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Repost /upgrade from the old blog...King Sylvester Lee Melicious Solomon was born in Tallula Louisiana in 1934 but his career took him to Chicago & L.A. in the pursuit of his dreams. He seems to delve into both genres of music with comparitive ease i.e. Soul & Blues but his voice is dynamite. I have a lot to be thankful for over the years to our Northern Scene here in England as its introduced me to many artists i would never have discovered and then led me to pursue thier discogs, this guy was one of them. Only 2 studio albums and less than 20 x 45,s. you can read all about him in the booklet so let the album do the talking! Thank goodness Night train gathered together the cream of his recordings! Apart from the northern tasters ,taster 5 gone into folklore with the funk community..
There may be unlikelier locations and eras for a soul music than small town Sauk City’s Cuca Records in Southwestern Wisconsin from 1959 to the early 1970s. But that setting figures into a rich legacy, a sizable chunk of it captured in Chicago label Numero Group’s edition of its Eccentric R&B series. Cuca must have held significant allure for Milwaukee artists to ignore studios and record companies closer by. But it worked out for all concerned, at least in the quality of production and artistry shared among the two dozen tracks compiled here. Figuring prominently among them are Milwaukeeans who would later get national attention. Years before The Esquires urged listeners to “Get On Up,” the male vocal group engaged in post-doo wop harmonizing with an occasional Caribbean flair. That ensemble’s former lead singer, Betty Moorer, also acquitted herself compellingly as a soloist with a bubbliness recalling Claudine Clarks style. Selections from Milwaukee mainstays Harvey Scales & The Seven Sounds point both to the singing bandleader’s dexterous vocal range and just how little brass is heard throughout the rest of the album. Motown styled orchestral string arrangements aren’t to be heard at all (due to space and/or budgetary considerations?), but just as Hitsville U.S.A. turned The Primes and The Primetttes into The Temptations and The Supremes, Cuca had gender complementing vocal groups The Devils and The Devilettes working together and making their own memorable tracks. Defining the range found in the Wisconsin and Northern Illinois soul are the Ink Spots/Mills Brothers throwback style of The Twiliters, genuinely funny novelty doo wop from The Supreme Four and moves toward Thom Bell/Gamble & Huff Philly slickness from Step By Step. The most relatively out of step outliers come from the otherwise party-bound Artie & The Pharaohs’ dip into lurching ominousness and Rockford Illinois’s closest thing to Ike & Tia Turner raucousness, Birdlegs & Pauline, ending the project with tender jazz of the type Wes Montgomery and Nancy Wilson could have made together. It,s Late night '60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the local ether, these 26 dog rare tracks uncover the soulful paths between the Chicago, Milwaukee and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twilighters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this album tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12 of that area. Quite a few of these dancers i am familiar with (on tasters) only available via the acetates and few 45,s.
Another important DETROIT label was Check-Mate. Check-Mate was a subsidiary of the Chicago, Illinois-based Chess label.
When Anna was bought by Berry Gordy in April 1961, Gwen Gordy and Billy
Davis continued to sell Anna's master tapes to Chess. Check-Mate was
started to release Detroit area artists, and a number of Anna masters
were released on Check-Mate during 1961 and 1962 in it,s short life.
Northern Soul legend and all round top soulman Eddie Holman needs no introduction on here ii,m sure. only 4 studio albums,nearly 60 45,s and featured on many comps over the years...Vocalist extraordinaire Eddie Holman is among the most listened to artists in the fields of popular and classic Soul music. His unforgettable falsetto voice and the tune that he popularized is perhaps the most recognizable urban love song in much of the English speaking world. "Hey There Lonely Girl" is the beautiful tune that seems to touch every ones soul as it emanates from airwaves or churns from the turntables of fans. It is the composition that distinctly defines how it feels when the young gent helplessly yearns for his lady, the object of his affection, who has been spurned by her ex! The song concludes: "Don't you know this lonely boy loves you!". No other classic love song in modern recorded history has had as much an impact on the lovelorn, or said it better than this 1970 mega-hit. But he did so much more than this especially for his rare 45,s Recorded in Philadelphia. Although he started singing at the age of two, Eddie Holman's venture into show business began after his family relocated to New York City from Norfolk, Virginia his birthplace in 1954, when he was eight years of age. It was there that his strikingly beautiful mother exposed her child prodigy to the piano, guitar, singing, and the performing arts in and around the bustling city. As Eddie's musical talents blossomed, his unique gifts led him to victory on the most challenging stage in the Metropolis, The Apollo Theater Amateur Night. With a choirboy image, Little Eddie Holman as he was then called became so proficient as a performer that, in time, his vocal prowess as an adolescent was even showcased before crowds at the elegant Carnegie Hall and popular Off Broadway Theaters. In search of creative freedom, and in order to expand his artistic boundaries, Eddie was enrolled in Harlem's prestigious Victoria School Of Music to study along with other gifted youngsters while he appeared regularly on NBC's "The Children's Hour.". Eddie's star shone even brighter when, during his teen years, he moved to the City of Brotherly Love, Philadelphia, Pa., where he attended Overbrook High School, and further advanced his secular education by joining the proud alumni of Cheney State University. While attending the university, Eddie's ultimate dream materialized with the release of the first of a caravan of charted hit-songs: "This Can't Be True, Girl." recording on parkway & Don-El with many great records regarded as classics on the UK Northern scene. This musical selection signaled the beginning of a collection of prolific love ballads that would provide a rock-solid foundation for the launching of the illustrious career of one of the recording industries pioneers of romance. While on the edge of major international acclaim, Eddie Holman continued to release a number of successful albums, some under his own gospel label, Agape, and on which label he planed to record additional longed-for projects in the near future. Schoochiebug Music Publishing and Agape Records (Eddie's companies) are the exclusive sources that Eddie continues to use to glorify his maker in his own way. Eddie's lyrical masterpieces are so timeless that in 1998, Hollywood got in on the act by adopting "Hey There Lonely Girl" as one of its theme songs in the Martin Lawrence/Tim Robbins film titled, Nothing To Lose. Also, in 1999 Toyota featured the song in a worldwide television commercial, advertising the Camry automobile. Eddie's repertoire has secured unending accolades over the years and his admirers include industry artists such as Isaac Hayes, Dionne Warwick, and super-rapper NAS. In fact, NAS was so impressed by Eddie's style that he sampled his song, "I Love You" which was co-written by Eddie's creative wife Sheila on his platinum mega-hit CD titled God's Son. It was at Sheila's insistence, by the way, that Eddie reluctantly committed to record his greatest R&B classic. Eddie's smooth flowing style is a reflection of the primary musical influences in his life: Jackie Wilson, who is arguably the greatest stage talent ever, and the velvet crooner himself, Nat King Cole. These two industry giants are the creative example for the younger Eddie by their boundless exhibition of class and style. Jackie's undulating vocal gymnastics and Nat's soothing voice served as the backdrop for the sensational vocal orchestrations synonymous with Eddie Holman. As a frequent touring roommate of Jackie's, and although influenced by Jackie more than anyone else, Eddie tirelessly shaped his own unique style by molding his delivery into an electrifying display of raw vocal prowess, as witnessed by the fever-pitch eruption of applause from the congregants of T.J. Lubinsky's PBS tribute to "Doo Wop, R&B 40" which aired in the year 2002. Eddie Holman works year-round, performing at concert halls around the country and throughout the world, mesmerizing throngs with his rich tenor voice and the original Philly sound (which Eddie helped define). Eddie can even be located performing on some of the more popular cruise ships perusing the Atlantic, and he can also be witnessed serving up a heaping dose of pop and soul where his popularity is at an all-time high, English clubs and the pride of the UK, Wembley Stadium. Touring with the Eddie Holman Band is something that he enjoys immensely because of the fan appreciation, the spontaneous adulation, and the opportunity to share his golden classics with a new generation of fans. Daily, new music enthusiasts are turned on to the Philly sound, and prominent among the ambassadors of soul is the pride of Philadelphia, Eddie "Smooth as Silk" Holman. A loving father of three, Eddie Holman is an ordained Baptist minister that uses his music as a tool to encourage togetherness in families. He recognizes his talent as a gift from his creator and feels an obligation and an indebtedness to use his abilities, music and otherwise, to spread good will everywhere he is blessed to perform. As for today's music, he thinks that much of it is positive and some of it is noxious. He believes that those who are blessed with creative talent have a responsibility to encourage personal accountability and to set the best example possible because of the powerful influence that they have on the lives of so many young ones. He says: "lyrics send powerful messages that impact the listener of songs in ways that the artist will never know." Eddie insists, "no genre of music is flawless and no music culture is completely bad." Eddie Holman is to this day a model Pennsylvania resident who works closely with community leaders, generously caring for the needs of those less fortunate. In line with this, Eddie plans to pen some of his noteworthy personal and public experiences by writing his autobiography. His interest in the arts extends far beyond the recording industry; it takes in the countless educational systems that prepare our children to appreciate all of the performing arts. Once in a lifetime a talent in the mold of the fabulous Eddie Holman happens into our lives with a sound and an aura that is so incomparable that the public embraces it with heartfelt affection. Like a Nightingale in springtime in one fell swoop, Eddie Holman delivers a melodic phrase with passion, and then woos the awestruck audience with bursts of tantalizing musical ecstasy. A true singer's singer, Eddie will continue to expend himself ceaselessly to the ends of the earth, as Philly's musical gift to the world. Eddie Holman's exemplary career has certainly stood the test of time, and his dignified musical legacy is one that will continue to flourish for as long as there is a song to sing. My tribute to this LEGEND!..I flogged this LP years ago must get the CD.
Following the previous review of The Manattans we have moved us on to 1973 and 1974 with the first and second albums that the group made for the Columbia label, where they had most success. Not that they had been strangers to the charts before, fourteen 45s and two LP entries on the Billboard R&B charts prior to their spell at Columbia demonstrate that. For those who revel in statistics, reference to the Record Research publication, Top R&B Singles, 1942-1999 by Joel Whitburn" shows the Manhattans placed #47 in the list of Top 500 artists, based on chart entries and positions over the relevant period. Their period with Columbia spawned 26 (of 44) R&B appearances, beginning with the #3 R&B (#43 pop) peaker, "There's No Me Without You", which made its chart debut at the end of May 1973 and bringing us neatly to this CD pairing.The liner notes to this release, written by Tony Rounce, tell the tale of the group and their individual outings in detail. To recap, the roots of the Manhattans go back to New Jersey based group the Dorsets, who disbanded circa 1962, displacing members Winfrid "Blue" Lovett, George 'Smitty' Smith and Richard "Richie" Taylor. That threesome quickly hooked up with Edward "Sonny" Bivens and Kenneth "Wally" Kelly, the Manhattans was born. In 1963, an appearance at the Amateur Night At The Apollo brought them to the attention of Joe Evans, a Newark NJ based record producer who signed the group to his newly formed Carnival Records and the quintet was on its way. On the expiry of their five year Carnival contract, the group moved to King Records' DeLuxe subsidiary and the earlier successes that had cemented the group name continued. Sadly George Smith fell ill with spinal meningitis and, although his voice is heard on the initial DeLuxe recordings, Phil Terrell another artist from Carnival became a temporary stand in for live performances. Ultimately, in 1971, George Smith died and a permanent replacement was found in the shape of Gerald Alston, possessor of a similarly rich, if smoother, voice. The stay at DeLuxe was relatvely short and, by 1973, they had been scooped up by Columbia. In 1977 having converted to Islam, Richard Taylor left the group and they continued as a quartet for the rest of their Columbia tenure. This lasted until 1987, when Taylor died and Alston announced his intention to pursue a solo career, signing with Motown. This move undermined the group and, after a one off set with Valley Vue, much of the 90s found the former compatriots at loggerheads, with Edward Bivins teaming up with four new Manhattans and recording an album for the Hektoen label while Kenneth Kelly and Winfrid Lovett went in another direction entirely. (The animosity was such that, as Pioneer Award Winners of the Rhythm & Blues Foundation in 1999, there was much back-stage speculation that the Columbia Records' line-up being honoured would agree to perform together. They did!) Most recently, the Manhattans name has been carried by Gerald Alston with Winfrid Lovett as the featured "names", augmented by David Tyson and Troy May. So what of the content of this two-album set? On signing the group, Columbia put them with hot producer/arranger, Bobby Martin, who took them off to the equally hot Sigma Sound Studios in Philadelphia. However Martin did not get them all to himself, some work was undertaken by Teddy Randazzo at Columbia's own studios in New York City. The Manhattans were experienced songwriters and their talents were fully utilised. Edward Bivins penned the sterling ballad, "There's No Me Without You", very much in the vein of what would become the group's most successful format an up front lead, quintessential harmonies and a few spoken lines. Winfrid Lovett kept the formula going for "We Made It2 and "Wish That You Were Mine" but provided variety by way of the uptempo "Soul Train", while Kenneth Kelly offered a relaxed floater in "The Day The Robin Sang To Me". Rounding off the group's efforts on the first album, Messrs Alston and Lovett collaborated on the understated beauty, "The Other Side Of Me". The "That's How Much I Love You" album was, by contrast, a slightly stranger affair. Columbia had acquired the group's DeLuxe masters as part of the contract deal and, although there was no need at the time for a "rushed" album, they opted to place the earlier material on side two of the set, duplicating three tracks from the DeLuxe "A Million To One" LP plus two tracks taken from the vaults: an excellent version of "A Change Is Gonna Come" and some 'wah-wah funk' by way of Winfrid Lovett's "Nursery Rhymes". Lovett was also responsible for the uncharacteristic "Summertime In The City", a minor hit single (#45 R&B) compared with the more traditional "Don't Take Your Love From Me" (#7 R&B) from the Philly writers Allan Felder, Bunny Sigler and Ron Kersey. Given that a dozen albums were issued by the Manhattans on DeLuxe and Columbia and that excludes any 'greatest hits' packages let's hope there,s more on them from Kent ?..It,s another cracking album!
May i just
remind you all NO SHARING ELSEWHERE ON ANY SITE please or with ex-members of this blog, all our albums are now encrypted
with a hidden code that cant be deleted for everybody who requests an album. So if they turn up
elsewhere we now know exactly who has been sharing them and they will be
kicked off for life..its all about having respect. So enjoy the music as you will not be able to get such quality albums anywhere else out there without paying a lot of money. I think you all get your moneys worth for the paltry subscription each year guys.
One of the new breed of artists coming through in japan is Kenichiro Nishihara,keyboard,producer & DJ he is one busy guy in demand in his home country and abroad these days. Recordwd 11 studio albums and 2 more wirh ESNO another band he plays & gigs with. One of the highlights for me is his version of Lonnie Liston Smiths "Expansions" great album!
14 tracks from the vaults of Atlantic and Atco, including 4 originally unreleased tracks, first time on vinyl. Soul4Real continues to provide invaluable service to lovers of quality soul music from the 1960s and 1970s, with another carefully curated long playing selection of incredible music from the enormous vaults of the Ertegun brothers and Jerry Wexler’s Atlantic group of labels. Atlantic was and is still based in New York, but its repertoire came from all over the USA. In ´Here Come The Tears´ you will hear music from Detroit, Miami, New Orleans, Philadelphia, Houston, Memphis and the Big Apple itself. Most of the featured artists will need no introduction and that’s how it should be, for they are all legends of black American music, regardless of how well they fared in the US charts. Some tracks are big priced items, others can be found on 45 at pocket friendly prices. Four have never been issued on vinyl until now, including the Drifters’ long thought lost version of the O’Jays’ “I Dig Your Act” and Judy Clay’s thrilling take on “The Love Of My Man” written by Ed Townsend, who also produced the splendid Dee Dee Warwick track that makes its vinyl debut here. One thing that all these tracks have in common, regardless of their vinyl value, is that they are all priceless examples of soul music, from an era where every US state had its own sound, and every artist their own unique style. There is no reason to list highlights every track is a highlight all coming to you straight from the heart and soul of these great artists. Whether you are hearing most of these tracks for the first time or getting reacquainted with ‘old friends’, there’s more to enjoy on this one album than there is in anything currently being issued in the name of 21st century soul,a truly great collection of pure soul!
AMM
Courtesy Of Moxysoulandjazz & Thanks also to USMAN47 who also sent in...Thanks Guys!
A Lost Detroit Gem!!!..The Duo were Beverly Wheeler & Duane Williams. In 1977, the Duo were signed by Ariola Capitol EMI Records, with their first album due out in 1978 recorded in Detroit originally & was going to be released by Fee records of Detroit. Detroit Soul Legend & Producer Willie Hatcher (who had some connection to Fee but at this stage is unverified) was “Glad I Gotcha, Baby” and was released with an extended length version (on here). Highlights for me are the stunning love songs/steppers "I Wanna Be With You" & “Living In A World (All By Myself) and the Rare Northern Gem " I Found Love". The album is produced by Will Hatcher, an artist in his own right who met Beverly & Duane through appearing on a Detroit TV show ‘The Scene’ on station WGPR. Having performed ‘You Haven’t Seen Nothing Yet, ‘Till The Love You’re Gonna Get’ he was interviewed about his singing and record company Wheelsville. He told viewers he was looking for outstanding singers to record, and after giving his phone number out on air was contacted immediately by Duane. At the time Duane played piano and organ at his father’s church where Beverly regularly sang. As Beverly & Duane they also performed in and around the Detroit club scene while pursuing a record deal. After hooking up with Will Hatcher they collaborated on the songs for this album which when finished got overheard by Will’s record company executive friend Woody Wilson. Another Detroit act Chapter 8 had landed a deal at Ariola through Woody, so through this connection Will Hatcher leased Beverly & Duane to the same major label and put them on tour with The Floaters. Beverly & Duane had two American hits from this album, ‘We Got To Stick Together’ and ‘Glad I Gotcha Baby’ after which they got married and moved to California and settled down. Beverly toured subsequent to the albums release in expectation of the duo’s first child & she was still working as an administrative assistant at Ford Motor Company at that time & to my knowledge didn't record again after this album. Duane remained active in the record business and singing in and around the Detroit area till their move to L.A. Soul Junction put out an album by duane in 2009 now long deleted from stock of his unreleased recordings that i may have hidden away somewhere. I want to thank USMAN47 for asking me if i had it otherwise it may have stayed hidden in my collection forever thats why i like requests to jog this old memory of mine. Highly Recommended album for Quality Detroit Soul IMHO a Masterpiece!
Norma Jean Wright was born in Ripley, Tennessee. At a young age, she relocated to Elyria, Ohio, with her family where she attended Ohio State University. Norma sang in the female trio, the Topettes, and toured for a short time with The Spinners. In 1977, she joined Chic, and attained world wide stardom. Most notably, she sang lead vocal on Chic's debut album, Chic (1977), which includes the hits "Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)" and "Everybody Dance". She left Chic in 1978 to begin a solo career, billed as Norma Jean. In July 1978, she scored her first R&B Top 20 hit, "Saturday" (#15), from her debut album (reviewed today) on the Bearsville Records label, produced by Bernard Edwards and Nile Rodgers. The album yielded several popular songs in the clubs either side of the pond. She has sung as a backing vocalist with C+C Music Factory, Constina, Randy Crawford, Will Downing, Aretha Franklin, Fantasy, Debbie Gibson, Nelson Rangell, Luther Vandross, Madonna, Sister Sledge, Nick Scotti & Freddie Jackson to name just a few. She frequently appears in a duo with Luci Martin, another former Chic vocalist when gigging. In 2018, Norma joined and toured with the female group First Ladies of Disco. In March 2019, she released the single "Don't Stop Me Now" with the group....This was Norma Jeans only solo album by the famous Chic singer. she was the same singer on the recent Norma Jean & Ray J - "Raising Hell" (1974) reviewed a few days ago. The album was released iat the height of Chic,s fame so she thought she could cash in. A Chic Organisation release in everything but name. The CD boasts five non album bonus tracks. This lady could sing!..I still love that "Chic sound".Nile Rogers & bernard Edward on all tracks and composed the songs with Luther Vandross backing her.
One of THE legends of soul music with 38 studio albums & 170 x 45,s you must be doing something right!....The group was formed in Canton, Ohio, in 1958 while its members were attending Canton McKinley High School. They consisted of Eddie Levert, Walter Williams, William Powell, Bobby Massey, and Bill Isles. Originally known as The Mascots, and then The Triumphs, the friends began recording with "Miracles" in 1961, which was a moderate hit in the Cleveland area. In 1963, they took the name 'The O'Jays', in tribute to Cleveland radio disc jockey Eddie O'Jay, who was part of the powerful management team of Frankie Crocker & Herb Hamlett. In 1963, the group saw the release of their song "Lonely Drifter," their first entry on the US Billboard Hot 100. Their debut album, Comin' Through, was released shortly thereafter. In the early 1960s, member Frank "Frankie" Little, Jr. joined the group as a guitarist and songwriter. He worked with lead vocalist Eddie Levert, assisting with some of the writing for the group, including 1964's "Do the Jerk" (recorded by Frank Polk), 1964's "Oh, How You Hurt Me" and 1966's "Pretty Words". He is also credited with vocals on 1962's "Down at the Corner." According to Walter Williams, "Frankie was a guitarist and songwriter in the very early O’Jays. He came with us when we first ventured out of Cleveland and traveled to Los Angeles, but he also was in love with a woman in Cleveland that he missed so much that he soon returned back to Cleveland after a short amount of time. In 2021, human remains discovered in 1982 at Twinsburg, Ohio, were identified as those of Frankie Little. Throughout the 1960s, the group continued to chart with minor hits such as "Lipstick Traces" (which they performed nationally on the ABC television program Shivaree), "Stand In for Love," "Stand Tall," "Let It All Out," "I'll Be Sweeter Tomorrow," "Look Over Your Shoulder," "Deeper in Love with You," and "One Night Affair." However, while they issued dozens of singles throughout the decade, they never hit the US top 40 (although "Lipstick Traces" made it to number 19 in Canada). On the R&B chart, the O'Jays were somewhat more prominent, but their only top 10 R&B single prior to 1972 was 1968's "I'll Be Sweeter Tomorrow." In spite of their success as a touring group and on the R&B chart, the group had been considering quitting the music industry in 1972. Around that time, original members Bill Isles and Bobby Massey departed, leaving the group a trio. The remaining three original members, Eddie Levert, William Powell, and Walter Williams, continued recording together, and Gamble & Huff, a team of producers and songwriters with whom the O'Jays had been working for several years, signed them to their Philadelphia International label. Suddenly, the O'Jays released their first million-seller, "Back Stabbers," from the album of the same name.] This album produced several more hit singles, including "992 Arguments," "Sunshine," "Time to Get Down," and the number 1 pop smash, "Love Train." During the remainder of the 1970s, the O'Jays continued releasing hit singles, Original member William Powell died of cancer in 1977 at age 35. After adding Sammy Strain (of Little Anthony and the Imperials), the O'Jays continued recording, though with limited success. In 1978, the group released "Use ta Be My Girl," which was their final top-five hit, though they continued placing songs on the R&B charts throughout the 1980s. The O'Jays also saw some success in the United Kingdom, where they scored nine singles on the UK Singles Chart between 1972 and 1983, including four of which became major hits, reaching the top 20 on that chart. Their 1987 album, "Let Me Touch You", included the number one R&B hit "Lovin' You." The O'Jays never again achieved pop success. In 1992, Sammy Strain left the group and returned to the Imperials. Later in the 1990s, the group did little recording. On October 30, 2010, the group performed at Jon Stewart and Stephen Colbert's Rally to Restore Sanity and/or Fear in Washington, D.C. an anti violence rally. In Cleveland, Ohio, on August 17, 2013, the O'Jays were inducted into the National Rhythm & Blues Hall of Fame. The O'Jays are also two-time Grammy Hall of Fame Inductees for their songs "Love Train" (inducted 2006) and "For the Love of Money" (inducted 2016). There cant be anybody on this blog who does not have an O`Jays album or 45...LEGENDS..This was their 3rd album recorded Live but this one isnt that a rare promo version and what a killer it is! Ive included some Bonus tracks from the same bell sessions listed under the back cover.
AMM
**********REQUEST**********
The Northern Tasters!
Bonus Tracks Recorded At Same Bell Sessions 1968
15 You're Leaving Me 16 Sure Would Be Nice 17 Don't You Know A True Love 18 Last Thing She Said 19 Baby You Move Me 20 Be My Girl
Seven new Shrine 45s, complete with an attractively packaged box containing rarely seen photos; soul heaven!...To recap the Shrine label was Set up by Eddie Singleton with Berry Gordy’s ex-wife and co-founder of Motown, Raynoma (Miss Ray) in 1964, the Shrine label, based in Washington DC, has been a buzzword for collectors for over fifty years. Shrine had no hits; in fact very few sales at all. What it did have was musical talent and a business plan that ended in glorious failure, inadvertently making the twenty singles that were pressed highly sought after by collectors. Interest was first stirred when a few of the uptempo numbers were played on the Northern Soul scene of the 70s In England, notably Eddie Daye’s pounding ‘Guess Who Loves You’ spun by DJ Richard Searling at Wigan Casino. Then young Turk DJs like Keb Darge and Guy Hennigan at Stafford’s Top Of The World all-nighters in the 80s really took up Shrine’s cause and the search for the hidden gems was on. “People were buying the known records on Shrine, but no-one was buying the unknowns,” recalls Darge. Soon, copies of singles by the Cautions, Cairos and Les Chansonettes went “massive” on the scene - J.D. Bryant’s big ballad ‘I Won’t Be Coming Back’ sold for a fortune. When the label went out of business in 1966, Singleton left the remaining stock in the office, before locking the door for the last time. Years later, after being introduced to Kent Records’ Ady Croasdell by Ian Levine, Eddie retrieved the original masters from the studio. These tapes revealed unissued gems from the Prophets (later to emerge as a 7”), Tippie & the Wisemen, Traci, Jimmy Armstrong and others. Those first tape reissues came out on the short-lived Horace’s label and later Ace more comprehensively issued them on CD. Other labels intervened but now Shrine is back in its rightful home. To celebrate this, Ace/Kent issued “Shrine Northern - The 60s Rarest Dance Label” Kent LP, KENT 526 last year. We have looked at the tapes again, in greater depth, and found another 14 sides worthy of single releases. Barbara Long’s great, but elusive, Shrine recording issued on sister-label Jet Set - deservedly leads off the package and is coupled with the previously CD-only ‘Take It From Me’ by the mysterious Traci, an early tape find. Like Barbara Long, the Epsilons ‘Mind In A Bind’ was issued just after the label folded and sneaked out on Washington’s Hem imprint. It is re-released for the first time as a 7” with their ‘Mad At The World’ debuting as a UK 45. The same scenario applies to the Cautions’ marvellous mid-tempo single ‘Watch Your Step’. Kent have coupled it with their ever-in-demand ‘No Other Way’; long deleted from its 2009 repress. Despite Shrine’s reputation for dance tracks, one of the labels most-revered recordings is the beautiful Tippie & The Wisemen ballad ‘Wait Til I Get There’. That previously unissued number came out on the first Horace’s LP in 1990. A decade later Ady Croasdell found the tape of their ‘I Wouldn’t Mind Crying’ in the Universal Studios vaults in Hollywood. This pleased the song’s writer Eddie Singleton who hadn’t heard this particular favourite of his since the recording date. Sidney Hall (of the Enjoyables) cut the impassioned beat ballad ‘I’m A Lover’ as a solo act; it has its first UK 45 release here. Kent have coupled it with the catchy, raucous groove of the incredibly rare Cavaliers Shrine 45 ‘Do What I Want’. this has improved audio from its previous releases. The Prophets gorgeous harmony ballad ‘Huh Baby’ gets its first 45 re-release too and Kent have put a slightly alternate version, found in the tapes, of ‘If I Had One Gold Piece’, the original B side. Finally, another Shrine-recorded Jet Set 45 by Jimmy Armstrong ‘I Won’t Believe It Till I See It’ makes its Kent debut, along with his killer blues ballad ‘It’s Gonna Take Time’ which has never been released before. A truly fabulous Box Set of mega-rare top quality soul from THE RAREST LABEL!..Today is my soul brother ELtels wedding Anniversary, so i,m sure you,ll join me in sending our congratulations to him & his wife, who bought this as a present for him which he so graciously has shared.
Repost/Upgrade from the old blog....Long deleted from stock is this superb 2 4 1 now very rare CD album from The Manhattans featuring their rare debut & second albums recorded for the Carnival label prior to their move over to de-luxe & columbia. They recorded a total of 23 albums and over 100 x 45,s in their career with stunning & very polished vocals. The group came from New Jersey & Formed as a quintet in 1962, they started recording in 1964 at Carnival Records and then at DeLuxe in the early 70's until 1973 where they moved over to Columbia where they charted their biggest hits up to 1986. In 1970 Gerald Alston replaced their lead singer George "Smitty" Smith who had died of a brain tumour two days before his 31st birthday. Richard Taylor left the group in 1976 and they continued as a quartet. In 1988 Gerald Alston left them to pursue his solo career. Their biggest hits are the classic smooth soul ballad "Kiss And Say Goodbye" produced by the prolific Bobby Martin in 1976 and "Shining Star" produced by Leo Graham in 1980. All their original members are deceased except Gerald Alston.They were Still active up until 2010. More in depth info over HERE. Whilst i hunt for my copy thats gone walkies my kent back up brother OSR does the honours!.....This and the next 2 posts just about wrap up all the Carnival labels output.
The next two albums features releases from the Collectables labels that both feature a few tracks not included on the Kent albums for the completists among you for the carnival label. Please note that Track 14 on the Pretenders album is listed on the back cover as Little Royal. This is a mistake on their part and is actually Jimmy Jules to clear that up.
More intriguing tales from the guys that were there in the heady days of Detroit Soul in the 1960,s. Joey kingfish being ripped off on writing credits by notorious Gangster/label owner "Diamond Jim" Riley, to Cody Blacks appalling reception at Motown after being invited etc...These interviews really are priceless!
Rodney Franklin was born in Berkeley, California, in 1958. He was taking jazz piano lessons by the age of six at School. Prior to signing with CBS in 1978, Rodney worked extensively with John Handy in San Francisco, and toured with Bill Summers, Freddle Hubbard and Marlena Shaw. His debut CBS Columbia album was this one reviewed today "In The Center" a lushly orchestrated soul/fusion album not released in the U.K. He recorded a total of 13 albums & 20 odd x 45,s. Brilliant pianist/keyboard player and i wouldnt be without any of his albums.
