Mary Isabel Catherine Bernadette O’Brien was born on 16 April 1939, in West Hampstead, London, and grew up in a very influential music loving family. She learnt how to sing at home, and it was her childhood friends that first gave the young rough ‘n’ tumble tomboy her more suited name, Dusty.
By the late 50’s, Dusty had obviously been influenced with the music scene that was getting around town, and had grown into quite a fashionable and stylish young lady, ditching her glasses and finding her own look. She also was very keen to get out there and sing, and by 17 she had made her professional debut as a singer at a small club near Sloane Square. While she would continue to perform folk music as a solo artist, at small London clubs (apparently she was paid less than £10 a night), in ’58 she spotted an advert in The Stage from an established sister singing act, who were looking for a third member.
They were called the Lana Sisters, and was formed by Riss Chantelle along with Lynne Abrams. Under the management of the Joe Collins agency, the trio secured bookings on television’s Six-Five Special and Drumbeat, and scored big with tours alongside Cliff Richard and Adam Faith. They also signed a contract with the U.K.’s Fontana Records, and between 1958 and 1960, they released seven singles…but it was all short lived for Dusty. In 1960 she left the group to join her brother Dion O’Brien and his friend Tim Feild, who had been working as a duo, The Kensington Squares. Dion became Tom Springfield, and Mary became Dusty Springfield, and the folk-pop trio The Springfields, was born. The Lana Sisters’ Riss Long, who had been calling herself Riss Lana, became Riss Chantelle and formed The Chantelles, and had some moderately successful records in the mid-60s.
Tom Springfield was a very knowledgeable folk singer, songwriter and arranger, and with the groups strong vocal harmonies as well as Dusty’s powerful lead, the mix was to prove perfect for success. They were signed to Philips Records in London and released their first single, Dear John, in 1961, followed by two UK chart hits with Breakaway and Bambino. They scored numerous television appearances and quickly the trio soon became very popular in the UK. Feild would be soon replaced by Mike Hurst, but the Springfields became even more successful. In 1962, their version of “Silver Threads and Golden Needles” reached the US Top 20 (Billboard), the first single by a British group ever to do so. The record also reached #1 in Australia!
The Springfields would go on to sell millions of records and score big on the charts, however Dusty felt limited by the group’s folksy act and Tom’s lead role within the trio, and also a shared frustration towards their growing American audience that mistook them for a country western group. At the end of 1963, Dusty decided to leave for a solo career, at which point the group disbanded.
In November 1963 Springfield released her first solo single, I Only Want to Be with You, which was was produced by Johnny Franz in a manner similar to Phil Spector’s “Wall of Sound”. Co-written and arranged by Ivor Raymonde, the instant smash hit rose to No. 4 on the UK charts, remained on the Billboard Hot 100 for 10 weeks, and it sold over one million copies! And on 1 January 1964, it was one of the first songs played on Top of the Pops, BBC-TV’s new music programme.
On 17 April 1964 Dusty issued her debut album A Girl Called Dusty which included mostly cover versions of her favourite songs including Lesley Gore’s You Don’t Own Me, The Shirelles’ Mama Said, and the Burt Bacharach song Wishin’ and Hopin‘, which became a US Top 10 hit. She also released an incredible Italian version entitled Stupido Stupido on a 7 picture sleeve was is just ridiculously awesome!
In December 1964 Dusty’s tour of South Africa was controversially terminated, and she was deported, after she performed for an integrated audience at a theatre near Cape Town, which was against the then government’s segregation policy. That same year, she was voted the Top Female British Artist of the year in the New Musical Express poll, topping Lulu, Sandie Shaw, and Cilla Black. Springfield received the award again for the next three years.
Dusty would go on to release a string of successful 45’s and lp’s in the next few years, but lets touch on some of the really great stuff…well at least my 45 picks. Firstly in ’67, there’s the Philips release, What’s It Gonna Be…killer dusty stuff! Then there’s the spine tingling Am I the same Girl from ’69…um…wow! And then of course, from 1970, there is Spooky! As if saxophonist Mike Sharpe’s original version wasn’t fantastic enough, Dusty sprinkles her soul over it like haunting seductive icing…her voice dripping like warm honey all over the lyrics taken thank-you very much from the Classic IV’s ’67 release.
The Memphis Sessions: In ’69, Dusty who was now signed to Atlantic, was hoping to reinvigorate her career and boost her credibility as a soul artist, and turned to the roots of soul music. Although she had sung R&B songs before, she had never released an entire album solely of R&B songs, but was about to release in my opinion, her strongest and most important album, entitled Dusty in Memphis. She began recording the Memphis sessions at the infamous American Sound Studios which were recorded by the A team of Atlantic Records. It included producers Jerry Wexler (who coined the term “Rhythm and Blues”), Tom Dowd and Arif Mardin, the back-up singers Sweet Inspirations and the instrumental band Memphis Cats, (who had in the past backed Wilson Pickett, King Curtis and Elvis Presley), led by guitarist Reggie Young and bassist Tommy Cogbill. It sounds like these recordings were a challenge for Wexler, who was not used to working with an artist who was in such habitual pursuit of perfection.
To say yes to one song was seen as a lifetime commitment for Dusty, who claims that she actually did approve of Son of a Preacher Man and Just a Little Lovin. Wexler was surprised, given Dusty’s talent, by her apparent insecurity, but she herself later attributed her initial unease to a very real anxiety about being compared with the soul greats who had recorded in the very same studios. Eventually Dusty’s final vocals were recorded in New York.
While Memphis did include the now absolute Dusty classic Top 10 UK hit, Son of a Preacher Man, this powerful and incredible album did not garner significant commercial success upon its original release, and remained out of print for many years!
Faithful would have been the title of Dusty’s third album for Atlantic Records, which was entirely recorded in the first half of 1971. Two singles from the planned album, I Believe In You (flipped with Someone Who Cares), and Haunted (flipped with Nothing Is Forever, a track that supposedly was never intended for the album) were released in the U.S. in the fall of ’71, but both releases failed to chart nationally. Due to poor response (although how hard they were promoted I don’t know), and a rumoured falling out with Atlantic executives, Springfield’s contract with the company was not renewed, and the planned album was never given an official release, catalogue number, or title. Apparently a third single was planned I’ll Be Faithful, where the title Faithful was taken…but that never surfaced either.
For years it was believed that a fire in the mid-seventies at one of Atlantic’s storage sites was thought to have destroyed the Faithful session tapes, leaving only the two singles (and the possible third single) from the sessions intact. However, in the nineties the album’s producer, Jeff Barry, was asked about the sessions and revealed he had kept completed stereo mixes of all the tracks. Most were released as bonus tracks on the Rhino Records/Atlantic deluxe remastered edition of Dusty in Memphis in 1999.
Haunted is a profoundly beautiful soulful composition, and probably way to mature for commercial pop success. Dusty wasn’t the kind of gal to write for the only purpose of seeking sales and chart success, although she probably would have been grateful for the recognition. She was an incredible musician only interested in moving forward into new challenging territories…with no interest at all in recording the same song over and over, regardless of the success she may have received from past hits. Here she’s giving us that warm pure tone (that’s unmatched by any), as we would expect from her, but there’s also a new sound here…and that, she must have found exciting. I love this song. Loved it the first time I heard it…and I love it even more, every time I’ve heard it since…and believe you me…that’s a lot of times! Dusty would admit to be very demanding and standing her ground when it came to her art. But how could anyone question her talent and vision, or stand in her path of exploration…it’s just mind blowing.
After the release of Dusty in Memphis, Springfield struggled to find musical compatibility with record labels, producers and musicians who all either misunderstood her vision or wanted her to be something other than herself. This resulted in a string of standard albums that achieved nominal success, but I can’t help but think that this path Dusty was on, was a path that she was given and not one that she chose, or was searching for.
She had some tough times…her alcoholism and drug dependency affected her musical career.She was hospitalised several times for self-harm, by cutting herself, and was diagnosed with Bipolar Disorder. She was constantly be “accused” about her sexual preferences and couldn’t understand the prying interest into her personal life. “Many people say I’m bent, and I’ve heard it so many times… I know I’m perfectly as capable of being swayed by a girl as by a boy. More and more people feel that way and I don’t see why I shouldn’t”.
In January 1994 while recording her final album, A Very Fine Love, in Nashville, Dusty Springfield felt ill. When she returned to England a few months later, her physicians diagnosed breast cancer. She received months of radiation treatment and the cancer was in temporary remission. The next year, in apparent good health, Springfield set about promoting the album. In mid-1996 the cancer had returned, and in spite of vigorous treatments, she died on 2 March 1999. Her induction into the Rock and Roll Hall of Fame in Cleveland, Ohio, had been scheduled two weeks after her death.
Note…During the Memphis sessions in November 1968, Dusty suggested to the heads of Atlantic Records to sign the newly formed Led Zeppelin. She knew the band’s bass player John Paul Jones, who had backed her in concerts before. Without having ever seen them and largely on Dusty’s advice, the record company signed a deal of $200,000 with them. For the time being, that was the biggest deal of its kind for a new band.
Track 1 – Pretty Little Girl Next DoorTrack 2 – Buzz Buzz Buzz
Okay, first thing’s first…Robert Byrd, alias Bobby Day, of the Hollywood Flames, who were formerly The Flames, is not to be confused with Bobby Byrd of the Famous Flames, who were formerly…The Flames…got that? Good!
Robert James Byrd was born July 1, 1928, in Fort Worth Texas, and moved to Los Angeles in 1947. His first vocal group, The Flames, originated in 1949, when all members were in there teens. They all met at the Largo Theater in Watts at a talent show given by the theater’s owner, which brought together many singers from various high schools in Los Angeles.
Bobby strung together tenor David Ford, second tenor Willie Ray Rockwell and eventually Curlee Dinkins, who sang baritone and bass (Byrd would sing bass, baritone, tenor). They quickly learned how to sound pretty darn good together, and as they all needed to earn some dosh, they decided to brave up to an audition they had heard about at the Johnny Otis owned Barrelhouse. They started winning a few prizes here and there and were offered a few little jobs, sometimes making five dollars each.
The Flames existed from 1949 to 1966. In that time, they recorded under a bewildering variety of names (Four Flames, Hollywood Four Flames, the Jets, the Ebbtides and the Satellites), for a bewildering number of labels, with a bewildering cast of personnel.
In ’57, Byrd penned and recorded the great, Buzz Buzz Buzz, (Earl Nelson on lead) as The Hollywood Flames on Ebb. When the song became a hit, Bobby found out that he didn’t have any publishing rights and only half the writer credit…and never received any money owed to him. That same year with his back up group the Satellites, he also wrote and recorded (as Bobby Day) the fab foot tapping hand clapping Little Bitty Pretty One, released by Class in August. Popularized with success for Thurston Harris, whose release beat Bobby’s out the gate, it reached No. 6 on the U.S. Billboard Hot 100 and No. 2 on the R&B chart…but I much prefer Bobby’s!
But the next year Day was the first to record Leon Rene’s (under the pseudonym of Jimmie Thomas) Rock-in’ Robin…the perfect counter attack, and Day’s most recognize and successful recording, which became Number 2 hit on the Billboard charts! Its flip, “Over and Over,” was a hit in its own right, and a cover by Dave Clark Five in ’65, brought a much more hip, modern youthful version back to the dance floors!
Bobby Day went on to partner with Earl Nelson and recorded as Bob & Earl from 1957 to 1959 on Class.
Moving on to 1963, and Bobby releases the incredibly uplifting Pretty Little Girl Next Door on RCA. I’m sure everyone reading this, has one song that they can rely on, that will always bring themselves a big damn smile, no matter what life is throwing at you! This is mine! From beginning to end, it’s a quite the pleasant build up. With it’s sweet caterpillar like beginnings, it quickly sprouts it’s wings and soars! The slinky groove grows, and it soon smothers you. And I’ve proved that this song can and will draw everyone within a kilometer radius of your turntable, onto your dance floor. Day gives it his all…he really shines in this one, and of course those gorgeous female backing vocals brings it all into perfect harmony! Imagine seeing this performed live by Mr.Day in ’63!
And on the flip, what a delight to have a revisit of his early Buzz Buzz Buzz! Just as great as the original, however this version may have a slower tempo, but certainly holds a stronger groove…and much more developed for the early sixties hipster dancers. Both tracks produced by genius Jack Nitzsche!
Bobby Day died from cancer on July 27, 1990, in Los Angeles and was buried in Holy Cross Cemetery in Culver City, California. He was survived by his wife, Jackie, and four children. He may not have had the successive chart success he very well deserved (he never achieved another Top 40 Hit apart from Rock-in’ Robin), but in my book, he was just as important as the best of them, especially with his major part in the early days of doo wop! He always lifts me, and Pretty Little Girl just makes me drunk with happiness!
Essential reading for a very in-depth and thorough journey with Bobby Day and his Hollywood Flames, by Marv Goldberg…The Hollywood Flames.
Caprice 120 US Year 1963
Born Alonzo W. Lucas, 16 August 1914, Pritchard, Alabama, Buddy moved to Stamford, Connecticut, at the age of three. In years to come, a good neighbour noticed the young 11 year old’s interest in music and gave him a clarinet. This kind act must have been the true begins of where it all really started for Buddy! In the late 1940s he went to New York City, where he met drummer Herman Bradley, who helped him get his gigs and record dates.
But it wasn’t until ’51, when Lucas would make his first vocal recording on Soppin’ Molasses, for Jerry Blaine’s Jubilee label. Jubilee specialized in rhythm and blues and was the first independent record label to reach the white market with a black vocal group, when The Orioles recording of Crying in the Chapel reached the Top Twenty on the Pop charts in 1953. Lucas became leader of the house band and renamed his combo “The Band Of Tomorrow”. Scoring a #2 hit on the R&B charts in 1952 with the slow revived Diane, may have given the saxophonist some attention, but the flip Undecided is far more foot tapping and exciting! This set the pattern for most of his following Jubilee singles : a lush ballad on the A-side and an R&B sax led instrumental on the flip.
Lucas had one other hit on Jubilee, Heavenly Father (I Love You is the much preferred flip), sung by Edna McGriff (# 4 R&B in 1952), before moving on to RCA and its subsidiary Groove. Releasing a handful of 45’s, including the raw Greedy Pig, my pick of this bunch would have to be the Groove two sider My Pinch Hitter (along side Almeta Stewart, who I honestly have to say, I do not know enough about) and of course the great flip I Got Drunk! The title alone tells you that this here track was always going to be good! Also No Dice (flip to High Low Jack), should NOT be ignored, as Buddy really gets the opportunity to have some sexy fun with his sax and harmonica skills here!
From ’56 to ’57, Buddy had seven 45’s released on Bell Records, a budget label specializing in covers of the big hits of the day, including Hound Dog….okay stuff. BUT also in ’57, he comes out with the hammering Bo-Lee, on the Luniverse Records label. Established in 1956 by struggling songwriters Bill Buchanan and Dickie Goodma, but ceasing production in 1959, this label, with a few exceptions, were nearly all Buchanan-Goodman titles. As much as I admire Budy’s instrumentals, I think his vocal releases are just the bomb, as is the case with Bo-Lee!
in 1958, he became the nucleus of the Gone All Stars, George Goldner’s session band for his Gone Label. Fun stuff, but no real earth shaking releases, well especially compared to the previous Luniverse monster.
Carlton released Beulah in ’59…fantastic stuff, but incredibly similar, if slightly more bizarre, to Bo-lee!
Many more releases were to come in the next few years from Lucas on various labels including Vim, Tru-Sound and Pioneer (I recommend Get Away Fly on the latter label), but let’s move to 1963 and this mind blowing Caprice release!
At just age 28, Gerry Granahan became the youngest record executive in the music biz to that time, when he formed his own company, Caprice Records. He was a former disc jockey at WPTS in Pittston and in 1957, he was the first white artist on the Atlantic’s subsidiary label, Atco. He had a lot of success with numerous solo and group projects (including as pseudonym Dicky Doo and the Don’ts and group The Fireflies), but in 1960, he found being a performer, composer and producer for all his different acts, was too much to handle and realized his future success would come from sitting on the other side of the desk. Granahan had used Buddy’s talents on some of his own previous recordings, so it’s no surprise he brought him over to his new label. I can’t really find out much about the Gerry Granahan Orchestra that accompanies Buddy’s composition. While the label did have some major successes (and why this track wasn’t one of those I’ll never understand…although I have to suspect poor marketing perhaps?), the label folded in ’63 due to some dodgy “off the books sales” from a business partner.
I Can’t Go is an absolute Big Buddy gem! He writes about finding love and fame, and not holding onto to either tight enough. It’s blues…I guess…but so contradictorily upbeat! The cheeky keyboards, the wriggling bass and the outstanding dry production are all perfectly synced. Sometimes I really struggle to understand how music can be this great! And I’d love to find out who is responsible for the fabulous backing vocals…perhaps again former Granahan collaborators?
After researching this great musician, it seems evident that Buddy is much more known and credited for his prolific tenor sax and harmonica contributions, than as the cool cat vocalist that he certainly was. And he did put down some mean grooves with plenty of talent. In the 50’s he worked with Frankie Lymon & The Teenagers on Why Do Fools Fall In Love, and also with Little Willie John on his remarkable Fever take! He would work with blues and soul queens Big Maybelle, Big Mama Thornton, Aretha Franklin, Roberta Flack and Nina Simone! He would also get wild with Bernard “Pretty” Purdie, Yusef Lateef, Jimmy Smith and Count Basie. It’s obvious that here was a man with incredible talent to share, and I’m sure many friendships were made in his lifetime. And while his recording credits can be all laid out to a point without too much unraveling, it kinda saddens me that I can’t seem to find out much more about the man himself, behind those great notes, with such an important historic relevance to soul and blues. There must be interviews out there somewhere with either himself or collaborators. Even some photos?!
Buddy would continue to work with countless more musicians including Hendricks and George Benson, offering his harp and sax skills. In 1980, Buddy had his right lung removed after cancer was discovered, but continued to play alongside his old friend Herman Bradley, that he meet back in the ’40’s. In December 1982, due to ill-health, he finally had to give up doing what he loved most. He passed away on March 18th, 1983.
Referencing Dik from Black Cat Rockabilly
Also great Buddy discography here at Hallelujah Rock ‘n’ Roll
…and here at WangDangDula
And some definitive reading on Caprice Executive Gerry Granahan
Track 1 – 7 heures du matin Track 2 – Ce Soir Je M’en VaisBorn 1948 in Carthage, Tunisia, the young Taïeb arrived in France with her parents at age eight. Her father gifted her with a guitar at 12 (like every good dad should do) which she must have really connected with, because soon she would be composing her own songs. It wasn’t long before a talent scout would discover her while singing with friends. It was ’66, and what an exciting time it must have been for the perky 18 year old singer-songwriter, scoring a contract with the record label Impact, and then being quickly whisked away off to London for her first recording sessions.
1967 saw a string of 7″ releases for the now 19 year old Jacqueline, but it’s this debut EP release (in January) that she is most well worshiped for. All four songs on the EP were composed by the young singer herself, which you have to remember for that time, was quite rare, as most female singers were expected to perform songs that had been written for them, or perhaps covers of other popular high selling hits.
Though the lead track, the almighty ye ye classic 7 heures du matin, was only a small hit at the time, it has gone on to become considered a classic of the French girl pop genre. It is the story of a young student waking up too early, at 7am, on a Monday morning, struggling with the thoughts of what the day will throw at her. She fantasizes about her boy crush Paul McCartney, helping her complete her homework, while tormenting on which sweater to wear for the day. Obviously a girl who is after trouble, the rebellious girl even considers playing her Elvis record loudly just to upset the neighbors. I mean really…how cute is that!?
It’s a simple song, but a huge dance floor monster! With it’s Steppin’ Stone garage power chords and it’s rebellious Elvis meets The Who attitude, it’s freakin’ impossible no to adore this one! And obviously very high in demand in the collectors circle. This track really brings back some great memories of the Sounds Of Seduction nights we once were fortunate to encounter here in Sydney in the 90’s, hosted by the great Jay Katz, (a friend who is responsible for introducing me to so much great lost European dance and film music of the sixties). And this song was also the trigger to the beginnings of my Yeye obsession!
Track 1 – You’ve Been Gone Too Long Track 2 – You’re Letting Me Down Mary Ann Sexton was born In Greenville, South Carolina and was yet another child raised by a family heavily influenced by gospel music (a time it seems when heavenly angels were certainly handing out some great voices to their young followers). Her path was always going to be singing amongst her church choir, but she was also open to talents shows on the side, which by no surprise ,she won more than a few times.
In 1967, Ann had her first recording experience as a featured singer on Elijah and the Ebonies’ I Confess on Gitana (credited as Mary Sexton). A beautiful soul ballad that’s hard to come by, and a track that really demonstrates the beginnings of her talent…a teasing taste of things to come from Sexton. The Ebonies’ Tenor and Alto sax player, Melvin Burton (who gained notoriety as a youth playing for Mosses Dillard), must have shared a certain spark with Ann, falling in love, they married soon after and started their own group, Ann Sexton and the Masters of Soul.
Soon song writer David Lee would discover the dynamic soul group while performing at a club in North Carolina in 1970. He had the small label Impel at the time and had to have them on board, so he penned the ballad You’re Letting Me Down, and also with the coloration of Ann and Melvin, what must be the most incredible soul B side ever…You’ve Been Gone Too Long. I’m not evening going to try and explain the purity and greatness of this track. If you don’t feel it, then there’s nothing I can do to help you…although I’ve never know anyone not to love this track. And the A side is a little monster ballad too.
Now I usually strive with all my might, to sort first pressings whenever I can, but this red Impel 1971 pressing has eluded me for some time. It rarely surfaces around the collectors market although a little while back, a handful did show up briefly. And it is rumored that this was due to a freak find someone was fortunate to discover…a box of mint jukebox 45’s, including a nice handful of these pressings. While they did prove to be way over my budget, maybe it’s a regret I may now have to live with.
The Impel release gave Ann the recognition she needed and soon after, was signed to Nashville’s soul DJ and label owner John Richbourg’s Seventy Seven Records. In 72, this killer double sider was thankfully re-released, (Richbourg must have realised how deserving and worthy these two great compositions would be for his label) but even this first Seventy Seven pressing for Sexton isn’t an easy one to find. There is an alternate label press also, with a later more graphic, brighter label, and while I do believe it is a slightly later press, I’m not sure what the time frame between each pressing is (anyone out there know?)
1972-74 were busy years for Sexton, releasing five 7’s, including the must have You’re Losing Me (penned by Ann and Melvin) flipped with the great You’re Gonna Miss Me. Recording in Nashville and Memphis, she also released her first album Loving You, Loving Me produced by Lee and Richbourg (Ann and Melvin penned six of the songs)….to this day, a much sorted LP.
1977 saw the release of Ann’s 2nd studio album The Beginnings (Sound Stage 7)… now a classic album with some beautiful ballads like Be Serious and I Want To Be Loved, but it also included the very danceable You Can’t Lose With The Stuff I Use and the soulie I Had A Fight With Love. Unfortunately there was only one single release from the album, I’m His Wife.
After her second album, Ann decided to leave the music industry and relocate to New York. Looking to escape the stressful politics of the music industry, she embraced a career change. Her desire to help the community inspired her to become a school teacher.
I am pleased to report that today, Sexton has been rediscovered, and due to popular demand, she is now on the occasion performing back on the stage, where she can once again share that incredibly beautiful voice. But I believe Ann has never needed a stage to shine, she has warmed many turntables and dance floors around the world for many years, whether she has been aware of it or not.
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)
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.
The Stovall Sisters may have come from a strong gospel upbringing, but this thumpin’ delivery is a hymn praising winged angels with halos of fiery funk!
Born in Kentucky and raised in Indianapolis, Indiana, sisters Nettie, Lillian, and Rejoyce, were three of ten children of James and Della Stovall. Their mother was keen to lay down a musical path for her children, by kick-starting their singing voices from around the age of two, and as they grew up, they would tour the roads of the Midwest and South with the family gospel groups.
The first family group was known as the Four Loving Sisters (the name was later changed to the Valley Wonders) and consisted of the four eldest sisters, Billie, Dorothy, Frances, and Georgia. Prior to joining the Valley Wonders, Wayne, Nettie, Lillian, and Joyce performed in a separate family act known as God’s Little Wonders for as long as their childhood held out. When they grew too big to persist as ‘Little Wonders they inherited the mantle of the Valley Wonders from the four older sisters whose careers had succumbed to marriages. Della managed and negotiated recording contracts for them, who also recorded as The Stovall Family (accompanied by two brothers).
In 1964 the family moved to Oakland where the already seasoned performers finished high school and began worrying about economic survival. They continued to sing in church but the Stovall sisters had to support themselves with weekday jobs. During this period they broadened their repertoire to include rock ‘n’ roll and rhythm and blues which gained them entrance to Oakland area night clubs, sometimes under the name of Sister Three.
In 1968 the three girls decided to go for it, a full time professional rock n’ roll career. Their initial step in this direction was naive but direct. According to Lillian “We put an ad in the Oakland Tribune – Three black girls looking for a Caucasian band to sing with”. The only serious response was from a man named William Tuckway. “He came right in and sat on the floor like we’d be knowing him for years”. Tuckway would soon co-produced their debut album on Reprise along with Erik Jacobsen.
Hang On In There is the funk standout on their sole Warner/Reprise gospel/R&B crossover album and I’m so damn thankful that it was issued on a beautiful and loud 45. It looks like it was only released as a promo two same-sided track, in mono and stereo. It’s a big groove song…and a wildly uptempo-ed journey! The band is hot, tight and super sharp…going from album credits-Bass: Doug Killmer, Drums: Bill Meeker, Guitar: Dennis Geyer and on Horns: Ron Stallings, John Wilmeth, Hart McNee, David Ginsburg and Neil Kantor. Too good not to share and deserves far more attention than it gets!
The three sisters maintained a successful career as studio professionals and touring backup singers for an impressive list of well-known artists that include The Staple Singers, Bobby Womack, Ray Charles & The Blind Boys, BB King, Big Mama Thornton, Etta James, Jackie Wilson, Joe Tex, Parliament-Funkadelic and briefly performed as the Ikettes with Ike & Tina Turner, 1967.
The Stovall Sisters would go on to record unreleased tracks for an album with Earth, Wind & Fire’s Philip Bailey and Maurice White but would disband before its release. The Stovall Sisters currently reside in Oakland, Calif.
Recommended reading Opal Louis Nations
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…..