I thought researching this extremely beautiful and soulful New Holidays composition (and one of my top ten I must add) was either going to be fairly easy (such an outstanding recording from them…surely credit and facts should be well documented)…or quite difficult, (other than collector’s of fine soul records, it’s existence is fairly unknown).
But after only a few hours of researching, did I realise that the information on the “Holidays” was so mixed up and jumbled, and to make any sense of it all may just prove to be too overwhelming! THANKFULLY, good ol’ Soul Detroit has saved me again! Well in fact researcher Graham Finch is responsible for exposing what must have been an incredibly difficult ordeal, to sort through facts, lies and myths, that makes up the real story behind the Holidays!
And even with all the facts …it’s still a real brain trip to decipher, so I’m going to try and map out the path that will eventually get us to this one great song, with Holland at the wheel!
The New Holidays are James Holland, Jack Holland and Maurice Wise (and possibly Joe Billingslea).
The Fresando’s – James Holland first recorded with the The Fresando’s in 1957 with the release I Mean Really on the Star label. The absolutely astounding flip Your Last Goodbye holds up a writing credit to Leo Parks (so-called manager at the time) but the truth is, it was chiefly penned by lead singer Aaron Little. The harmony group really shines here, up along side Eddie Bartell and his Dukes of Rhythm minimalist accompaniment.
The Five Masters -The Fresando’s record wasn’t a hit and in 1958 the five singers changed their name to The Five Masters and hooked up with Robert West, one of the first of Detroit’s recording pioneers to taste success – most notably with The Falcons. Their next release was We Are Like One (flipped with Cheap Skate) on the Bumble Bee label, and although it was the Master’s who were responsible for writing this beautiful song, this time it was new manager Clyde Clemons, that took the credit. Their Bumble Bee disc failed to create much of a buzz, and in September ’59, the teenagers enlisted in the army, separating to different corners of the globe, from France to Korea and to even Alaska. When they arrived back to Detroit in ‘62, things had changed and it was the dawn of a new era, for music and the group.
The Four Hollidays – Once James Holland and the Barksdale brothers returned to Detroit from their military service, they immediately set about resurrecting their musical careers. They were joined by Johnny Mitchell, a friend of theirs who just had recorded with The Majestics for the local Chex label. They decided to call themselves The Four Hollidays.
Detroit now offered more opportunities than when The Five Masters had disbanded in ‘59, with the success of Motown Records, however there seemed to be some unfair play going on around town, leaving artists with no money regardless of their sucessful recordings, so the decision was to instead head to Chicago and audition for Vee Jay Records. It was the great Andre Williams who introduced them to Lenny Luffman, who signed them up to Markie.
The Four Hollidays first released the dance-fad song Grandma Bird in ’62, but it was the great flip Step By Step that became the seller, especially in Chicago where popular WYNR radio jock “Wild Child” Dick Kemp dubbed it the “47th Street Stomp”. This was reference to the street in Chicago’s Near South Side where Black American’s had created a vibrant community. It was also where Markie Records was based.
The follow up was in September ‘63 with I’ll Walk Right Out The Door (which seem to exist only as promotional copies), and although the group did their best to push the great tune, it didn’t do as well as their previous hit. Thankfully the success of Step kept them going on the club circuit for quite some time.
The 4 Hollidays – The group headed back to Detroit and scored a session at United Sound where they recorded Deep Down I My Heart with Jimmy leading, and He Can’t Love You in ’64. It was the maiden 45 for The Master Recording Company, but the fledgling company wasn’t really set up to properly promote and distribute the disc and consequently sales never materialized.
Jimmy and the Barksdale brothers now decided they should take charge of their recordings and start a business. Johnny Mitchell left the group to team up with the re-formed Majestics , James Shorter was recruited as the new fourth Holliday. Somehow they managed to pull together the $200 they needed to pay the studio and musicians, and recorded Set Me On My Feet Right / Happy Young Man but without hardheaded promotion and slick marketing, the company wasn’t able to push the first and what proved to be last 45 on the Holliday label.
By spring ‘65, The Four Hollidays had shrunk to one member: Holland. The two Barksdale brothers had taken regular jobs and James Shorter had signed with Lou Beatty’s La Beat Records. Jimmy decided to head back to Chicago, an soon recorded with Andre Williams the upbeat Baby Don’t Leave Me on Blue Rock (with a rippa’ punchy female-led intro’ and backing). Unfortunately this release didn’t take off and again only seems to have been pressed as a promotional 45.
It’s 1969, James returned to Detroit and formed a new group of “Holidays” with younger brother Jack, and Maurice Wise and the trio got a deal with LeBaron Taylor’s fast-fading Solid Hitbound Productions. He teamed up with George Clinton (who had already left LeBaron for Westbound Records and now had renamed himself and band, Funkadelic) and together penned All That Is Required Is You. It was released on LeBaron’s Revilot label that same year. Now do not get confused with the The Holidays that had the previous two releases on the label…Holland’s group had nothing to do with that, and eventually the courts decided that due to the earlier success of Holland’s group, he would win the lawsuit that would allow ownership of the title.
Finally, in ’69, Holland hooked up with the mighty songwriting partnership duo Richard “Popcorn” Wylie and Tony Hester, and recorded the unbelievable Maybe So Maybe No. The flip side If I Only Knew, is a version of a song that Jimmy ‘Soul’ Clark had a recorded a year earlier. Note that on the Westbound release, you will find My Baby Ain’t No Plaything on the flip, Popcorn could sense the potential for a the hit and decided to put a stronger B-side which is actually not at all the New Holidays, but was in fact sung by a different group that included Bobby Martin, Herschel Hunter (both former Martiniques from the early 1960s), and guy named Fletcher, and Willie Harvey.
For some reason or another, the Westbound or Soul Hawk release didn’t takeoff…and I’ll never understand why!
So a journey of amazing talents and more than a fair share mighty fine bad luck and missed opportunities.
The Holiday story goes even further on, and the holes I’ve avoided are sometimes creators! But I highly recommend reading the full (?) breakdown of the compositions, band members and “sidestreets” here at Soulful Detroit!
Music City USA Cat#45-894 Year 1972 Upon learning of the recent loss of the great and mighty Darondo, I thought it an appropriate time to praise what I think, is one of the most beautiful and soulful songs you will ever hear in your lifetime, by this unknown master.
Born October 5, 1946, William Daron Pulliam was raised in Berkeley, California, where his mother bought him his first guitar when he was around eight. When Darondo hit his later teens, he and a bunch of high-school friends formed The Witnesses, who became the house band for a strict early night “teenage nightclub” in Albany called the Lucky 13 Club. He fell in love with the R&B and rock that was popular at the time, but it wasn’t until he picked up Kenny Burrell’s 1963 album Midnight Blue that he found his niche. “I learned guitar from listening to Kenny Burrell,” Darondo says. “Him and Wes Montgomery. I got my chords from them. Kenny Burrell was cold“.
Darondo may have trained to be an electrician in his twenties, perhaps doubting his abilities to reach a professional music career, but obviously there was a light within him that needed to rise up and out into the world…and indeed, there certainly was an incredible and important voice that needed to be heard.
His friends may have treated his determination for releasing his own record with skepticism, however he insisted “I’m going to show you suckers something. I don’t care if I have to do it myself; I’m going to put this thing out.”
Darondo’s big break came when he met experienced jazz pianist Al Tanner, who was impressed with Darondo’s style and suggested that he should go into the studio. That session produced the great “Darondo Pulliam” two-sider, I Want Your Love So Bad, flipped with the mover How I Got Over, on Leroy Smith’s Ocampo label. Although the song didn’t exactly light up the charts, it caught the attention of Ray Dobard, who owned the record label Music City.
Darondo and Tanner recorded nearly an entire LP in one session at Dobard’s studio. The session produced the fat funk Black Power anthem Let My People Go and the killer jam Legs, but it was the soul pouring “Didn’t I” that became Darondo’s 7″ release in ’72. Local radio put the song into heavy rotation, and the single went on to sell 35,000 copies. Unfortunately, no LP ever came out of that session. “We did about ten tracks,” says Darondo. “I think [Dobard] stole the records. I don’t know what happened to those songs, I don’t know what he did with it.”
But in ’74, there was a third and final single to come out from those sessions, his rarest 7″, recorded for the uber-obscure Af-Fa World imprint (Let My People Go/Legs). By this time, Darondo’s voice had matured, settling in with a refined falsetto that harkened to his years listening to and singing gospel, or what he calls, “spiritual things.” “Spiritual and rhythm and blues—it’s two different things,” he explains. “If you can sing a spiritual thing, you can mostly sing anything, because you are hitting so many more…high pretty notes.”
During his early-’70s run, Darondo opened up for James Brown, became a close acquaintance with Sly, and by all accounts, lived the high life. He’d purchased his signature Rolls Royce from a “cold” car dealer. “This Rolls had racing lights,” he recalls. “It had a bar in the back …I put all the scanners and other mess up in it, so that if the police pulled up behind you, you could hear everything they say. It was too cold. At that time, I had mink coats, diamond rings. I stayed sharp.”
While it may have seemed Darondo was living a little too well for a fledgling regional star, it is rumoured he had other sources of income, as a successful pimp, though it’s a topic he himself refused to speak about, neither confirming nor denying, though he did elliptically refer to it as his “fast life” days. “When people see something, they’re going to think one way or they’re going to think another way,” he muses. “When they saw a chauffeur driving me around in a Rolls, they said, ‘That boy is a pimp.’ I made money, but I was working. I had a job … I was a janitor. I drove up [to the hospital] in the back of my Rolls with my mink coat on … and I’d take the elevator down and change in [the janitor’s locker].”
But back to Didn’t I. It only takes one listen to this haunting, down-tempo breakup ballad to realise that there is something pretty special happening here. And to tell you the truth, I actually don’t play this very often, even in the company of no one else but me and my dog…and it’s a 45 that’s never left the house. Darondo’s wiry falsetto, his lonely guitar chords and understated, melancholic orchestration makes it all just too personal and devastatingly beautiful. I don’t know really what else to say, only that this composition deserves respect. This means if I’m going to play this record, I’m doing nothing else but sitting back with your eyes closed and my soul wide open.
Ubiquity Records put together 2006’s Let My People Go, a collection of reissued classics and unearthed demos. The album won praise in the national press, and Darondo after so many years away in another life, was once again performing live shows. “I never imagined this,” he told SF Weekly in 2007 about his return to the stage.
Darondo died of heart failure on Sunday June 9, 2013.
Be sure to read the following references from Sam Chennault and Oliver Wang.
DUKE USA cat# 433 (promo) Year 1964 Robert Calvin “Bobby” Bland was born January 27, 1930, in the small town of Rosemark, Tennessee, later moving to Memphis with his mother in 1947. He worked at a garage during the week and sang spirituals on weekends, singing with local gospel groups including, amongst others The Miniatures. He began frequenting the city’s famous Beale Street where he became associated with a like minded bunch of aspiring musicians, who were referred to as the Beale Streeters (although they never used that name themselves), which included such future blues stars as Johnny Ace, B.B. King, Junior Parker, and Rosco Gordon .
Between 1951-52 he recorded four 7″s for Chess, produced by Sam Phillips, alongside Rosco Gordon and as The Bobby Blues Band. While the results of those recordings were not a huge success to say the least, that didn’t stop local DJ David Mattis from cutting Bland on a couple of 1952 singles for his fledgling Duke logo. That same year Bobby was drafted to serve his country, he went off to war, and had to put his career on hold.
When the singer returned in 1954, he found that the Memphis he once knew was no more. Sun Records had found its fair haired boy, Rock and Roll was breaking down the old barriers between “race” and “pop,” and Duke Records had been sold to entrepreneur Don Robey, owner of Peacock Records in Houston, while several of his former associates, including Johnny Ace, were enjoying considerable success. But Bobby’s talent and maturity as a vocalist had exceeded even more in just those last years, and now Duke was ready to push Bland full steam ahead, with It’s My Life, Baby, Woke Up Screaming and Time Out all released in ’55. Bobby’s first national hit, which went to number 1 on the R&B charts, is the driving Farther Up the Road, which was released in 57′, and burns almighty with the insistent guitar riffing contributed by Pat Hare, another vicious picker who would eventually die in prison after murdering his girlfriend and a cop. In ’61 the beautiful I Pity The Fool and the great soul number Turn On Your Love Light also did well for Bobby and deservedly so.
Bland spent the latter half of the Fifties maturing into a masterful singer and assured entertainer. From 1957 to 1961 he played the chitlin’ circuit with Junior Parker and his band, the Blue Flames. But in 1961 Bland broke with Parker, went out on his own, and rose to his greatest popularity.
And now we jump to 1964, Honey Child, easily my pick of the crop from such a expansive field of BB soul jewels. And why this flip to Ain´t Nothing You Can Do is so over looked, I will never know! His distinctive silky smooth vocal style slides perfectly into the slinky, swinging rhythms, and it really pulls you in. And in a sudden, the sheer beauty of it all gets pretty overwhelming and inescapable. Adorable and modest guitar phrasing from Wayne Bennett complements the sometimes rampant yet soulful horns which I’m assuming only the great Joe Scott (trumpeter, band leader and Don Robey’s chief talent scout) could be responsible for holding this dance floor gem all together!
Bobby was sometimes referred to as the “Lion of the Blues”, and without a guitar, harmonica, or any other instrument to fall back upon, all he had to offer was his magnificent, charismatic voice. A voice unmatched in my opinion. With his captivating live performances (and a legion of female fans who deemed him a sex symbol even late into his career) he helped bring the blues out of Delta juke joints and into urban clubs and theaters. Bland’s records mostly sold on the R&B market and he had 23 Top Ten hits on the Billboard R&B charts and in the 1996 Top R&B book by Joel Whitburn, Bland was rated the #13 all-time best selling artist. I believe he is still performing to this day!
Note: I originally posted this entry back in early June 2013. He died on June 23, just 2 weeks later, at his home in Germantown, Tennessee, after what family members described as “an ongoing illness”. He was 83. After his death, his son told news media that Bland had recently discovered that musician James Cotton was his half-brother.
Hip cat Bobby Scott (born Robert William Scott, in 1937, Mt. Pleasant, New York) is one of those mysterious lost and shadowed artists that really deserves to be pushed into the brightest spotlight, and for those of you out there that love your RnB snappy and snazzy and don’t know this one…well, you should!
Scott was a gifted music prodigy, one who could play piano, double bass, cello, vibraphone, accordion, clarinet, and of course knew how to use his voice box just fine! He studied under Edvard Moritz at the La Follette School of Music at the age of eight, and then in 1949 studied composition with Edvard Moritz, a former pupil of Claude Debussyand, and was working professionally at 11.
It was the early 50’s and despite his early classical training, Scott followed his teen callings towards jazz and played with small bands led by the great Louis Prima and Gene Krupa and cut some tracks for Verve Records with a few of these great small groups.
At 16, he started recording for several other record labels including Bethlehem, Savoy, and ABC, who in 1956, released the hit “Chain Gang” written by Sol Quasha and Hank Yakus, which peaked at #13 on the U.S. Billboard Hot 100!
In 1960, Scott began teaching music theory and harmony and returned to his studies under Moritz. He also signed with Atlantic, releasing a trio of albums under his own name, and started working with other artists, notably Bobby Darin, who he would become a very dear friend to.
That same year, Bobby Scott wrote the title theme for the Broadway version of Shelagh Delaney’s 1958 British play “A Taste Of Honey”, which was exotically made famous by pianist Martin Denny. The instrumental tune was soon given lyrics and was stylishly recorded by the beautiful Julie London, and also Sarah Vaughan, Bobby Darin and by some band called The Beatles. All these versions are quite unique to each other, and I’m sure Mr.Scott must have been pretty chuffed with every interpretation.
Bobby’s big hit won him a Grammy in 1962, but thanks to Herb Alpert’s US Top 10 take, 3 more were added to the list 3 years later. It has been covered so many times by so many great artists but it’s Martin Denny’s 69′ Exotic Moog version I find the most intriguing.
Around 1962, Scott entered one of the few stable periods of his career, taking on as staff producer at Mercury records and working extensively with Quincy Jones. There he would output four albums including the vocal release When the Feeling Hits You, which also happens to be the flip of this killer 45!
Moanin’ first appeared on the self titled Art Blakey and the Jazz Messengers album, recorded in 1958, and was written by pianist Bobby Timmons. Soon after, the composition was given lyrics by Jon Hendricks, who is considered one of the originators of “Vocalese”, and was taken up by Lambert, Hendricks & Ross who released a really super smooth vocal version on Columbia, which even sounds better with a Martini or two!
But it’s Scott’s version that blows the stripey socks off! His mod take is tempting from the first few seconds the open piano chords call. It’s jazz, but it cops a big whack with a broken bottle of rock ‘n’roll, and that mix is deliriously delightful! And again, here we get some extra topping, quite a lot actually, with some killing twang! One of my favourite guitar jigs to dance to, it’s relentless, stabbing and stabbing, but the blade is blunt and dirty. You step to the left, then side step to the right, but it just keeps on gettin’! On his return, Bobby is a slight crazed, and disheveled, then we see him fade into a dark lane far too quickly…and we’re left wondering if that all really just happened?!
Bobby Scott continued to compose up until the mid to late 70’s, but recorded a final farewell album For Sentimental Reasons in 89′. He died only 18 months after, succumbing to lung cancer on November 5, 1990 at the age of 53 in New York City. He was as a top-flight pianist, composer and arranger who was so important to the jazz world, but with a release like this one, for a brief moment, he was the king of snap jazz n’ pop!
Referencing and recommended reading…..
Jacklyn Records 1006 US Year 1967The first time I heard Darrow Fletcher, which was a few years ago now, was one of those life changing experiences. An instant connection and a desire for his records and his sound. A man with an active 7″ soul catalogue, however somehow still quite unknown and mysterious as far as main stream popularity goes. Wasn’t really too sure what to present for my first DF post, but why not go with one of his very best on Jackyln. But first a little history on this great man, and the best place for that lesson is to dig over at Soul Source.
Darrow, born 23 January 1951, moved with his family to Chicago when he was 3, from the Detroit suburb of Inkster. It seems even as a young 6 year old, he was never uncertain about his stage and singing destiny. His love and enthusiasm for song and performance was a gift he must have truly accepted without any hesitance. Whilst he was a freshman in high school in December, 1965, he recorded “The Pain Gets A Little Deeper”, written by himself and producer Ted Daniels, and cut with the help of his stepfather-motivated business man, Johnny Haygood. Is this really the voice and heart of a young 14 year old school kid !? An impressive debut to say the very least! The record was leased to Groovy, a small New York label owned by Sam and George Goldner and Kal Rudman. They got the record on the national R&B charts for seven weeks in early 1966, and was also released on London in the UK.
Soon Darrow was touring the “chitlin” circuit, playing venues like The Apollo, The Uptown and the Regal, where, in July ’66 he shared the bill with B B King, Lee Dorsey and Stevie Wonder. Following three not so successful follow-ups on Groovy, Darrow’s stepfather formed Jacklyn Records in 1966, named after one of his daughters. Darrow cut three singles on Jacklyn, “Sitting There That Night” scored immediately, 2,500 sales for the record in Chicago alone. Darrow co wrote it with his stepfather, and is also providing one of the sweetest guitar solos here, still at the age of 14! The flip “What Have I Got Now” is an insanely beautifully tempo-ed soul track and makes that a 7″ monster must have!
What Good Am I Without You was penned by Don Mancha and produced and arranged by horn player Mike Terry a year later. Again, this is a very big song and arrangement. The pace is high, just as the heart is beating. The strings and backing vocals are stuffed with passion and the chorus is an out pour! To tell you the truth, I’m really not sure if it can ever get better than this! The flip’s Little Girl is a sweet ballad Darrow co-wrote again with his stepfather.
I think it’s fair to say that Darrow had two very distinctive periods to his career. The first part were the records he made in Chicago between 1965 and 1970, and then the handful of singles cut in Los Angeles in the 70s, which had quite a different more modern soul feel, which I’ll dig deeper into in related future posts. But I love them all. There’s an honesty in his voice that I find so compelling and desirable and I hold him up high in praise as one of my all time favourite artists.
A must read is this recent enlightening interview by Boxy from Soul Source…Darrow Fletcher – The Interview – The Full Story
Track 1 Underdog Track 2 Bad Risk
Sylvester Stewart was born in Dallas, Texas, in March of 1944 & began his recording career at the very early age of four as a vocalist on the gospel tune On the Battlefield for My Lord. In the 50’s, his family moved to the San Francisco area where he & his brother Freddie learned to play various instruments & made music under the name the Stewart Four. Stewart also played & sang with doo-wop groups & in high school sang with a group called the Viscanes, appearing on their record Yellow Moon, & at sixteen made a solo record called Long Time Away which gained him some modest fame.
Stone studied music composition, theory, & trumpet at Vallejo Junior College in the early 60’s & began playing in several groups on the Bay Area scene. Around ’64 he had become a disc jockey at the R&B station KSOL, & his radio appearances led to a job producing records for Autumn Records. There he worked with a number of San Franciscan garage & psychedelic bands & he himself recorded three 7’s titled Buttermilk PT1-2 & Temptation Walk PT1-2, both in 65, & also the unusual surf track I Just Learned To Swim in ’64 flipped with Scat Swim, which is a personal fav’ that I’ll have to share sometime in the future…it’s a little insane!
As a DJ he gained notoriety as one of the more eccentric voices on radio, blending sound effects with public service announcements & mixing soul singles with rock & roll records by Bob Dylan & the Beatles, & was generally considered the top R & B commentator in the area.
In ’66 Stewart’s current band The Stoners split, & it was saxophonist Jerry Martini who approached Stewart, who was content at the time with his DJ gig, into fronting a new band. Along with Martini, Stewart enlisted brother Freddie as guitarist & his sister Rosie to play piano, with the addition of bassist Larry Graham & drummer Greg Errico & ex-Stoners trumpet player Cynthia Robinson. Stewart changed his name to Sly Stone, & the Family Stone was born.
The band quickly attracted the attention of Columbia Records A&R executive David Kapralik & soon signed with Columbia, releasing its debut LP, A Whole New Thing, in 1967 on the Columbia subsidiary Epic Records. The album didn’t fare particularly well, but my only explanation for that could possibly be only because of the lack of radio hits, & definitely not the lack of fat funk! The opening track on that Lp, Underdog is a killer & the debut album’s only 7″ release which, I suspect, was a promo only (please correct me if I’m wrong!). I myself think this is the most desirable & important Sly 45 to have! It’s an epic tune, with big vocals, snappy rap versing & the sharpest percussion. I’m just not sure the world was ready for this!
But it didn’t take long for the Family to hit it big, which they certainly did with the almighty (& much more radio friendly) US. and UK. Top 10 smash Dance To The Music, from their follow up LP of the same name. Even Sly admits he wasn’t ready for what was about to hit them!
In ’69, Sly released the album ‘Stand’ which included the next big follow up hit Everyday People. A big album, with some big songs, also including I Want To Take You Higher & my personal fav’ from the album, the title track Stand!
This album went on to sell two million copies.
Underdog was also released on a french picture sleeve as a B side to Dance To The Music, but it’s this bad boy you want with the baddest Bad Risk on the flip!
It must be noted that Sly & the Family Stone did release a mysterious 7″ with the titles I Ain’t Got Nobody & Otis Redding’s I Can’t Turn You Loose on the flip, on a small San Francisco-based Loadstone label. This is said to be the first “Family” 7″, however the dates I’m getting on this release are all over the place ranging from 67 to 72. The track also appeared on their ’68 LP.
The Family Stone are credited as one of the first racially integrated bands in music history, belting their message of peace, love & social consciousness through a string of hit anthems. Their music fused R&B, soul, pop, jazz, & an emerging genre soon to be dubbed funk! Sly developed a formula for the band’s recordings, which would still promote his visions of peace, brotherly love, and anti-racism while appealing to a wider audience. And his new fused sound not only worked in selling records, but influenced the entire music industry. When “Dance to the Music” became a Top 10 pop hit, soul producers and labels immediately began appropriating the new “Psychedelic soul” sound. By the end of 1968, The Temptations had gone psychedelic, and The Impressions and Four Tops would join them within the space of two years.
Sadly Sly eventually fell down the spiral with his constant drug addictions over some many years. While he still may have that spark in his eyes, & that beautiful energy in his aura, he clearly has paid a price for those early years of fame. He was inducted into the Rock & Roll Hall Of Fame in 1993, & is the recipient of the 2002 R&B Foundation Pioneer Award.
Referencing and recommendations…
Documentary – Sly & the Family Stone “Coming back for more” (I would love to see this!)
Documentary -Sly Stone: Portrait of a Legend
Just criminal that this here dance floor monster was not the hit it deserved to be back in ’73 for K-Doe!!
Born in New Orleans on February 22, 1936, Ernest Kador Jr.’s first public singing was in church choirs at the age of nine, and went on to sing with such spiritual groups as the Golden Choir Jubilees and the Divine Traveler. Not able to resist the pull of doo wop and R&B, he advanced his career by briefly singing with The Flamingos and the Moonglows in Chicago in the early fifties.
K-Doe began hanging out at the famed Dew Drop Inn and other New Orleans clubs like the Sho-Bar, and also sang briefly with a local group, The Blue Diamonds, with whom he recorded on the Savoy label. As a solo artist he signed with Herald and Specialty and released a few hits, but it was the release of Mother-In-Law in ’61 on Minit that gave him his first real taste of sucess! It reached number one on Billboard‘s R&B chart during May of 1961, and it was the young 23 year old songwriter/producer Allen Toussaint who arranged the song, with backing vocals by the great Benny Spellma. Ironically, K-Doe abandoned Mother-in-Law during rehearsal because it had not gone well. However, as Toussaint recollected in K-Doe’s obituary in the New Orleans Times-Picayune: “It found its way back out of the trash can and into my hands, so we could try again. I’m so glad we did.” Mother-In-Law was one of the biggest records to come out of New Orleans in the 60’s, selling in the millions!
The now successful and flamboyant K-Doe went on to release a string of great tracks there after, include Dancing Man, Popeye Joe, the self penned Te-Ta-Te-Ta-Ta, and one I highly recommend A Certain Girl, which was very nicely covered by The Yardbirds in ’64 with a truly big sound.
It’s 1973…K-Doe is on a new label Janus, and teams up once again with Toussaint, but this time releasing something a lot more funkier than ever before (well it was the 70’s!). Releasing a brilliant self titled LP, with Toussaint’s session hipsters, The Meters as his recording band, and it’s the dynamite Here Come The Girls that gets the single release (the flip being A Long Way Back From Home). The moment the distinctive military intro kicks in, you are forced to attention, and quickly that melodic verse sweeps you in. Driven with that tight rhythmic Meters strumming, along with that catchy bridge and chorus, you soon realise that this is more the funk that’s definitely derived from good R&B and soul roots! It’s snappy, tight and the pace is perfect!
Although this mighty tune may not have reached the success or attention of his hey day 61′ classic, or whether it even made the charts at all at the time, it’s hard to believe that it wasn’t the soundtrack to plenty of dance floor lovers of the time. It just must have been! While the great man is no longer with us, the good news is today, it’s a tune certainly on many dj’s set lists (or wish lists), and still gets a whole lot of people jivin’ 40 years later!
Lots of info online on this great artist and here’s some I referenced and recommend!
Well I’m going to start off by saying that this here, has to be one of my favourite examples of crossover R&B and Ska! It moves, and it shuffles, and oh just so nicely!
Tenor Sax extraordinaire Earl Swanson and his Trini-dads are killing it here on this one off 1964 recording, but actually this band of merry men is one of many incarnations of producer Frank Guida and his Legrand Records house band, The Church Street Five.
Guida owned a number of record labels, including Le Monde (distributed by Atlantic), then Legrand (home to many early sixties hits by Gary U.S.Bonds) and finally sister label S.P.Q.R. (distributed by London). Guida was of Italian extraction and while stationed in Trinidad during the Second World War, he fell under the influence of calypso, an obvious influence passed on in many of his productions. Much of the Gary U.S. Bonds sound was created by the Church Street Five (based in Virginia), featuring Gene “Daddy G” Barge and Earl Swanson on the earlier cuts. The Church Street Five also featured Ron “Junior” Fairley on bass, Willie Burnell on piano, Leonard Barks on trombone, Eric Sauls and Wayne Beckner on guitar, and Melvin Glover and Nabs Shields on drums.
Everybody Do The Ska is the flip, and it’s a much more traditional ska-reggae composition that really is out shined by Back Slop!
While Jamaican ska was originally influenced by the sound of American R&B and jazz picked up in Kingston from radio broadcasts in New Orleans and Miami, the sound of early 60’s ska also had an impact on American pop music of the same era. And here is the what can happen when both these beautiful styles marry. This uptempo instrumental is really hot stuff. The ripping guitar blues solo, the Baby Earl grooves, the constant but addictive rhythms, mixing boogaloo with soulful ska, it’s made strictly for the dance floor!
Other facts: Guida opened a record store in Norfolk, Virginia, named Frankie’s Got It in 1953 (it’s motto was Shakespeare’s “If music be the food of love, play on!”, which later became a song on a Bonds B-side).
SPQR is the abbreviation for the Latin, Senate and Citizens of Rome, emblem of the Roman Empire (Senatus Populesque Romanus) and may have been a nod to Guida’s family’s original home, but it may have also stood for Sound Proof Quality Records.
In 1955, Ruth Brown met Swanson on the Griffin Brothers Orchestra tour and soon married, but sadly Swanson was not a nice husband at all! He was a womanizer, drug user and a wife beater, and made Brown’s life hell (you can read in more detail of the relationship here Icons of R&B).
Not a lot of information can be found on this massive Daniels recording, but I have to say it’s up there in my top favs to spin and not an easy one to find.
Daniels’ (born in Jacksonville, Florida, 1915) most recognised and popular recording That Old Black Magic is what you’ll find on the A side here. First recorded back in around 1948 for Apollo records (1101), it had quite a few successful releases on Mercury (5721 10″ Shellac where it was released as That Ol’ Black Magic, Mercury 5721×45 7″ 1950, a UK picture sleeve EP and also on Oriele) so it’s is obviously a re-release. On this Liberty release, over a decade later however, we have the almighty Jack Nitzsche reworking the Mercer-Arlen composition, and the production is what you’d expect from this great “Nitzsche era” of recordings. It’s smooth and it’s cool, and the overall sound is far more “hip” than the earlier recordings, but it’s on the flip where the real black magic happens!
Woe Woe Woe is the one you want to drop on this 45, and I’m not sure what really happens here to Daniels, but I can only assume that he was somehow possessed by the devil in that studio session! Maybe it was all the fame and those late nights in Vegas, after all it was 1964, what a place to be! Maybe after all his success with ballads and standards, he wanted to finally just give it all…and he certainly does here, come that short monstrous chorus line. The sax solo here is so, so very slinky and sexy, and I really want to know who is responsible! The percussion is slick, the tempo is dangerous, and the sound is big and nasty! Then adding those sultry, foxy backing vocals…well, it just makes this the most thrilling 2 minutes of soulful rocking R&B you’re likely to ever experience!
As always, I’m keen to find out more about this recording, especially the recording artists! The promo – audition cream copies seems to appear more often than the regular liberty copies, but still not an easy one to get your hands on, and well worth the hunt!
Track 1: Let Me Be Your Boy Track 2: My Heart Belongs To You
This has to be my favourite track from Alabama soul whiz, Wilson Pickett. Released in March 1962, after departing from his former vocal group The Falcons (fellow band members included Bonnie Mack Rice, Eddie Floyd and Joe Stubbs) to pursue a solo career, it seems that this song didn’t reach the success it well and truly deserved!
Research is telling me that this was the one and only recording he did with CORREC-TONE, but the track was also picked up that same year by (independent) CUB Records of New York. Pickett wrote the sweet flip “My Heart Belongs To You”, however the studio’s keyboardist Wilbert Harbert penned the electrifying A-side, “Let Me Be Your Boy”, while Sonny Sanders and Robert Bateman oversaw the sessions.
Pickett’s CORREC-TONE and CUB experience was short lived, moving on a few years later to Atlantic Records, where history was made with huge successful hits such as Mustang Sally, Land of 1000 Dances and so many more. There were two re-releases of this recording a few years later on M.G.M (UK-1965) and also on Verve, (www.45cat.com) and I’m guessing sparked on as a “cash in”, due to his success with the hit “In The Midnight Hour” that same year. There also seems to be a Spanish EMI-Verve picture sleeve out there.
Pickett must have been around 21 at this time, and the maturity in his technique and the overall song composition is truly astounding and obviously ahead of it’s time. The blue beat-ska rhythm and dynamics here, is what really made me fall so in love with this track. That, along with the upbeat tempo, and of course those familiar and incredible backing vocals by none other than The Supremes (aka The Primettes) makes it a dance floor filler!
I have the beautiful deep red Cub issue, which doesn’t seem to surface very often, and would love to know any other artist’s involvement with this recording!
Highly recommended reading about the Correc-tone Wilson experience can be found here…
Also check out Pickett’s very smooth Hey Joe 1969 Atlantic