver platforms and pastel colors. Plus ‘All The Young Dudes’ was, let’s face it, all about Bowie. Most importantly, they were now making singles.

The initial one from the second album, first post Bowie, was this. And it ignited a run of strong, quite fantastic records to follow: ‘Roll Away The Stone’, ‘The Golden Age Of Rock ‘n Roll’, ‘All The Way To Memphis’ to be exact. I guess ‘Honaloochie Boogie’ is the least heard and appreciated. Maybe it was the moment for me – not sure. I can tell you this, along with Wizzard ‘See My Baby Jive’, Thin Lizzy ‘Whiskey In The Jar’ and at least one Slade single, it was on every jukebox in every pub in London that summer.

I had finally arrived in my natural habitat.

Roberta Flack

Monday, January 4th, 2010

RobertaFirstTimeUS, Roberta Flack, Atlantic, Donny Hathaway

RobertaFirstTimeUKA, Roberta Flack, Atlantic, Donny Hathaway

Listen: The First Time Ever I Saw Your Face / Roberta Flack RobertaFirst.mp3

One of the first signs of major label desperation started to reveal itself around ’04. I worked A&R at Columbia, and it was obvious many young, debut acts were being file shared, as opposed to purchased on CD. So the making of new recordings by classic artists became the MO. Bob Dylan and Barbra Streisand were having #1 albums, after struggling to get any real sales blips for years. So Don Ienner, our chairman, suggested we find classic acts who were still relevant – even though most people had forgotten they were….still relevant. Johnny Cash, Neil Diamond, Bette Midler, Burt Bacharach and umm, Wilson Phillips.

I wanted to sign Roberta Flack.

Coincidentally, I had seen her a few weeks prior at B.B. King’s, and she was jawdropping. Voice 100% intact, beautiful and get this – hysterical. Her between song banter was a riot, more like Millie Jackson than the Roberta Flack I expected. We all blushed more than once. First rule: if she plays anywhere near you – GO. You will be knocked out.

I’m convinced I have a great idea and mention this to Vicki Wickham, figuring she may have a contact for Roberta. Sure enough she instructed me to leave it with her. A few days later, I get buzzed “Roberta Flack is on line one”. Holy shit. I pick up meagerly and she says “Kevin, this is Roberta Flack”. I apologetically put her on hold quickly, literally screamed, then went back calmly to proceed with the conversation. What a lovely lady. We talked for ages about making an album, even getting the songs Stevie Wonder had written for her and Donny Hathaway out of storage. She offered to call him, thereby inviting his voice on the potential duets now that Donny was gone. Sounded amazing.

Well Donnie Ienner passed. His gut wasn’t feeling it I suppose.

The major label world is a funny one. When you’re hot, you’re hot. Or when the boss is feeling good about you, your ideas are exciting, if not – there’s no winning. Yet the next guy down the hall can have the same idea and it flies. Who can say where Roberta and I fit in to that time line.

Otis Redding

Sunday, December 27th, 2009

OtisPain, Otis Redding, Volt, Atco, Steve Cropper, Upbeat, The Rolling Stones

Listen: Pain In My Heart / Otis Redding
Pain

Leave it to The Rolling Stones, they turned all us really young white kids on to the great RnB and Soul that was right here at home. Yeah it’s the oldest story in the book, but 100% true. I for one, was completely oblivious to Otis Redding until they came along. And so I started to ask for his records at WMCR, the little adult station near my parent’s house that gave me all their unusable Rock and RnB singles. Unfortunately, most of the labels only serviced them with non-RnB stuff, logically as they were playing Eydie Gorme, Dean Martin and such. Atlantic was an example, so I had to buy the occasional one, if I’d find it that is.

The first time I saw The Rolling Stones, see my Alvin Robinson post, they played this. Can remember it like yesterday. I needed this original and within days….it was mine.

OtisDirect, Otis Redding, Volt, Atco, Steve Cropper, Upbeat, The Rolling Stones

Listen: Direct Me / Otis Redding
Direct

His last known TV performance was on Cleveland’s UPBEAT, a weekly pop show that rivaled any national counterpart, in fact preceeded both SHINDIG and HULLABALOO as well as outlasting them (’64 – ’71). Seems everyone passed through town, probably intentionally to get the coverage. I’ve mentioned the show in previous posts, and without question, even a partial list of performers is pretty impressive.

Well it’s hard to forget seeing that episode, watching Otis Redding, knowing what had just happened asit was never broadcast live) Despite being endlessly respected and always name checked, he’s seldom heard. Oldies radio overplaying ‘(Sittin’ On) The Dock Of The Bay’ is almost an injustice. Despite all his classics, ‘Direct Me’ comes in as my favorite. Co-written with Steve Cropper, it may have been a castoff, but I don’t care. Got it in one of those ten for a dollar boxes. Despite the B side status (‘Papa’s Got A Brand New Bag’ was the A), the single just holds a memorable place in time for me. Woolworth’s, summer ’69.

There wasn’t a bad record in that box, which also included The Pretty Things ‘Cry To Me’.