SPORT RECORDS were owned by Shelley Haims. The 12 records that appeared the SPORT logo make for a fascinating collection: consider some of the names that worked to produce this list of tracks, Dale Warren, Herbie Williams, Jack Ashford, Lorraine Chandler, Joe Hunter, Andre Williams, Raymond Monette, Michael Campbell, Sidney Barnes, Willie Mitchell and Mike Hanks. Click on the artist’s name to see a label scan, and click on the record title to hear the track.

At this point, the distribution of SPORT RECORDS was expanded by the Amy – Mala – Bell organization in New York City, and the next two records appeared on a pale blue label.

At this point the distribution arrangements reverted back to Detroit and the original yellow label.

The missing number (106) is rumoured to be by the Appreciations with ‘No No No’ on the top-side, and ‘I Can’t Hide It’ on the flip – but I’ve never seen a copy.

If you have any further information about the Satellite logo, please get in touch. Click on the artist’s name to see a label scan, and click on the record title to hear the track.

Click on artist to see scan – Click on title to hear the track

COLLECTOR’S CORNER

Click on number to see scan, click on title to hear track.

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 VIETNAM

BARBARA JEAN ENGLISH                      I’M LIVING A LIE

WILLY WILEY                                           JUST BE GLAD