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COLLECTOR’S CORNER
Over the past couple of years I have received several e.mails asking me to provide a clearer definition of the term ‘Crossover’ as applied to the soul music we love: and so I’m gonna have a go at explaining what the term ‘Crossover’ means to me. During the late 1960’s, the natural progression of artistic and technical development led to the birth of the style of soul we call ‘Crossover’: but these weren’t the only developments. The growth of public protest against the US involvement in Vietnam was expanding at a massive rate, culminating in the massive Moratorium march in Washington DC on the 15th November, 1969, which attracted well over half a million demonstrators. This ‘anti-Vietnam’ factor acted as a catalyst, adding both cultural and social influences into the development of ‘Crossover’ soul. No longer were the lyrics of soul songs solely dominated by love, heartbreak and dance-crazes: the politics of anti-war feeling had given songwriters something else to write about. Advances in technology and artistic development also acted to change the flavour of soul music during these years: typically, productions were slicker, and the music took on a more laid back feel than the driven upbeat style favoured during the mid-60’s. During 1973, President Richard Nixon presided over the withdrawal of all US troops from Vietnam, and the anti-war feeling was abated. Then, in 1974, (in his position as Chairman of the Black Music Association,) Kenny Gamble voiced his concerns about the rise in popularity, and commercial sales, of pop-dance and disco-oriented records. Genuine soul records were suffering a lack of sales, and genuine soul artists were being pushed out of the charts and out of the public eye. This marked the end of the ‘Crossover’ soul period: quality soul continued to be produced, but much of the music industry put itsr weight behind the more commercially popular material. The summary of my argument is that ‘Crossover’ soul ran, for a five-year period, from the summer of 1969 until the summer of 1974; and, for me, the soul music produced after that time should be described as ‘Modern’. My favourite example of a ‘Crossover’ record is BRING THE BOYS HOME by FREDA PAYNE – you can see and hear more of this track under the ‘Chris Playlist’ tab. And here are a few more examples of ‘Crossover’ soul to enjoy… (Click on the title to hear the track) EMANUEL LASKEY A LETTER FROM VIETNAMBARBARA JEAN ENGLISH I’M LIVING A LIE WILLY WILEY JUST BE GLAD
MGM began life as a record label in 1946: initially as a vehicle for the company’s movie soundtracks. By the 1960’s MGM had grown into one of the world’s major record companies: but the 60’s were also a time of massive growth in the record industry, and by 1969 MGM record sales diminished in the face of fierce competition. Although not a specialist soul label, (MGM housed a wide variety of musical genres,) there are many soul and dance gems to be found, encompassing a fascinatingly diverse range of artists, groups and styles. It is this diversity that makes the MGM opus such an interesting subject for collectors; and here I have included just ten lesser-known MGM tracks that illustrate that diversity so well. Click on the artist’s name to see the label scan, and on the record title to hear the track.
BILLY STEWART’s brilliance is legendary, but my pick of his work is the magical chunk of 7” vinyl that is Chess 1991. Top-side is OL’ MAN RIVER, the song written by Jerome Kern and Oscar Hammerstein for the musical ‘Showboat’. Stewart’s treatment of this standard classic sets my spine a-tingling with its jazzy undertones and drama. Flip-side is the superb dancer EVERYDAY I HAVE THE BLUES. Both tracks were taken from the 1966 LP, ‘TEACHES OLD STANDARDS NEW TRICKS’, a long forgotten album – but the single is one that should grace every collection.
The VONTASTICS, from Chicago, formed in 1965. They were Kenneth Gholar, Bobby Newsome, Jose Holmes and Raymond Penn. They were a short-lived outfit, but the quality of their output has made their eight singles much sought after amongst collectors.
JAY & THE TECHNIQUES were a Philadelphia-based outfit who worked from the mid-60’s until the late 70’s. Their only real commercial success was the 1967 single “Apple, Peaches, Pumpkin Pie” taken from the album of the same name. Most of their sounds were pop rather than soul, but there are some quality exceptions, and these include HERE WE GO AGAIN, (also taken from the above album.) HERE WE GO AGAIN (actually the flip-side of “Keep The Ball Rolling” on Smash 2124) is a quality soul dancer, produced by Jerry Ross and arranged by Joe Renzetti. I’m currently gathering information on the JACKLYN label – I want label scans, mp3’s, dates and any other info. I’ve already got about half of the material, but I hope that you can help me complete it by dropping me an e.mail at n.soulchris@hotmail.com
Every record collection should include at least one version of the Ragavoy/Taylor song, I CAN’T WAIT UNTIL I SEE MY BABY’S FACE; there’s plenty to choose from. JUSTINE ‘BABY’ WASHINGTON cut her 7” on Sue 797 back in 1963. Her version appeared on the 1965 album ‘ONLY THOSE IN LOVE’ (Sue 1042) – this album also includes Baby’s version of ‘It’ll Never Be Over For Me’. In 1966, Spyder Turner went into the Tera Shirma Studios, Detroit, to record his ‘STAND BY ME’ album, (MGM 4450). Eleven tracks which include ‘Hold On, I’m Coming’, ‘I’m Alive With A Loving Feeling’, the classic ‘I Can’t Make It Anymore’, as well as his version of I CAN’T WAIT UNTIL I SEE MY BABY’S FACE. The Madeline Bell Philips album, ‘Bell’s A Poppin’’ was released in January of 1967 – this album was re-released on CD a couple of years ago, with 20 tracks that include ‘Picture Me Gone’, ‘Soul Time’ and her version of I CAN’T WAIT UNTIL I SEE MY BABY’S FACE. (www.madelinebell.com) Other versions include: Sonji Clay on Songee 1002 in 1969 Another much recorded song is LONELY LOVER. Written by the Motown based Holland/Dozier/Holland team, the most successful version to have appeared on our Scene is that by Jimmy McFarland on the RPR logo. LONELY LOVER also appeared as an LP-track for the Four Tops; on a test pressing by Eddie Holland, and by Marvin Gaye on both a UK 7” and 12” release. If you know of any other versions, please e.mail me with the details to n.soulchris@hotmail.com
I’LL BE AROUND was originally recorded by THE SPINNERS in 1972, (Atlantic 2904), placing right in the middle of the crossover period, and was a popular spin at the time. In 1978 the song was covered by DOUG PARKINSON & THE SOUTHERN STAR BAND, (Southern Star Records 7339), and proved to be an even greater success on the dance-floors of Wigan Casino during the late 70’s. The song was covered again by TERRI WELLS in 1984, and released in the UK on a 7” (London LON 48), and on 12” (London LONX 48) – both of these London vinyls carried instrumental versions on their flip-sides. The earlier VIBRATIONS recordings on the Okeh label were put together in Chicago: but, by 1966, they began to cut their tracks in New York with the help of Teacho Wiltshire and Manny Kellem. It was Kellem that wrote GONNA GET ALONG WITHOUT YOU NOW (Okeh 7249), which has long been a staple of the Soul Scene. A few years later the song was covered by LEE ANDREWS & the HEARTS from Philadelphia, and given the title CAN’T DO WITHOUT YOU (Lost Nite 1004) – apparently penned by “Lemar Corp.” This Lee Andrews cover was aimed at the UK Soul Scene, where it too has become a classic in its own right. Click on the ‘LISTEN HERE’ tab to hear both versions. SHORTY LONG (Frederick Earl Long), born in Birmingham, Alabama, joined the Motown organization in 1963. A talented guy, (he played trumpet, harmonica, drums piano and organ as well as being a vocalist,) Shorty Long was the only Motown artist, (apart from Smokey Robinson,) allowed to produce his own recordings. He died in 1969, aged just 29: then, in 1980, he was posthumously inducted into the Alabama Jazz Hall of Fame. I have two Shorty Long tracks that I like to include in my playlists; the first is CHANTILLY LACE (Soul 35031 & TMG 600): a song that is familiar to everyone, but given the Shorty Long treatment this track grooves the dancefloor with the bluesy-soul feel of both the instrumental backing and the vocals. SING WHAT YOU WANNA (Soul 35044 & TMG 663) pretends to be nothing other than a feel-good dance track. No fancy lyrics or production tricks, just simple soul-dance music. Neither of these singles are hard to find, or expensive, but they certainly deserve their place in the record box. Click on the ‘LISTEN HERE’ tab to hear both tracks. JOHNNY BRISTOL signed with MGM as a solo artist in 1974; during his time there he cut two albums the first, in ‘74 was ‘HANG ON IN THERE BABY’, and the second was ‘FEELING THE MAGIC’ in ’75. From this second album was taken the delightful LOVE TAKES TEARS (MGM K 14814). Although this single was aimed at the disco market it still displays all of Bristol’s soulful talent and experience. Silky smooth crossover soul at its best. Bristol moved to the Atlantic group in 1976. There are a few IRMA THOMAS singles that bring back wonderful memories for me: I bought them, many years ago, under the recommendation of the late Dave Godin, who told me that I would never regret owning them – his words were so true. Waitressing at a New Orleans nightery during 1957, Irma Thomas sat in one night with Tommy Ridgely’s Band. The veteran band leader was so impressed with Irma’s performance that he took her into the studio to wax her first outing, “Don’t Mess With My Man” on the Ron label, and the rest is history. What Are You Trying To Do (Imperial 66137) can rightly be described as a ‘classic’: especially after it’s deserved revival at the 100 Club – but I also recommend, Anyone Who Knows What Love Is (Will Understand) (Imperial 66041,) and, I’m Gonna Cry ‘Til My Tears Run Dry (Imperial 66106). Both of these tracks are deep and soulful gems: be sure to have a hankie ready. The world-famous and multi-million selling BOBBY DARIN, (“Splish Splash”, “Mack The Knife”, etc,) may seem an unlikely Northern Soul hero, but his 1970 Motown outing MELODIE is quite simply a Crossover classic. Co-penned and produced by Jerry Marcellino and Mel Larson, (a duo that went on to work with Michael Jackson and Thelma Houston through the 70’s,) MELODIE is a brilliant dancer and a slick production with a recognizable hint of the 60’s Motown sound. MELODIE appears on Motown 7” M 1183 - “All the colours are brighter now; and the darkness is lighter now…” Seek it out and love it. LEE ROGERS – Troubles (MAH’s 000.9) was Lee’s first solo single after the break-up of the Barons. Recorded for Mile Hanks’ fledgling MAH’s logo in February of 1962, this is actually the flip-side of ‘Walk On By’, a record that sold well locally, and was picked up by the Roulette organization. Featuring Joe Hunter on piano and Eli Fontaine on sax, this driving dancer is toe-tappingly infectious. You may class this as R’n’B, or early Northern Soul, but it’s definitely ‘main-room’ material, and highly collectable.SHELLEY FISHER – Girl, I Love You ( Dalya 5002) is quality soul of the highest order. Although this track was written, and first recorded by Fisher, perhaps Garland Green’s 1967 cover version, (on Revue 11001, and on Gamma 103,) is better known. They are both incredible versions, but I just give the edge to the original. Both the Fisher and Green versions are valued at around 250 quid. One of J. J. BARNES’ lesser-know tracks is Evidence (Buddah 120). Recorded in 1969, Detroit: co-written and produced by LeBaron Taylor, this track doesn’t get the plays that other J. J. tracks enjoy. ‘Evidence’ has something of a crossover feel, but it’s still a quality dancer with all the credentials that collectors look for. |
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