Listen: You Can’t Do That / Doris Willingham
You Can't Do That / Doris Willingham

The future Doris Duke, best known for many Swamp Dogg associations, started her recording career as Doris Willingham. Signing to the newly formed Jay Boy, ‘You Can’t Do That’ became her second single in two years, released early ’68. It’s a cherished record for both London, who distributed this first Jay Boy release, and Northern collectors, like myself for starters.

Produced by Richard Tee in his early days. Despite finding his professional footing in jazz by the mid 70′s, back in ’68, he was running with the likes Shirley Scott, Esther Phillips, King Curtis and drummer Bernard ‘Pretty’ Purdie, whose production company this single was made for.

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

Listen: Home Is Where The Hatred Is / Esther Phillips EstherHatred.mp3

It would be foolish to discount Gil Scott-Heron’s own version of ‘Home Is Where The Hatred Is’, being a signature track on his REVOLUTION WILL NOT BE TELEVISED album, for any other. But if ever there was as vital a rendition to compliment the original, Esther Phillips’ has to be considered an absolute prize winner. Creed Taylor’s immaculate production, no doubt made all the more powerful via Pee Wee Ellis’ fantastic arrangements, embodies the image of heroin ridden Harlem projects or Watts tenements.

Esther Phillips deservedly had more than one career comeback starting in the 50′s, but her 70′s CTI period might just be proof that you never, ever know what can happen if you continue to make great records.