Okeh 4-7147 US Year 1962 Marie Roach was born June 1, 1925, in Sanford, Florida, and grew up in Newark. At the sweet little age of 5, she impressed the congregation at her parents church by singing the gospel song Doing All the Good We Can, and of course later became a soloist in her church’s youth choir.
In 1939, the young lady first toured with Evangelist Frances Robinson, touring the national gospel circuit (she married preacher Albert Knight in ’41 but divorced later).
In 1946, she made her first recordings as a member of The Sunset Four (aka Sunset Jubilee Singers) for Signature and Haven (these labels would merge, but became defunct at the end of 1960 after being purchased earlier in the year by Roulette Records), and released a mighty fine handful of spiritual releases.
The now legendary guitar playing Sister Rosetta Tharpe, who was a major recording artist on the Decca Records label, and who many would say, brought gospel music to a broad audience, first heard Knight sing at a Mahalia Jackson concert in New York in 1946. Tharpe recognized “something special” in Marie’s contralto voice, and two weeks later, she showed up at Knight’s house in Newark, N.J., to invite her to go on the road with her.
Tharpe and Knight toured through the late ’40s, appearing in clubs, arenas, churches and auditoriums, sometimes acting out the parts of “the Saint and the Sinner”, with Tharpe as the saint and Knight as the sinner.
Together they had plenty of successes, including Up Above My Head, credited jointly to both singers, and reached # 6 on the US R&B at the end of 1948. The great Didn’t It Rain also did well and Knight’s solo version of Gospel Train reached # 9 on the R&B chart in 1949.
Knight left Tharpe to go solo around 1951, and released further more gospel recordings on Decca. But around April 1954, Marie Knight makes a change as she records straight ahead R & B songs I Know Every Move You Make and You Got A Way Of Making Love. These Rhythm & Blues tunes may have turned away a great many of Knight’s gospel fans, but she continues this move with a release during July of This Old Soul Of Mine and I Tell It Wherever I Go, and a November release of Trouble In Mind and What More Can I Do.
Both Knight and Tharpe’s friendship has stayed very strong and close, and in ’55, they get back into the recording studio together and release Stand and Storm on Decca, and together they score a two week stand at Chicago’s Black Orchid. In October, Knight lands a part of the lineup of the “Lucky Seven Blues Tour” along with Earl King, Little Willie John and other greats! Soon after the tour is over, she signs on for another all star touring show called the Rock ‘n’ Roll Jubilee which kicks off at L.A.’s Shrine Auditorium and again features star players including B.B. King, the classy Shirley Gunter, and sax cat Hal Singer.
In the spring of ’56, Knight follows her close friend Tharpe, from Decca to Mercury Records. While a couple more gospel releases sprouted once again, Knight decides to release another R&B beauty Grasshopper Baby (flip to Look At Me). In march of 1957 Mercury brings out the doo-wopping Am I Reaching For The Moon? and I’m The Little Fooler. In ’59, Knight and Tharpe record together again, and release Shadrack on Decca, which has to be one of my top picks from their almighty strong partnership!
1961 saw the release of the Knight bomb To Be Loved By You on Addit…you need to hear this if you don’t know it…amazing! That same year she recorded Come Tomorrow, released on Okeh, a tune which became much more famous after it was covered four years later by British rockers Manfred Mann.
And in ’62, she hits us with this…Come On Baby (hold my hand), again on the Okeh label. Quite slinky for Miss Knight, and you can’t help but feel this kinda tune has been waiting to burst out from her for some time. Another heart felt sound about love, but much more personal here than say spiritual. Not a lot can be found about this Roy Glover arranged session, and why this track is very rarely mentioned when reading up on Knight is a mystery to me, but it is well respected in the R&B community and on many collector’s want list for good reason.
Knight recorded and released a bunch more 45’s with various labels up til about 65, then slowly faded away from the scene. Her ripping version of Cry Me a River reached # 35 on the U.S. Billboard R&B charts in ’65, and was a powerful stamp to close an important chapter.
Knight remained friends with Tharpe, and helped arrange her funeral in 1973. In 1975, having given up performing secular music, she recorded another gospel album, Marie Knight: Today.
In 2002, Knight made a comeback in the gospel world, recording for a tribute album to Tharpe. She also released a full-length album, Let Us Get Together, on her manager’s label in 2007. She died in Harlem of complications from Pneumonia on August 30, 2009, but her legacy will live on…no doubt about it!
As I’m researching this fabulous piece of R&B dance floor femme gem, I quickly discover that there is actually a lot of conflicting and confusing information (again!) out there, regarding this 5 pc. Miller Sisters vocal group and Sun’s Rockabilly sibling partnership that were around at a similar time, with the same name. Two completely different groups yet both so brilliant. I will be posting on the Elsie Jo and Mildred Miller sisters soon I promise!
The Miller Sisters (from Long Island, NY) are Jeanette, Maxine, Nina, Sandy and Vernel, and were the talented daughters of music entrepreneur William Miller, A&R director for Hull Records.
They first recorded Hippity Ha with the adorable flip Until You’re Mine for Herald back in 1955, the same year they also scored a starring role in Fritz Pollar’s R&B picture Rockin’ the Blues, which also included the Harptones, Hurricanes, Wanderers and the great Lula Reed.
In ’56, after releasing Guess Who / How Am I To Know on Ember, they moved to Hull Records, which was the label former Herald Records executive Blanche (Bea) Kaslin’s established along with Billy Dawn and Mr. Miller (apparently Kaslin had just had enough of seeing artists being mistreated, not paid appropriately, and being taken advantage of with contracts). The label had some great R&B success with their very first release from The Heartbeats Crazy For You / Rockin-‘n-Rollin-‘n-Rhythm-‘n-Blues-‘n in ’55. While the sisters were at Herald records, their father obtained their release from an exclusive contract that they held with the label and would thereafter freelance for Hull, ACME, Onyx, Riverside, Roulette, Capri and others.
Moving forward to ’61, and it was hully gully fever that was scuffing the dance floors, and the Glodis release Pop Your Finger (flip to You Got To Reap What You Sow) certainly would have been getting some heavy rotations around the dance halls.
1962 brought some crackers for the girls, firstly Rayna’s superb release Dance Little Sister (flipped with I Miss You So), and this is the stuff that just thrills me. Slow and swinging, but heavy on the rhythm, and brutally charming vocals with more sass than one can handle. Then on Riverside, the dizzyingly beautiful ballad Tell Him (flipped with Dance Close).
But the year also brought out this beast…The Hully Gully Reel! It’s a mass of rhythm delivered by a thundering steam train. A good one to drop when the dance floor is all warmed up and salivating. Feels very Eddie Bo…it’s got that empowering rhythm, but it’s the legendary Big Joe Burrell with his big Sax driving the orchestration with full pelt. Burrell would work with the Sisters on tour and other recordings for a big part of their career, and it’s obvious a match made in heaven. If 2.15 minutes of non stop frantic hully gullying rocks your boat, then you’re getting you money’s worth here on this 45! Not for the faint hearted! And by the way, how good is that electric organ?! It’s on fire!
In ’64, Big Joe and the ladies struck again with Cooncha – Hey You which they recorded in Quebec for Capri in ’64, supposedly while on tour together…driving stuff! (Their father was credited as “Pop Miller” on the label). The Sisters weren’t done though as far as killer 45’s go. A much more soulful I’m Telling It Like It Is on GMC from ’65 is also very desirable!
The Miller Sisters recorded around 22 singles for various labels, and as is the case with this one, some are not easy to find. I feel very fortunate to have my hands on this one, and have made an oath to share it on as many dance floors as I can!
Discography : (as far as I can make out from Goldmine and other sources)
1955 – Hipetty Ha / Until you’r mine (Herald 455)
1956 – Guess Who / How am i to know (Ember 1004)
1956 – Please Don’t Leave / Do You Wanna Go (Hull 718)
1957 – Sugar Candy / My Own (Onyx 507)
1957 – Let’s Start Anew / The Flip Skip (Acme 111)
1957 – You Made Me A Promise / Crazy Billboard Song (Acme 717)
1958 – Let’s Start Anew / The Flip Skip (Acme 721)
1960 – Oh Lover / Remember that (Miller 1140)
1960 – Pony Dance / Give me some old-Fashioned love (Miller 1141)
1960 – Just Wait And See / Black Pepper (Instrumental) (Hull 736)
1961 – You got to reap what you sow / Pop your finger (Glodis 1003)
1962 – I miss you so / Dance little sister (Rayna 5001)
1962 – Walk on / Oh Why (Rayna 5004)
1962 – Roll Back The Rug (And Twist) / Don’t You Forget (Hull 750)
1962 – Cried All Night / Hully Gully Reel (Hull 752)
1962 – Dance Close / Tell him (Riverside 4535)
1963 – Baby your Baby / Silly girl (Rolette 4491)
1964 – Cooncha / Feel good (Stardust 3001)
1964 – Cooncha / Hey You (Capri 950) Quebec
1965 – Looking over my life / Si Senor (Yorktown 75)
1965 – Your Love / Please Don’t Say Goodbye Dear (GMC 10003)
1965 – I’m telling it like it is / Until you comme home, I’ll walk alone (GMC 10006)
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…..