THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.
I guess you might call them a supergroup. Julien Covey, real name Phil Kinorra, played with Brian Auger in his early days. As well as fronting the band vocally, he also drummed. Amongst it’s members were John Moreshead on guitar, who played with Johnny Kidd & The Pirates, The Shotgun Express and The Ansley Dunbar Retaliation. In addition, the band included Peter Bardens (Them, Camel), Jim Creagan (Blossom Toes, Family) and Dave Mason at various times. Their lone release, ‘A Little Bit Hurt’, was co-written and produced by Jimmy Miller in ’67, who brought along his freshly used prodcution techniques, successful on The Spencer Davis Group’s ‘Gimme Some Lovin” and applied them to The Kinks ‘You Really Got Me’ riff, to help create this now, Northern soul classic, according the Northern soul classic experts.
Between ’64 – ’67, the sound of the Jimmy Smith/Jimmy McGriff hammond B3 was the prevalent connection that bridged hip rock and soul, bringing the jazzy black Flamingo club stuff (Brian Auger & The Trinity, Georgie Fame & The Blue Flames, The Graham Bond Organization) to a more mainstream public, as with The Spencer Davis Group. Jimmy Miller’s production played a part. He worked as house producer for Chris Blackwell then and recorded some successful and some less successful, well commercially for the time that is, singles, like the aforementioned Julien Covey & The Machine track, and ‘Green Door’ by Wynder K. Frog. Although not chart records, they became club hits, and apparently still are to this day, on the Northern circuit, wherever that is.
All the Northern Soul hits from this period, around ’66, sound like baby versions of The Supremes ‘Nothing But Heartaches’. Not that there’s a problem with that idea, you couldn’t find a better parent. Must be that xylophone bit, gives it a signature sound every time.
It’s easy to fall in love with the era as relived through the obscure club music of it’s day. Every time you hear a classic that should’ve been, you want more, a great example of why Northern is so addicting. This one’s of particularly good value for the money, given the record’s a true double sider.
This was actually the original US A side. I first knew ‘Our Love (Is In The Pocket)’ as one of the best tracks from ROUND by The Amen Corner, who were England’s version of Wayne Cochran and The C.C. Riders I guess one could proclaim. Their version indeed did go out as a single in Holland. But little did I know at the time, Darrell Banks had slam dunked this right here at home, in fact, just a town or two away, in Buffalo.
Back in the 70′s, when Howard was still in London, we had a pretty intense record exchange thing going on. This started in the early punk days of ’76. Great records were literally coming out weekly. We’d keep each other up on the latest from the UK and US respectively. Pretty quickly, we were exchanging more than punk though.
This Barbara Randolph record was one such example. Undeservedly, a non hit when originally released by US Motown in ’67, ‘I Got A Feeling’ eventually received exposure in the 70′s via the UK Northern Soul clubs and was reissued a few times as a result. One such time, in ’79, Howard thankfully sent a copy my way. I’d not heard it until then.
On Saturday night night, Vicki Wickham contributed her original A label (above) to my wall shelf. More on her singles to come.
Barbara Randolph was actually a member of The Platters and almost replaced Florence Ballard in The Supremes but word is Diana Ross nixed that. Probably a blessing. Maybe someone from the studio heard her audition and the result was this classic.
Always thought, for the longest time, this was a Mary Wells or Tammi Terrell single. With it’s intentional Motown swing and sound, I vaguely recalled hearing it as a current. And despite it’s somewhat pricey Northern Soul status (a genre loosely defined as Motown soundalikes that flopped), it was actually a US #11 Billboard pop hit.
Forever, ‘Selfish One’ evaded me, until my trip a few weeks back to Detroit. I’d completely forgotten about it’s unfilled slot in my wall shelf.
Great thing about collecting records, there’s always something you need. And when you find it at 94ยข plus tax, that moment of warmth is unbeatable.
When I pulled out a handful of their singles to play over the weekend, my kids asked who was singing.
“Peaches & Herb.”
“Sounds like a new tea choice from Celestial Seasonings.” Man, they can so be quick sometimes.
But most of us know otherwise. Me, I considered them my RnB Sonny & Cher.
Through the years, there was one Herb and several Peaches. Six to be exact. Initially signed to Date Records from ’66 – ’70, it’s former vocalist with The Sweet Things, Francine Day, who took the lead on all the recordings and is admittedly my favorite. Even after her retirement from touring two years in (Marlene Mack from The Jaynetts replaced her live), she remained Peaches in the studio. Every last Peaches & Herb single on the label is a must for any proper collection.
Despite my penchant for Northern Soul, and for Date Records, it’s this later single that is the riot worth posting. Everyone knows it. And once I got the riff into my head this morning, it was unshakeable, for the entire day.
Linda Greene, the third Peaches, indeed does a great vocal on this one.
‘Shake Your Groove Thing’ – think about it. In some ways, the mainstream was much looser twenty or so years ago (Culture Club for example) than now. No matter. The record was massive (#5 US). Did every programmer just turn an blind eye to the lyrics? I guess so.
Listen: (I Love You Babe But) Give Me My Freedom / The Glories GloriesFreedom.mp3
Like a lot of people, I have a soft spot for anything on Date, and Direction for that matter. They were sister US/UK companies and had great A&R. I wish I knew more about The Glories, but really don’t. Most of their stuff is in the Northern groove, so I’m in.
Obviously not a Northern ‘stomper’ as they like to say, but I love any version of ‘Try A Little Tenderness’. Luckily, everyone I know that recorded it had pipes, although Nico or The Flying Lizards would have made interesting listens.
There’s a beautiful trade ad from a ’67 issue of Billboard for this one. Full page. Awesome shot of the girls. Wish my scanner could have handled it’s size. Spun ‘Sing Me A Love Song’ at the Otis Clay show recently – sounded killer through the big speakers
Most times the really successful acts are great, but after they’re pounded into your brain relentlessly, you can go off them a bit. The Beach Boys come to mind and their biggest hits at that. I love ‘California Girls’ but never need to hear it again. Likewise ‘Hey Jude’ or ‘You Can’t Hurry Love’.
So yeah, we all loved The Supremes and The Four Tops too, but those lesser known Motown acts were just as great. Some had the occasional smash, Like Mary Wells or The Marvelettes, yet some just never got near their fair share. Like The Contours.
It’s in hindsight I’ve come to appreciated them. Northern Soul has given a lot of great singles an unexpected success story, if not in big sales at least in big appreciation. ‘Just A Little Misunderstanding’ is one. I heard this on a few of those truly great Northern comps like THE IN CROWD – THE STORY OF NORTHERN SOUL and it’s accompanying must-read book.
My bet: not much was expected when Maggie Bell (Frankie) came to London from Scotland to record ‘I’ll Hold You’ which she’d co-written with Bobby Kerr (Johnny) for UK Decca, and eventually licensed to the US Nashville based Hickory label. Hickory an odd choice admittedly, although they did pick up, with great success, the early Donovan releases as well as a few other British acts.
This was a few years before Maggie Bell joined/formed Stone The Crows and then onto solo releases via Swan Song Records. In that time (around five years) much would change about Maggie Bell, most noticeably her voice which on this recording was quite smooth. Yet by the time she began with Stone The Crows, a rough Janis Joplin quality was well in place.
Wish I had that original Decca or Hickory pressing to post and own, but meanwhile this later Inferno release is doing nicely as a temp. I will find those originals, that I can assure you.
This blog began two years ago with The Ikettes post below. As with SO MANY RECORDS SO LITTLE TIME’s first birthday, on this it’s second – I am re-posting that very first entry, and plan to do it every year to come.
An added bonus this time round is the addition of the single’s B side and accompanying story.
Listen: What’cha Gonna Do / The Ikettes ikettes.mp3
The Ikettes only Phi-Dan release came out in early ’66. This was around the time of Phil Spector’s involvement with Ike & Tina, not just producing, but also including them on his Big TNT Show, filmed in November of ’65. The lineup on this record, courtesy of the fantastic booklet from Ace Records’ recent Ikettes anthology, CAN’T SIT DOWN….’COS IT FEELS SO GOOD, was P. P. Arnold on lead vocals, with Tina, Brenda Holloway and her sister Patrice on backgrounds. I’m launching this blog with The Ikettes simply because it’s a record I’m currently nuts about. Actually, right now, I’m in a serious Ikettes phase, fueled by the aforementioned CD. I was in London last week with Matt & Kim, and staying with Roger Armstrong, a great friend who founded Ace. It was one of the discs he gave me, and I just poured over the booklet on the entire flight back home to New York. The CD is a must. And also try finding the single (the CD only draws from their releases on Modern Records). As you can hear, it’ll be worth the search. I picked it up off eBay a few months back having no idea it had existed. $65 later, it’s one of those great moments when you realize there’s always something else to add to the collection.
On May 16th – just last week, I had the shocking honor of receiving an email from Rose Smith aka Rose Ikette. Rose, along with Pat Arnold (P. P. Arnold) were in the ’65 – ’66 lineup of the Ike & Tina Turner Revue featuring The Ikettes.
Rose had found the blog while searching for a copy of ‘What’cha Gonna Do’ and it’s flipside ‘Down Down’. She was at these sessions and as it turns out, does the lead vocal on ‘Down Down’.
What a fantastic song, it feels very gospel, almost religious. Apparently getting some decent airplay on LA soul radio at the time of release, Rose hadn’t heard it for years. I sent her an mp3 of the track, and we plan to talk, later today in fact. How’s that for a coincidence? She has kindly promised to share many details about the period, lineup, various sessions and her infamous trip to the UK when they shared a tour with The Rolling Stones. Pat never came back, but instead became P. P. Arnold, signed to Immediate and had a decent run of UK hits. Rose also hung around London long enough to contribute some vocals on various Immediate singles as well.
Meanwhile, here’s ‘Down Down’, with Rose and The Ikettes.
Using the title, ‘Can’t Shake It Loose’, to describe how you feel after the first few listens would be a little ‘done before’. This time there’s coincidentally no better way to say it that I can think of.
Turns out ‘Can’t Shake It Loose’ was Pat Lewis’ very first single as a solo artist. I stumbled on it at a record treasure trove that doubled as a junk store in Brooklyn. It led me to pick up anything I’d find by her through the years, every last one a monster Northern track. That process all began in the late 90′s.
I’ll tell you she was an early Motown backup singer and guess what, has a Facebook page with the most incredible bio. Do yourself a favor – go there. Everyone of you will find out you’ve got Pat Lewis’ voice all over your music collection.
Finding the singles is not an easy or cheap process, but well, well worth it.
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.
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.
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.
She made good pop records with Blue Mink in the late 60′s/early 70′s as one of their two lead singers (songwriter Roger Cook was the other). Anyone into the happening music of the day would turn their nose to them, preferring prog or glam; writing off mainstream radio music as with every generation. Their ‘By The Devil I Was Tempted’ is a great period piece and sounds fine still.
‘Randy’ was a summer ’73 UK smash, it was always on the radio, and I vividly remember it blaring out of the market stalls on Wardour and Rupert Street while trolling for records.
Before, during and after the Blue Mink run, Madeline Bell continually released her own solo stuff which soul nuts seem to appreciate, although most of those singles were heavily A&R’d with attempts at pop/RnB crossover. A cult artist she was not being tailored into. In the end, that’s what she became. Partially due to her lack of any chart hits, (‘I’m Gonna Make You Love Me’ was a Top 40 success here in the US), for being a backup voice on many a Dusty Springfield record (and Dusty on hers); but mainly for ‘Picture Me Gone’ which became a Northern Soul collectable. A few others recorded it, but her’s became the official version. It was actually relegated to the B side of ‘I’m Gonna Make You Love Me’ in America. Most US shops have no idea it’s valuable, therefore plan to find it for $1 or so. I did that just the other day at Academy here in New York, and this one probably brings the number of copies within 1000 feet of me to ten.
A nice one to have on Vee Jay, but even nicer on UK Fontana. A Northern Soul classic, a Mod favorite, lot’s of descriptions have been pinned on this baby. Part of a healthy chart run in ’65 – she had five BILLBOARD Top 100′s. Pretty much all of her Vee Jay output is worth having. Good songs, most of them have been covered too. This one’s a perfect snapshot of the time period’s all nighter club ambience. Best left alone, kinda like ‘Be My Baby’.
Listen: Gin House Blues / The Amen Corner AmenGin.mp3
Listen: The World Of Broken Hearts / The Amen Corner AmenWorld.mp3
Listen: High In The Sky / The Amen Corner AmenHigh.mp3
It’s interesting that despite today’s technology, and all the immediacy of it, things in 1967 were happening pretty fast too. ‘Gin House Blues’, released on July 21 (according to the above hand written test pressing) actually charted 6 days later on July 26, peaking at #12. Almost as unlikely a mainstream hit, it’s followup, ‘The World Of Broken Hearts’ spent six weeks in the UK Top 50, reaching #24. Singer Andy Fairweather Low’s strangled delivery didn’t initially appear to have mass appeal, but subsequent singles, like the near US hit ‘High In The Sky’ proved otherwise. Indeed, The Amen Corner took Roy Wood’s (should-have-been-a-single for his band The Move) ‘Hello Suzie’, to a UK #1 in ’69, the band having left Deram for Immediate by then. Their album only (except in Holland) version of The Soul Survivors’ hit, ‘Expressway To Your Heart’, apparently became a much played track in the Northern Soul clubs.
For the record, let me share some factual information: all promotional A labels from UK Decca and it’s subsidiaries (Deram, London, etc), up until mid-’69, were shipped in white sleeves. As tempted as you may be to put a company stock bag on them – it’s just not correct. Hence, any of the records I post in white sleeves are there for authenticity. The UK promo of ‘The World Of Broken Hearts’ pictured above is the ’69 reissue, by then being shipped in the Deram company sleeve. Oh, in the US, Deram promo singles shipped in Deram sleeves by the label’s second release (The Move ‘Night Of Fear’). Only the very first US Deram promo 7″ (Beverley ‘Happy New Year’) came in a plain brown sleeve. What can I say, I am completely obsessed with having my records in their correct covers.
Listen: What’cha Gonna Do / The Ikettes Ikettes.mp3
May 24, 2009: one year since the launch of and first ever post on SO MANY RECORDS, SO LITTLE TIME.
What better way to celebrate the occasion than:
1) Improve the blog by creating expansion abilities to include new features over the next few months. And to achieve that, we’re moving to our own .com (bookmark this new address please):
2) Re-post that original entry from May 24, 2008. The Ikettes / What’cha Gonna Do (music above/text below)
3) Take a week off. Never one to sit still, I’m going to Europe with Matt & Kim – and also acquiring one sick ass 45 collection in London – lots of amazing new records to write about as a result. My dear friend, and ska/reggae expert/addict Duane Sherwood will be filling in for the next week or so. Watch for his first post tomorrow!!!!
ORIGINAL POST FROM MAY 24, 2008:
The Ikettes only Phi-Dan release came out in early ’66. This was around the time of Phil Spector’s involvement with Ike & Tina, not just producing, but also including them on his Big TNT Show, filmed in November of ’65. The lineup on this record, courtesy of the fantastic booklet from Ace Records recent Ikettes anthology, CAN’T SIT DOWN….’COS IT FEELS SO GOOD, was PP Arnold on lead vocals, with Tina, Brenda Holloway and her sister Patrice on backgrounds. I’m launching this blog with The Ikettes simply because it’s a record I’m currently nuts about. Actually, right now, I’m in a serious Ikettes phase, fueled by the aforementioned CD. I was in London last week with Matt & Kim, and staying with Roger Armstrong, a great friend who founded and owns Ace. It was one of the discs he gave me, and I just poured over the booklet on the entire flight back home to New York. The CD is a must. And also try finding this single (the CD only draws from their releases on Modern Records). As you can hear, it’ll be worth the search. I picked it up off eBay a few months back having had no idea it existed. $65 later, it’s one of those great moments when you realize there’s always something else that needs to be added to the collection.
Seems the labels had a stable of in-house producers back in the 60′s. And many times they’d be given the new signings to whip into shape, and record in those infamous four or six hour windows. I’m guessing these producers were either on staff, or had production deals, similar to today’s consultancies. People like Denny Cordell and Mike Hurst come to mind, as does Wayne Bickerton.
I first noticed his name on Decca and Deram releases. A very favorite was ‘The Muffin Man’ by World Of Oz. It got a lot of Top 40 play in the US for a few weeks during summer ’68. Years later, in the Notting Hill Record & Tape Exchange, I stumbled on a copy with this very rare UK sleeve pictured above. My heart just about stopped. I’d no idea it existed as it’s not mentioned in any of the price guides and I’d never seen another. ‘The Muffin Man’ was part of their rather lavish album, lavish for the time that is, apparently requiring a huge budget. I was lucky enough to meet Wayne about four years ago on a New York trip, and meant to ask that budget detail. I had many questions, and he was fantastic about filling in so many blanks, but that one slipped my mind. Always an admirer of his work, it was a fascinating hour or two.
Although an original member of The Drifters, Clyde McPhatter oddly moved to England, and even odder, signed to Deram. Come on, The Drifters were the definition of Harlem Doo Wop and such. Why did this guy pick up and go to London? Was he a closet Anglophile? Luckily, Wayne Bickerton was put in charge and produced his Northern Soul hit ‘Baby You’ve Got It’. Applying his trademark orchestration, the song became Clyde McPhatter’s strongest single ever.
Occasionally I hear The Rubettes ‘Sugar Baby Love’ and it jumps out every time. A perfect combination of glam and maybe doo wop meets Four Seasons or something. Not only did he produce it, but co-wrote the song as well.
This is one of those records you heard a bunch for about 4 months, then never again – ever, until Northern Soul thankfully came along. It was probably a token RnB single, that somehow crossed into pop despite being on the small LA label, Mirwood. Not sure how those things happened back then but they did. Anyways it was danceable, which probably helped. He was one half of Bob & Earl (see an earlier post on them) – Earl to be exact – under an assumed name: Jackie Lee, but only for this brief solo run.
I know very little about Marsha Gee. Actually, I know nothing about her. I got this record from a radio station PD in ’79. The said station, WSAY, had an extensive record library that was simply off limits to everyone but employees from the ’60′s onwards.
When the original owner decided to sell and leave the staff high and dry, that music director decided to take care of a few of the nice promotion people he had dealt with over the years. Luckily I was one and he brought round two huge burlap bags full of 7″ singles to my place one spring day.
It was a selection never to forget. And this record by Marsha Gee was one of them. I always loved it, little did I know it was Northern Soul waiting to be. To be honest, I truly always had a hunch it was valuable and now, if and when it goes up for sale, the ticket clocks in around $300. But as Duane has told me many times, that doesn’t mean any money in the bank for me. You see, I can’t part with a thing, making all this stuff basically worthles until I croak of course, which I have no plans on doing for another hundred years.
