Certain recent
releases have restored my faith in the survival of real soul music. Below
you’ll find reviews of at least four of them, excellent CDs by the Bo-Keys,
William Bell, Eddie Levert and Will Downing. The feature artist
this time is none other than Percy Wiggins, the Bo-Keys’ vocalist these
days. In the latter part of the column, along with a couple of southern soul
CDs, there are many retro compilations reviewed, and one book on Kenny
Hamber, too.
How about a
mixture of good country music with soul flavour, actual soul sounds and various
other styles with a leaning to pop music? What if highly-professional Memphis
musicians were in charge and the lead vocalist was one of the southern soul
legends from the 1960s? You’ve got it! Heataches by the Number (OVCD-172;
www.omnivorerecordings.com) by the
Bo-Keys was released this spring, and one Percy Wiggins is on lead
vocals. Produced by the leader of the six-strong Bo-Keys and their bass
player, Scott Bomar, the set was recorded at www.electraphonicrecording.com
in Memphis.
Percy Wiggins:
“Scott Bomar picked primarily the songs along with me. We went through
approximately 75 songs. He also gave me some original songs and asked me to
select some that I might like. Our trumpet player, Marc Franklin,
selected one song, Wasted Days and Wasted Nights, and I picked Heartaches
by the Number, Set Me Free, I’m So Lonesome I Could Cry and I Threw It
All Away.” Almost all of Percy’s selections are rooted in country music.
“I like country music, and as a result of that Scott Bomar said ‘you know, I
think it would be a good idea, if we would do a country album with a blues
flavour’, so we went into the studio, and it all came together.”
“All the horn
arrangements were done by our trumpet player, Marc Franklin. Scott and I would
work the songs up in the studio, and I was just trying to put my own feel into
them.”
LEARNED MY LESSON IN LOVE
The title tune, Heartaches
by the Number, is Harlan Howard’s song, which turned into a # 1 pop
hit for Guy Mitchell in 1959. On the Bo-Keys’ brassy and swinging
version at a walking pace Don Bryant is the guest vocalist. “We had
already recorded the songs but we hadn’t mixed them down yet, when I had a
heart attack. I had to have a triple by-pass, because I had a lot of
blockage. I stayed in the hospital for fifteen days, and while I was there
Scott Bomar said ‘how about me putting Don Bryant on there to do a duet’, so
Don sang in spots with me.”
Claude
“Curly” Putman’s country song Set Me Free derives from 1967. Percy
remembers listening to Charlie Rich’s version, while many of us may
remember also Esther Phillips’ small hit on the same song in 1970 with the
Dixie Flyers on Atlantic.
I’m So
Lonesome I Could Cry and The Longer You Wait were written by Hank
Williams and Merle Haggard, respectively, and especially on the
former one Percy’s delivery grows quite emotional towards the end. “I like
Hank Williams and Merle Haggard, both of them. I didn’t know Merle Haggard was
such a great guitarist as he was. I like his style. We did several other
country songs that are not on the album.”
Bob Dylan’s
1969 song I Threw It All Away comes out as a melancholic, big ballad,
whereas one of the two new songs on the set, Learned My Lesson In Love –
written by Scott, Percy, Marc Franklin and Howard Grimes – sounds like
one of those mid-tempo hits from the golden Hi period that Syl Johnson could
have recorded. It’s a very catchy and soulful number, and they’ve also
recently released a video on it.
In 1971 on
Mankind Freddie North had a hit with the Jerry Williams, Jr./Gary
Bonds tune titled She’s All I Got, and here the Masqueraders are
backing Percy up. “Freddie North was out of Nashville, Tennessee. Freddie and
I go way back. We used to sing at the same nightclub in Nashville, New Era
Club. I remember when Freddie recorded that song. He’s in the ministry now.
The Masqueraders had been doing some background vocals for some of the artists
that Scott had been recording in the studio. As a matter of fact, they did
some background vocals behind my brother Spencer. Scott got them to do
the background behind that particular song, along with two ladies”, Susan
Marshall and Reba Russell (www.soulexpress.net/masqueraders_story.htm).
Scott wrote a
very melodic and poppy, Mexican type of a ditty called I Hope You Find What
You’re Looking For – “I like the feel on that” – while Wasted Days and
Wasted Nights sounds like a New Orleans, Fats Domino kind of a laid-back
song, but it was a top-ten hit for the Texas-born Freddie Fender in
1975, which is quite amazing considering that it was originally released in
1959. “The trumpet player liked that ‘hey, why don’t we try doing that’.” The
closing song is a slow instrumental, a version of Floyd Cramer’s 1960
hit, Last Dance. “Our guitar player, Joe Restivo, suggested the
instrumental Last Date on our CD.”
“We did a new
video about a month ago. We were down in Muscle Shoals, Alabama, and we did a
program for ‘Muscle Shoals to Music Row Live!’ that was also videotaped. We did
in total 18 songs.” In that 1h 35 min concert Percy was backed by Scott
Thompson on trumpet, Kirk Smothers on tenor sax, Joe Restivo on
lead guitar, Archie Turner on keyboard, Howard Grimeson drums
and Scott Bomar on bass. All these Bo-Keys members play also on this new CD.
THE PARKERAIRES
Percy R. Wiggins
was born in Memphis on September the 20th in 1943. “We had happy
days. We weren’t rich, but we never did lack anything. We maintained a
healthy life. I had a happy time growing up.” Already at six years old Percy
started singing in a church choir practically with his whole family – parents,
four brothers and two sisters. “We sang at the New Friendship Baptist Church.
We were the Southern Wonder Juniors.”
From the mid-50s
till the early 60s Percy was engaged in his second gospel outfit. “With my
brother Spencer and sister Maxine we formulated a gospel group along
with two other ladies. We were the New Rival Gospel Singers, and we had
a 15-minute spot on WDIA radio station. My baby sister Mary sings also,
and my daughter and my granddaughter.”
“I was thirteen
years old, when Charles Parker formulated a group called the
Parkeraires. It consisted of Charles, Spencer, myself, a guy named J.L.
Summers and Napoleon Brown was the pianist. Charles was one of the
three lead singers, and my brother Spencer and I also led songs.”
Percy went first
to Porter Junior High, and after that to Booker T. Washington High. “All the
original Bar-Kays went to Porter Junior High. They were all behind me,
however, but I knew all of them. Spencer and I graduated at the same time. David
Porter was in our class also. He graduated with me. Maurice White and
Homer Banks graduated with me as well. Booker T. Jones was a
year behind me. Andrew Love of the Memphis Horns graduated two
years ahead of me. In high school I used to hang out a lot with David Porter
and a guy named Tyrone Smith. He’s in Nashville now. We had a group in
high school called the Four Stars. It consisted of David Porter, Tyrone
Smith, Spencer and myself. We took part in a bunch of talent shows.”
At the end of
the 1950s there was also another secular group called the Five T’s.
“That group came out of a group called WDIA Teentown Singers. It consisted
of students in all high schools throughout the city of Memphis. In the Five
T’s there were Marvell Thomas, Tyrone Smith, Spencer and myself, and a
guy named John Ray Bonson.”
Percy and
Spencer graduated in 1961. Spencer stayed in Memphis, and Percy went to
Tennessee State University in Nashville, where again he surrounded himself with
music. “I was in the university choir, I was in the Concert Singers,
and I was also in TSU men’s glee club. We travelled quite a bit.” Alongside
his studies, Percy gigged a lot locally those days.
BOOK OF MEMORIES
“A guitarist by
the name of Larry Lee is from Memphis, but I met him in Nashville. He
introduced me to the guy that became our manager, Jerry Crutchfield.”
Born in 1934, Jerry Crutchfield became one of the biggest producers and
songwriters in country music, but he has won awards also in pop and gospel
genres. Some of the artists he has worked with include Dave Loggins, the
Hemphills, Tanya Tucker, Glen Campbell and Brenda Lee. “I’ve been
trying to locate Jerry every time I go to Nashville, but I haven’t had any
luck.”
For Percy’s
first single release in 1966 Jerry negotiated a deal with the RCA Records. Written
and produced by Jerry and recorded at Owen Bradley’s studio named
Bradley’s Barn, The Work of a Woman (RCA 8915)is a beautiful
southern soul ballad. Backed with Sam Huff’s melodic light dancer
entitled It Didn’t Take Much (for me to fall in Love) – a later northern
soul favourite – the single, however, flopped. “They really didn’t promote it
as well as it should have been. On It Didn’t Take Much I had a group
backing me called the Spidells. Jerry would manage that group, too.”
Formed in 1962, the line-up of the Spidells was James Earl Smith, Nathaniel
Shelton, Lee Roy Cunningham, William Lockridge and Michael Young.
They also cut
some other songs on Percy those days, which unfortunately stayed in the can. “I
think there were four. One of the songs was called Find out What’s
Happening, which Lou Rawls also cut.” Lou’s version came out in
1966, but already two years earlier the Spidells had released it as their first
single on Monza 1122. Among others, Elvis cut the song in 1973.
Next Jerry took
Percy to Atlantic’s subsidiary, Atco Records. In 1967 they released a
beautiful, country-tinged ballad called Book of Memories (Atco 6479),
which was written by Randie Evretts and covered by Clyde McPhatter three
years later. “I got an opportunity to do several gigs with that. I got a
chance to do shows with a lot of artists at that time. I worked with Percy
Sledge, Gene Chandler, the Five Stairsteps, a group called the Intruders
out of Philadelphia, Jr. Walker & the All Stars, the Flamingos,
Oscar Toney Jr...” Produced by Jerry and backed with a scorcher titled Can’t
Find Nobody (to Take Your Place) – co-written by Larry Lee – unfortunately
also this single failed to crack the charts.
FOR SENTIMENTAL REASONS
Still the same
year a plaintive, deep southern downtempo song named They Don’t Know (Atco
6520) was put out as a follow-up. As well as its predecessor, it was produced
by Jerry and arranged by Harrison Calloway. “Harrison Calloway was a
student at Tennessee State University and he was in a marching band, when I was
a student there. We did some gigs in Nashville together. He did the
arrangements on my early recordings at Bradley’s Barn. He passed away not long
ago.”
On the flip they
placed Percy’s interpretation of the familiar (I Love You) For
Sentimental Reasons. “That was my idea. Sam Cooke was really one
of my idols, and he had recorded that. As a matter of fact, several people
have recorded it. I did a monologue on the front end of it.” Percy still
names Marvin Gaye and Curtis Mayfield andthe Impressions as
his other big favourites. According to Percy, unlike with RCA, there aren’t
any vaulted Atco tracks on him.
Percy graduated
from the university in 1968 and became a teacher at Booker T. in Memphis. “I
taught English and I also taught night school, Speech 1 and 2.” His next
single was released in April 1969 on A-Bet Records. “A-Bet was the subsidiary
of Nashboro out of Nashville.” Recorded already earlier at Bradley’s Barn, Look
What I’ve done (to My Baby) (A-Bet 9434)is again a simple
southern soul ballad, written and produced by Jerry. That’s loving You on
the flip is a dancer. “We were trying to develop a Motown sound.”
Percy’s fifth
single appeared again on the RCA records. (You Make Me Feel Like) Singing
a Song and Love Is a Wonderful Thing (RCA 9838) are two uptempo
songs that were put out in April 1970. “I cut those songs in 1969.” Written
and co-produced by Jerry with Danny Davis, they were recorded at RCA
Studios in Nashville. Again, the single can be classified as “a no show” on
the charts.
In 1971 Percy switched
over to insurance business. “First the name of the company was National Life
and Accident, but we were bought out by American General. In later years we
eventually were bought out by AIG (American International Group). I worked
with them for about 36 years, and all the while I was doing the music thing on
the side. I was doing it on weekends primarily. I was freelancing with
different bands at that time. My job transferred me to Chicago, so I was there
for eight years and worked with local artists there.”
PERFECT GENTLEMEN
Ben Cauley (1947-2015)
is one of the originators of the Bar-Kays and the only surviving member in the
plane accident in 1967 that took also Otis Redding down. As Percy’s
next record, they cut a duet, The Lord Delivered Me / That’s Heaven
to Me on Cauley Records (3890). The uptempo plug side was written by Ben
and David M. Doyle already in 1985. “Ben and I did that back in 1989.
He had a studio in his home, and we cut that in his studio. That’s Heaven to
Me had been done by Sam Cooke and Bobby Womack.”
As Percy noted
above, he was freelancing with different bands, but mostly he worked with the Hi
Rhythm. “I believe it was 1973, when I started working with them.” In
1992 under the name of the Hodges Brothers/Hi Rhythm they released a CD
entitled Perfect Gentlemen on Velvet Records (VR-CD.001). “That was Teenie
Hodges’ label. I sang the title cut on that album, and the other songs I
sang on there were Say Something, Best in Town, Now You See Me, Now You
Don’t and If That’s What You Want. Those were the five songs that I
did the lead singing on.”
The Bo-Keys were
formed in 1998. Scott Bomar writes on their website at www.thebokeys.com that “one of the main
reasons I started the band is that there were a lot of great musicians from the
golden era of Memphis soul who weren’t really getting the work or attention
they deserve. Stax, Hi Records and American Studios all shut down, and the
amazing musicians who were part of those studio bands either moved or stayed in
Memphis, languishing in obscurity for the most part. I wanted people to know
that those players and that sound were still alive and well.” The first album,
The Royal Sessions, was released in 2004.
Percy: “I’ve
been with the Bo-Keys for about five years. Howard Grimes was the drummer with
the Hi Rhythm group and he was also a studio musician with Hi Records. He
played on all of them – Al Green, Syl Johnson, Otis Clay, Ann
Peebles, O.V. Wright... Howard was with the Bo-Keys, and they needed a
vocalist. Periodically Ben Cauley and sometimes Charles “Skip” Pitts would
sing with them. Howard Grimes was telling Scott Bomar about me, and he knew
me, because I had sung at Scott’s wedding with the Hi Rhythm group. I sang on
one of their gigs, and the rest of it is history.”
DARK END OF THE STREET
Percy leads on
one energetic dancer on the Bo-Keys’ second album, Got to Get Back, in
2011. “That song, Catch this Teardrop, was recorded years ago by the
5 Royales” (in 1962 on ABC). Other guests on the set include Otis
Clay and William Bell and Charlie Musselwhite.
Prior to Heartaches
by the Number, the third album by the Bo-Keys, the group and Percy had
released six single and EP sides. Writing on the Wall is an Al Green
type of a mid-tempo number. “That song was selected for the TV movie series
called Scandal.” I’m Still in Need is an emotive southern soul ballad.
“I’m Still in Need was in a movie called Grudge Match, which features Kevin
Hart, Robert De Niro and Sylvester Stallone.”
“Dark End of
the Street – Spencer and I did that as a duet. That’s an old James Carr
song. With James we grew up in the same neighbourhood. He was a nice guy
and a good basketball player, too.”
Deep River is
another slow and deep ballad. “It was cut in a building in Memphis called
Molly Fontaine. It was done on a vintage tape recorder that records and plays
track 45 rpm, 33 1/3 and 78 speeds.” The fifth song, I Need You More than
One Lifetime, is a funky number. “Scott and I wrote that song along with
Marc Franklin and Howard Grimes. Then we did a song Stuck in the Middle
with you for a disc jockey at the WFMU radio station in New York. We did
that in 2012 for fund-raising. The DJ chose that song for us to do. That song
was a 2-million seller by Stealers Wheel” (in 1972).
“Next I’m
anticipating on going back into the studio putting some other songs down with
the Bo-Keys. We anticipate on going abroad again.” Percy came to Europe for
the first time in mid-1960s, and more recently he and Spencer performed at the
Cleethorpes Weekender in the U.K. in 2010 and together with the Bo-Keys at the
Porretta Soul Music Festival in Italy in 2012.
“With the rhythm
& blues music of today I think a lot of it is not right. We had true
authentic horns. A lot of the horn lines and stuff that are played today are
coming through synthesizers. They play horn lines on keyboards rather than
actual horns, actual strings. But the music is fine, I guess. It has to
change a little bit with the time. I like all genres of music, including
country. I’m glad we decided to do some of that on our CD. I hope Heartaches
by the Number is a successful project.”
(Interviews
conducted on August 4 and 5 in 2016; acknowledgements to Percy Wiggins, Scott
Bomar, Tim Bernett; Colin Dilnot and David Cole).
You really don’t
need me to tell you what a great record this is, do you? This Is Where I
Live (Stax, STX-38939-02; www.concordmusicgroup.com;
notes by Peter Guralnick) has been praised in all the reviews I’ve seen
so far and there have been many interviews with Mr. Bell on many forums. What
causes this excitement? My theory is that people just long to hear basic and
honest music with good melodies, soulful singing and real live musicians creating
the sound – all in a warm and peaceful atmosphere. There’s also the nostalgic
detail that the CD was released on the relaunched Stax label.
John
Leventhal produced and arranged the set. He also plays many instruments on
it and he co-wrote with William nine new songs for the CD, with a little help from
Marc Cohn mostly. The tenth new song, an intimate and melodic ballad
called Walking on a Tightrope, John co-wrote with his wife, Rosanne
Cash.
There are also
two songs that we know from the past. William gets close to country-rock on
his version of Born under a Bad Sign, which he co-wrote with Booker
T. Jones for Albert King in 1967. Jesse Winchester’s All
Your Stories derives from 1972 and here we can enjoy a simple and acoustic
interpretation of this pretty ballad.
Poison in the
Well is a rolling mover and This Is Where I Live is an
autobiographical uptempo number. The mid-tempo Mississippi Arkansas Bridge could
come out of Joe South’s swamp songbook, whereas another mid-tempo
number, More Rooms, carries a more plaintive story.
With melodic,
laid-back, “vintage” ballads we trespass on William Bell’s private territory.
Such beautiful and smooth songs as The Three of Me, The House Always Wins, I
Will Take Care of You and All the Things You Can’t Remember bear a
remote resemblance to gems like I Forgot to Be Your Lover and You
Never Miss Your Water. The music on This Is Where I Live is
unashamedly a throwback to the classic soul music period (www.williambell.com). I’m really happy
for this resurgent interest in William’s career. If you wish, you can read the
complete William Bell story at http://www.soulexpress.net/williambell.htm.
Eddie is one of
the most powerful vocalists in soul music and his recording history goes back
the amazing fifty-five years. Did I Make You Go Ooh (Nayr
Entertainment; www.eddiewlevert.com)
is his second solo set after I Still Have It four years ago, and there’s
also a new O’Jays CD in the pipeline.
Rich and full
orchestration is created by authentic rhythm section together with horns and
strings, and on some of the six uptempo tracks the drive gets almost too wild
for me like on the rocky and “banging” Bang the Walls. Say It Ain’t
so is a lighter toe-tapper, while The Big Groove is a beater about
stupid people and similarly Shit Starter can be considered as some sort
of social commentary. The mid-tempo My Heart Don’t Lie introduces lighter
Caribbean elements.
However, those
pleading big ballads stand out for me. The title song is a sensual love call
and That’s the Way Love Is is a very melodic, slowly swaying number.
Two most emotive and impressive tracks are the sorrowful I Let Go and
the cream cut, the beautiful and touching How Much More Love. It took
me three or four spins before the CD really sank in, but now it firmly sits up
there among the top records of the year.
Equally
fascinating although musically almost at the other end of our genre, Will
Downing alias “The Prince of Sophisticated Soul” has released Black
Pearls (www.shanachie.com,
5832), a collection of ten songs made famous by soulful ladies. Initially Will
thought of covering his favourite Phyllis Hyman song, Meet Me on the
Moon, but soon the idea grew from one song into a whole album, or – as Will
writes in the notes – “thanks to my musical inspirations: Jean Carn, Randy
Crawford, Phyllis Hyman, Chaka Khan, the Emotions, Deniece Williams,
Angela Winbush, Brenda Russell, Oleta Adams, Cherelle & the Jones Girls.”
Basic tracks by
a live rhythm section are sweetened by authentic horns and either New York or
Chicago Strings, and all these familiar songs are cleverly arranged to suit
Will’s style. There are two mid-tempo (Nights over Egypt and Don’t
Let It Go to Your Head) and one uptempo number (Street Life), and
the rest seven are atmospheric slow songs. Personal favourites include Get
Here and Black Butterfly. Black Pearls is another
high-class CD from Will, and in describing his music again I have to use such
adjectives as elegant, smooth and intimate (www.willdowning.com).
Adrienne
Ervin is a 36-year-old native of Jackson, Mississippi, who possesses a high
and clear voice with a slightly smoky vibrato, which gives her instrument an
exciting tone. She uses the show-name Adrena, and a couple of months
ago she released her second CD, Better Days
(Bone40records/Productions), which was cut at Royal Studios in Memphis,
Tennessee. Lawrence “Boo” Mitchell co-produced, engineered and mixed
the set, Larry Nix mastered it and among the musicians you can spot such
familiar names as Lester Snell on piano, Michael Toles on guitar,
Ray Griffin on bass and Steve Potts on drums. The 4-piece Royal
Horns consists of Lannie MCMillian, Marc Franklin, Jim Spake and Kirk
Smothers – in other words, as organic as it can get!
We have a tie,
5-5, between dancers & party songs and slower material. Luther Lackey co-wrote
two of the uptempo tracks, including an easy roller called Broke Man.
On the downtempo front the ones that stood out for me were the soft and pretty Ready
to Love, the “jazz-loungy” JoAnn and the melancholic He Won’t
Leave. I sincerely wish Adrena still “better days” ahead!
The prolific Ms.
Jody’s 11th CD with new material is titled I Got the
Feeling (ECD 1167; www.eckorecords.com),
and - besides producing - John Ward also co-wrote all twelve songs on
it. Ms. Jody herself co-wrote three, Henderson Thigpen as many as five
and John Cummings with Leo Johnson two. In fact, in her notes
Ms. Jody thanks her “long time Manager and bass player Leo Johnson for his
guidance and help throughout the years.”
Similarly to her
preceding CD, Ms. Jody aka Vertie Joanne Delapaz concentrates on party music
with such easy and delightfully effortless tracks as There’s a Party Goin’
on, Come on and It’s Too Late to Do Right Now. She even goes Cajun
on the quick-tempo Zydeco Rodeo and borrows Caribbean beat for Don’t
Back up off It.
There are three
slow songs on display, but as a new and alarming element they have introduced
voice-distorting filters for background vocals, which I simply hate and which
become even more loud and clear on ballads. That’s why the only downtempo song
I’ll be listening to in the future on this CD is I’m Tired of Being a
Secret, because there are no background vocals on it.
Four years after
The Fame Recordings, we are now presented with Dan Penn: Close to
Me – More Fame Recordings (CDCHD 1477; www.acerecords.com; 24 tracks, 60 min.),
which features songs that Dan wrote and demoed at Fame in 1963-66. Those days
he mostly co-wrote with Spooner Oldham, but also with David Briggs,
Marlin Greene and a couple of others. Alec Palao tells about these
songs in his notes, which include quotes from Dan himself.
Dan was also the
singing artist on two of these songs, when Rick Hall put them out on his
Fame label. Close to Me is an uptown, almost Drifters type of a
song and Diamonds is another melodic and poppy ditty. Four more songs
were similarly, “uptownishly” constructed: Trash Man (eventually
recorded by Barbara Lynn), I’ll Take Care of You (Bobby
McDowell), I Need You and I Dig a Big Town.
Besides uptown
songs, Dan’s writing covered the whole gamut from deep southern ballads (Do
You Need It) all the way up to funky numbers: Miss Personality (by Norman
West), Standing in the Way of a Good Thing and I Can’t Stop (the
Feeling Won’t Let Me), which actually is an unreleased duet with Don
Covay. In-between, Live and Let Live and Destroyed –
released by the Yo-Yos – are easy dancers.
Seven of the
songs on the set were not picked up by anybody and the rest fifteen were cut by
such regular visitors at Fame like Jimmy Hughes (Lovely Ladies, You
Really Know How to Hurt a Guy), Bobby Moore (Reaching out for someone),
Wilson Pickett (She Ain’t Gonna Do Right), Kip Anderson (Without
a Woman), Prince Phillip (Love Is a Wonderful Thing) and a
few others that are mentioned in this review.
At that point
Dan was in his early twenties and in some of the songs you can recognize his
influences. It Hurts has many of the same elements as Garnet Mimms’
Cry Baby, James and Bobby Purify cut So Many Reasons,
which could come from Sam Cooke’s songbook, and Otis Redding’s
phrasing comes through on Little Girl, recorded finally by Percy
Sledge. Dan demoed his most memorable songs in the first CD of this
series, but many good ones were saved for this set too (www.danpenn.com).
All the tracks
on Some Kinda Magic – The Songs of Jerry Ross (Ace, CDTOP 1475;
24 tracks, 64 min.; notes by Tony Rounce) were recorded in the 1960s,
except a southern ballad called You Don’t Know What You Got (Until
You Lose It) by Willie Hobbs in 1971 and a driving scorcher named Help
Yourself by the U.K. Jimmy James & the Vagabonds a year earlier.
Jerry co-wrote
many of these songs together with Kenny Gambleand in some cases Leon
Huff, too, and probably the best-known result of this collaboration is I’m
Gonna Make You Love Me. Here we are treated to the original versionby
Dee Dee Warwick. Other notable recordings of Jerry’s songs include the
quick-tempo Love Love Love by Bobby Hebb, a richly orchestrated
dancer titled Some Kinda Magic by Jerry Butler – what a fine
record! - and a jazzy instrumental called Bucket O’ Grease by Les
McCann.
The rest of the
material consists mainly of good-time movers and such northern favourites as The
81 by Candy & the Kisses, I’ve Got Mine, You Better Get Yours
by the Sapphires and Eeny Meeny by the Showstoppers.
There are also six tracks that could be filed under “pop” by Reparata &
the Delrons, April Young and Sandy Edmonds from New Zealand, to name
three.
Still three
numbers of interest are a mid-tempo toe-tapper called You Better Believe it
Baby by Chubby Checker, a Philly dancer named He’s No Ordinary
Guy by Dee Dee Sharp and a neo-doowop ballad titled Together (in
Your Arms) by the Modern Ink Spots. Jerry Ross not only co-wrote
but also produced most of the tracks on this set.
We’re getting
more tracks from Al Sears’ N.Y. group of labels on The Arock –
Serock – Sylvia Story Continued (CDKEND 453; 25 tracks – 12 unissued at
the time – 59 min.), and they all derive from the early and mid-60s. Ady
Croasdell wrote the informative notes.
The music varies
from teeny pop and belated rock ‘n’ roll to fledgling soul and many of the tracks
sound like babies of that era with little any other lasting value but nostalgia.
You could call them sweet and innocent... or simply corny. Among the tracks
that stand out there are the fast and energetic I’m Leavin’ (For
Parts Unknown) by Gary & Gary and the Van McCoy written I
Really Love You by the Diplomats. Van himself sings on the playful It
Ain’t No Big Thing. This Is My Prayer, Theola Kilgore’s
follow-up to The Love of My Man, is a lush and big-voiced ballad, and Garrett
Saunders’ Easier Said than Done is another big production number.
Compilers have included many demo tracks by
Marie Knight, Junior Lewis aka C.L. Blast and even Don Covay on
a ballad called Did You Hear. Summarized - nothing spectacular, but
mostly harmless, feel-good music without any significant musical hoorays.
Unwind
Yourself – The King Recordings 1964-1967 (CDKEND 451; 26 tracks, 70
min.; notes by Tony Rounce) is a compilation of sides from eleven Hank Ballard
& the Midnighters singles from the mid-60s, four non-single tracks from a
1966 album (Those Lazy, Lazy Days) and one messy unissued song (Get
That Hump In Your Back). Hank wrote 16 of these songs and on many of them
he’s trying to revert to that magic sound of Work With Me Annie and The
Twist from the 50s. Some of that same rolling party sound and r&b drive
is captured on such tracks as Poppin’ the Whip, Everybody Do Wrong, Knock on
Wood I Feel So Good, My Sun Is Dying Down, Do It Zulu Style, That’s Your
Mistake – originally by Otis Williams & the Charms – and, of
course, (Dance with Me) Annie.
Since Hank had
close ties with James Brown, it’s only natural that some of Godfather’s
funk can be traced down to tracks like You’re in Real Good Hands, Unwind
Yourself and Funky Soul Train. Nevertheless, along with a few of those
catchy dance grooves above I really like the eight slow songs on this set. Hank
excels on such deep, southern-style soul ballads as He came Along, Here
Comes the Hurt, You Just You and Which Way Should I Turn. Watch
What I Tell You is a big ballad.
Since I only had
three singles from this Hank’s hitless period in my collection, this nice CD
comes very handy. John Henry Kendricks kept on performing with his
newly-formed Midnighters until throat cancer took him in 2003 at the age of 75.
These first
three compilations of the six volumes of the One-derful! Collection were
released in the U.S. on www.secretstashrecords.com
already at the end of 2014, but I was told that the Minneapolis company was
somewhat at a loss with the promotion and “only since the UK end of the
operation started, they have been selling.” That is as good an excuse as any
for my belated reviews.
Similarly to all
the CDs in this series, One-derful! Records (SSR-CD-35.1; 25
tracks, 66 min., 12 prev. unreleased) is accompanied with a 36-page booklet, in
which Jake Austin tells the story of the founders of the company, George
and Ernie Leaner, and Bill Dahl - besides the One-derful!
Records overview - gives an artist-by-artist presentation, based largely on
interviews with as many as over twenty acts or persons involved with the
company and its music.
During a
six-year period since 1962 about fifty singles were released on this Chicago
label. The most powerful singers were the late Otis Clay and McKinley
Mitchell. Besides the stomping Got to Find a Way, Otis excels on a
rollicking mid-pacer called Thank You Love and a swaying soul ballad
named A Lasting Love. Of the three McKinley numbers on this set I rate
highly The Town I Live In, the very first One-derful! single. Other big
names include Betty Everett (Please Love Me and Your Love Is
Important to Me) and Liz Lands (Seventh Hour and I’m
Guilty).
Two groups
specialized in rousing dancers: The Five Du-Tones cut the original Shake
a Tail Feather along with other rockers, and the Sharpees came close
to Sam & Dave on The Sock. While at it, Joe & Mack proved
to be another powerful male duo on the gospel-infused The Prettiest Girl.
Although the
music on One-derful! tended to be gritty, rough and raw, Beverly Shaffer and
the Admirations brought out a more sweet and sophisticated side of the
sound on the label. Lucky Laws, Mary Silvers and Jay Jordan were
the poppy ones.
Alvin Cash
& the Crawlers were the financiers for this label. Their dance hits
like Twine Time and The Philly Freeze, which are includedon
this set, gave the Leaner Brothers an opportunity to cut and release also
better music. Sweatin’ is the third track from Alvin on Mar-V-Lus
Records (SSR-CD-35.2; 25 tracks, 65 min., 10 prev. unreleased), and
it’s another mostly instrumental track with Alvin talking and chanting through
the song. Allegedly a flashy showman, but I really wouldn’t call him a singer.
In the booklet
Jake Austin this time sheds some light on a renowned background wizard named Andre
Williams, and Robert Pruter tells in detail about the twelve artists
and their music on this CD. Since powerful singing and overall strong energy seem
to be the key qualities on this label, we actually have to be grateful to Alvin
Cash for his smashes.
Johnny Sayles
and Cicero Blake are the most familiar names to soul fans on this
label. One scorcher aside, Johnny concentrates here on blues (Whole Lot of
Lovin’, You Told a Lie), whereas Cicero’s You’re Gonna Be Sorry is a
pulsating and melodic mid-tempo number, rich in orchestration and sweetened with
strings. Josephine Taylor is a big-voiced lady, who stomps and funks
through four tracks here.
Personal
favourites are the Du-Ettes, who represent punchy and powerful girl
group sound, witness the perky and mid-tempo I’m Gonna Love You. Other
noteworthy and high-powered singing groups are the Blenders and the
Ulti-mations (Would I Do it Over). I also liked Joseph Moore’s
uptown sound on the storming I Still Can’t Get You.
There are as
many as four liner notes writers on M-Pac! Records (SSR-CD-35.3;
24 tracks, 66 min.; 10 prev. unreleased). Robert Pruter goes convincingly
through the careers of all eleven artists and acts on display, Will Gilbert writes
about the Leaner brothers’ uncle, Al Benson, Jake Austin interviews a
session musician by the name of Larry Blasingaine and finally Keith
Rylatt tells about the impact of the One-derful! group of labels on northern
soul.
This time the
headliner as well as an important behind-the-scenes man is Harold Burrage,
who is featured on four tracks on this set – all rough and uptempo: Bad
Situation, Things Ain’t What They Used to Be, Mountain of Soul and Got
to Find a Way. Other artists that are honoured with four samples are Willie
Parker and the Ringleaders. I especially like Willie’s richly
orchestrated scorcher called I Live the Life I Love, but his
Motown-influenced Let Me Make it up to You and the dynamic So Glad are
almost as spirited. The Ringleaders’ sound was slightly lighter both on their
sweet harmony ballads (Let’s Start Over and All of My Life) and
dancers (I’d like to Win Over and Baby, What Has Happened to Our Love).
M-Pac!’s
shoutress, Dorothy Prince, belts out bluesy slowies like Hey Mister and
Every Night, and Andrew Tibbs as well as the down-to-earth Stacy
Johnson follow suit. Among the rest of the dance tracks, Benny Turner comes
closest to teeny pop. For initiated, recently Secret Stash has released a lot
of those 60s sides on vinyl 45s as well.
Tears In
My Eyes – the Kenny Hamber Story (194 pages, 8 with photos) is a story
of one critically acclaimed singer, who never quite made it. John Smith wrote
the book in collaboration with Kenny himself, and it concentrates as much (if
not even more) on the musical environment where Kenny grew up and worked, as on
the artist himself and the music he created.
Kenny was born
in Baltimore, Maryland, in 1943 and his foray into music was inspired by the
wealth of doowop groups in the area. He cut his first records at the turn of
the 60s, and his first solo single also gave name to this book. One of his 45s
was overseen by the great Bert Berns. His restless early adult years
took him to New York, back to Baltimore and off again. He scored some regional
hits but never became a household name.
When reading the
book, at times you feel like you’re going through a statistical publication, as
John lists in detail performers and shows in Baltimore during different periods
as well as venues, TV shows, local entertainers, visitors etc. One interesting
detail that John points out is how black radio stations used the Baltimore area
as a test market for new records.
Blessed with a
rich baritone voice, Kenny fronted many groups in different decades. He had
singles released on numerous labels including Arctic in the 60s and even an
album on ABC in the 70s (under the name of the Hitchhikers), and a lot
of CDs since. This multi-talented man has performed at many US Forces bases
abroad, toured in many countries, worked as a music programme director and
recorded also gospel music more recently. Now after close to sixty years in
the business, Kenny keeps on going strong and is working on a new album. This interesting
story of a chequered career is accurately chronicled in the book... only one
minor murmur: a discography would have helped in following all the turns in
Kenny’s career (https://www.facebook.com/KennyHamberStory).