JOHNNIE MAE MATTHEWS - LOVE HIDES ALL FAULTS

Johnnie Mae Matthews is one of the unsung heroes of Detroit music; as an early mentor to Berry Gordy, her influence ricocheted throughout r&b of the '60's, yet her name and the records she recorded are only known and cherished by a small group of soul fanatics.

Beginning her career as a member of a group called the Dapp's (not to be confused with the later Ohio white funk band with a James Brown connection), Johnnie Mae took a small chunk of money that her husband made at Ford Motor Company and started the Northern Recording Company. In effect, she became the first black woman to own a record label/ production company!

Johnnie Mae's first national success was as a co-writer of the incredible track "My Man- He's A Lovin' Man" which was 15 year old Betty LaVett(e)'s debut record in 1962.

This excellent side from Johnnie Mae is a collaboration with Joe Hunter, himself another architect of the Detroit sound. Hunter was the first Motown "Funk Brothers" pianist ('59-'64), and his defining licks on records such as "Heat Wave" (Martha & The Vandellas) are one of the key ingredients of the Motown sound.

from 1966...

JOHNNIE MAE MATTHEWS - LOVE HIDES ALL FAULTS

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THE ZAKARY THAKS - BAD GIRL

This young band (singer Chris Gerniottis was 15 at the time of this release!) from coastal Corpus Christi, Texas whips up an incredible fury on their debut single, heard here. This track has been one of the most loved songs featured on the "Pebbles" series of garage/punk/psych records; a series which began in 1979.

Strongly influenced by the rougher edged UK bands, The Thaks even had the distinct pleasure of opening for their heroes The Yardbirds around the time of this release, which was originally pressed by a local label and picked up for national distribution by Chicago's Mercury label.

from 1966...

THE ZAKARY THAKS - BAD GIRL




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THE APOLLAS - YOU'RE ABSOLUTELY RIGHT b/w LOCK ME IN YOUR HEART

Beginning a string of fabulous records that never achieved the chart success that they truly deserved, The Apollas (Billie Barnum, Ella Jamerson, and Leola Jiles) were one of the greatest proponents of a "Motown west" kind of sound, captured perfectly out of the gate with this stellar debut record.

"You're Absolutely Right" is a storming kind of sound, and it's no surprise that my pal Alec Palao used it as the title of his recent Ace Records Apollas compilation.

With its rollicking beat and baritone sax solo, the b-side "Lock Me In Your Heart" has a strong Motown influence, and some truly sweet lyrics that melt my heart.

Trivia for fellow record collectors: yes, my (Canadian) copy is pressed on real vinyl, not styrene.

from 1965...

THE APOLLAS - YOU'RE ABSOLUTELY RIGHT

b/w LOCK ME IN YOUR HEART


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BOBBY HEBB - EVIL WOMAN

Eight years after "Sunny" was a massive soul/pop crossover hit "Sunny" (and four years after his final release for a major label), Bobby Hebb came back on this record with a downright jaw-dropping sound. The group cooks up an infectious booglaoo funk track in which Bobby delivers a classic earthy, bluesy, and imminently soulful performance.

From Nashville, Bobby Hebb was the son of two blind musicians, and he and his brother began a life of performing when they were 3 and 9 years old, respectively. While Hebb never replicated the success of "Sunny", he was co-writer of Lou Rawls massive hit "A Natural Man" in 1971, and was also chosen by The Beatles to be an opening act on their '66 tour.

Most discographies on the web list a ? mark for the year of release of this record. Luckily, Google has the entire archive of Billboard magazine available to view on the web, where this blurb was found in the August 10, 1974 issue: "Bobby Hebb of "Sunny" fame opened Crystal Ball in Salem, MA. Debut release is "Evil Woman".

from 1974...

BOBBY HEBB - EVIL WOMAN


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THE GOOD FEELINS - I'M CAPTURED

Hailing from southern California's 'inland empire', the Good Feelins scored a huge local hit with this track, which, while picked up nationally by Liberty Records, never caught on nationally. Sadly, the Vietnam War splintered the group shortly after its release.

The song itself is one of those perfect blasts of energy which lasts less than two minutes, created by a group whose oldest member at the time was 21. It may be sloppily played, but what captures me is the enthusiasm and the heart behind the mistakes.

The group is seemingly active again today in their home turf.

from 1967...

THE GOOD FEELINS - I'M CAPTURED


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THE EMOTIONS - I CAN'T STAND NO MORE HEART ACHES

I'm a lover of harmony singing to the highest degree, and the Hutchinson sisters (Sheila, Wanda and Jeanette) outta Chicago consistently laid out some of the most divine (and in this case, serious stomp and ass kicking) harmonies ever cut to wax. There is simply NOTHING like the harmony blend of blood relations, and here, on their debut disc as the Emotions, the Hutchinson's completely blow it into the stratosphere.

And the real kicker? These young ladies were between 14-16 years old when they cut this record. Add to that whoever the musicians are playing on this track- these people put in a HEROIC performance.

Already, at this tender age they were BETTER than the majority of "singers" in this day and age that rely on autotune and cut 'n paste to put together a "performance".

Sometimes I think about why I get so excited about these records; the answer is simple. It's the REAL THING. Now pardon me while I listen to this jam for the 8th time in a row this morning.

from 1967...

THE EMOTIONS - I CAN'T STAND NO MORE HEART ACHES


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Retro Pop! DJ Sets

It was one Part fashion show, one part music and Retro Pop! added up to one big cultural celebration of the '60's, and it happened last night in San Jose, CA.

I had my little recorder running to capture my DJ sets; set 2 is (mostly) the soundtrack of the fashion show which is why you hear me spin partial songs among complete ones.

Anyhow, it was an amazing night, and I hope you enjoy these sets as much as I enjoyed spinning the wax.

Retro Pop 3/25/12 Set 1

Retro Pop 3/25/12 set 2

JAMO THOMAS - ARREST ME b/w JAMO'S SOUL

Jamo's followup to "I Spy (For The FBI)" (his biggest hit) is this excellent record that repeats the formula of "I Spy"; with a formula like THAT, I'll listen to it as many times as the mighty Jamo Thomas cares to recycle it, thank you very much.

Jamo Thomas was allegedly from the Bahamas, although some say he was a native to Chicago where he made his classic records.

The b-side, Jamo's soul, is an incredible conga driven instrumental as well.

Unusually for an independent soul release, this 45 was issued with an amazing picture sleeve.

from 1966...

JAMO THOMAS - ARREST ME


JAMO'S SOUL


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THE BEAUTIFUL DAZE - CITY JUNGLE PART 1

This record has been featured on some very well known compilations (Pebbles Volume 3 and Acid Dreams) but information about the band has apparently never surfaced!

Rumor has it that the band moved from somewhere in the pacific northwest to L.A where they cut this record; perhaps they got lost in the haze of the city jungle they speak of, or perhaps this was just a very good studio concoction? I've certainly never seen their name on any posters from the era.

Whatever it is, this dark, pounding psychedelic side is a true masterpiece.

The days when us music fanatics would scour old articles on microfiche at the public library are ancient history in this information age, so it makes it all the more surprising that none of the people behind this record have ever surfaced.

from 1967...

THE BEAUTIFUL DAZE - CITY JUNGLE PART 1


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DOROTHY BERRY - YOU BETTER WATCH OUT b/w AIN'T THAT LOVE

Sometimes it shocks the hell out of me that four years into this blog (with nearly 1500 records already featured) that it's still possible to feature a record of this type of superlative quality.

Both sides of this record are simply perfect, and both sides are also written and produced by future Bread-man David Gates. Some may say these two sides are his greatest ever, and I'm inclined to agree (although I truly love a lot of those Bread hit singles, as well as the first song on their debut LP, "Dismal Day".)

"You Better Watch Out" is one of those ridiculously great girl group numbers that puts the man in his place, and "Ain't It Love" is an incredible mixture of soul and British Invasion beat. Records DO NOT come any better than this!!!!

Dorothy Berry was married to "Louie Louie" songwriter Richard Berry from 1957 til 1968, and she was the inspiration behind "Louie", as she was the 'fine little girl, she waits for me". Read more about Dorothy here at my friend Eric's site. Dorothy was also inspired to become a professional singer by her husband. THANK YOU Richard Berry for if it weren't for you we may never have heard this glorious voice!!!

from 1964...

DOROTHY BERRY - YOU BETTER WATCH OUT

b/w AIN'T THAT LOVE


This is one that we also do in my band, The Bang Girl Group Revue.



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THE EYES OF BLUE - DON'T ASK ME TO MEND YOUR BROKEN HEART b/w SUPERMARKET FULL OF CANS

Hailing from Wales, The Eyes Of Blue were STRONGLY influenced by the U.S soul sound, as heard on this double sider, as well as their excellent debut; a cover of The Parliaments "Heart Trouble".

The group delivers a very nice sound on both sides, and my preference falls towards "Don't Ask me...", although "Supermarket" tends to get a bit more attention. Don't get me wrong, I really dig "Supermarket" but from a songwriting perspective I find the lyrics a bit clunky (although it doesn't ruin my enjoyment of the song!)

from 1967...

THE EYES OF BLUE - DON'T ASK ME TO MEND YOUR BROKEN HEART

b/w SUPERMARKET FULL OF CANS


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JAMES AND BOBBY PURIFY - DO YOUR THING

Eight years after their massive debut smash ("I'm Your Puppet", aka one of the greatest songs ever written/ recorded), James Purify was back with a new Bobby in a man named Ben Moore. The "original" Bobby (Robert Lee Dickey) retired from music in 1971, and passed away this past December.

Judging by the intensity of this record, after three years away, James was in great form, and he and his replacement Bobby had an excellent vocal blend that kept the legacy of the great soul duo's into the budding disco age.

The excellent song (written by Isaac Hayes) is driven hard by the always excellent southern soul production style of Tommy Cogbill (who is probably playing bass here and possibly even guitar as well) and Papa Don.

from 1974...

JAMES AND BOBBY PURIFY - DO YOUR THING


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THE CHICKS - GOTTA SEE MY BABY EVERY DAY

While the song itself isn't much on its own, the overall production of this records MAKES IT, in my opinion. I get completely engulfed in the excellent fuzzed out guitar, that stomping beat, and the fantastic vocals.

The Chicks were teenage sisters Judy (b 1950) & Sue Donaldson (b 1952) who grew up on a farm in Auckland, NZ after moving their from their native Wellington, NZ. Auckland was one of the most amazing places I've ever visited; the hilly city has a great vibe in general, and it's located in the middle of some extraordinary natural beauty (the beach made famous in the film "The Piano' is near Auckland). Needless to say, I was very happy to find this record in Auckland!

There's nothing like sibling harmonies, and Judy & Sue sound downright heavenly on this track.



from 1967...

THE CHICKS - GOTTA SEE MY BABY EVERY DAY


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JUSTINE WASHINGTON - I CAN'T WAIT UNTIL I SEE MY BABY

Justine Washington is best known as Baby Washington, but also recorded for reasons unknown as Jeanette Washington.

Possessing an incredible, earth voice, Justine's professional music career began in 1956 when she was all of 16 years old as a member of New York City group The Hearts. By 1959, she was recording as a solo artist.

Justine continues to sing to this day, performing occasionally on the east coast. Sadly, she was working on tracks with producer Juggy Murray (of Sue Records fame) who was quoted as saying he would "rather record Baby Washington than eat" when Juggy died in 2005.

This beautiful track showcases those amazing vocals, the fantastic New York City soul sound of Juggy Murray's production hand, and quality songwriting in Chip Taylor (of "Wild Thing" fame).

from 1963...

JUSTINE WASHINGTON - I CAN'T WAIT UNTIL I SEE MY BABY


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THE UNDERDOGS - LOVE'S GONE BAD

Hailing from Grosse Point, MI (an affluent suburb of Detroit), this is the final single from The Underdogs, and was also an attempt by Motown's Berry Gordy to break into the rock n roll market.

While he showed his always excellent taste in signing this talented group, their fantastic cover of Chris Clark's (another white Motown artist) "Love's Gone Bad" did not break nationally.

While the vocals hear don't hold a candle to Chris Clark's transcendent performance, this version still kicks, and shows what a shame it is that the Motown drum sound and overall production wasn't heard on more garage rock records in the '60's.

One of Holland-Dozier-Holland's greatest tunes, and one that should have been a massive smash hit.

from 1966...

THE UNDERDOGS - LOVE'S GONE BAD


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While I'm at it, I can't resist adding this video of my band (The Bang Girl Group Revue) performing 'Love's Gone Bad". That's my lovely wife Angeline taking the lead vocals, and I'm on guitar.

THE CONQUISTADORES - SADNESS AND MADNESS

Produced by the great Monk Higgins, all I know about the group is that they were from Chicago and perhaps this was their only record. And what a fine record it is!

Showing a strong influence from the Impressions in their lovely harmony work and overall groove, The Conquistadores are yet another group lost in the soul talent pool of the day.

I simply adore the relaxed but propulsive groove on this track, capped off with excellent lyrics and a fantastic group vocal performance. If it doesn't get you on first listen, spin it again; it's a subtle and beautiful track.

from c1967...

THE CONQUISTADORES - SADNESS AND MADNESS



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THE UGLY DUCKLINGS - NOTHIN'

This Canadian group shows that they were most definitely picking up pointers from their English brothers (The Who, Pretty Things, and especially The Yardbirds) on their debut record, which I would file under one of the greatest debut 45's in all of garage rock. These guys could PLAY, and the intensity level of the record is set to STUN. Plus, it's a great SONG, as well.

Not for the faint of heart.

from 1966...

THE UGLY DUCKLINGS - NOTHIN'




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MITTY COLLIER - GIT OUT

If this song doesn't dig its claws into you within the first ten seconds, I would seriously question why you're here. This is one of those tracks that causes the listener to completely buckle under the pressure of the monumental nature of the groove; you either bow to its glory OR ELSE.

While I have a handful of other enjoyable Mitty Collier records, this one is running on something akin to nitro fuel.

Sadly, Mitty's career (which began after her discovery in 1959, and was signed to Chess in 1961) was derailed by polyps on her vocal chords, discovered in 1971. Currently, she is a church pastor.

from 1967...

MITTY COLLIER - GIT OUT



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THE VIBRANTS - SOMETHING ABOUT YOU, BABY

This record is proof that much great music develops in places that are NOT major cities.

Adelaide, Australia is VERY isolated- I was there a year ago on tour, and was surprised to see just how "suburban" this small city felt, and it definitely had the feel of being in a bit of a cultural bubble (and I do not mean that as a slam against the people of Adelaide who were very friendly), in addition to being a bit of a port/ industrial wasteland.

Australia had an incredibly fertile music scene in the 60's, with its most famous export being The Easybeats. However, there were PLENTY more great groups operating that were a practical mirror image of what was happening in the UK, with the majority of the records seeing Australian/ New Zealand releases only.

On this side, the Vibrants (from Adelaide) start off in 5th gear and don't back off of the redline for the full 2 minutes 33 seconds of beat bliss in this Four Tops cover. I especially love those (intentionally) discordant vocal harmonies post-chorus when they sing "sweet sweet". Exciting stuff!

from 1967...

THE VIBRANTS - SOMETHING ABOUT YOU, BABY


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THE INTRUDERS - TOGETHER

One year before their massive hit "Cowboys To Girls", Philadelphia based vocal group The Intruders cut this lovely track that, to me, epitomizes the budding sweet soul sound of Philadelphia which became a massive phenom in the late 60's/ early 70's.

The Intruders were formed at the tail end of the doo-wop era (1960) and like so many groups made the transition to soul; the group floundered commercially but kept on, until signing with Gamble records (and benefiting from the excellent songs of Gamble/ Huff).

from 1967...

THE INTRUDERS - TOGETHER


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ABACO DREAM - LIFE AND DEATH IN G & A

Abaco Dream is none other than a one off side release from Sly & The Family Stone; in 1970, Sly was on top of the world, enjoying hit after hit. However, as we know all too well, things began crumbling as drug abuse led to paranoia and unpredictability for this musical genius.

This track, if released under the Sly name, probably would have been one of those Sly hits that would be filed alongside all of the other great jams that I (and I could probably add a collective "we" for those of you reading) never tire of.

However, the record sunk without much of a trace, making for the end of the Abaco Dream.

from 1970...

ABACO DREAM - LIFE AND DEATH IN G & A


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THE ENDLESS PULSE - GHOST MAN

This was a record that I'd sought out for many many years to no avail; I first heard it on a Laurie Records oldies comp that I've had since I was a kid which improperly billed the artist as "Carlo" and not The Endless Pulse.

Turns out Carlo is Carlo Mastrangelo, who was one of Dion's Belmonts. So the billing on the LP was sorta right but DAMN was it frustrating for the longest time trying to even find any info on this song; and it's one hell of a groovy song!

Luckily, my main man Eric (who also happens to be highly recommended ebay seller mod9933) had a copy of this record on his auction list; I listened to it figuring it was another version of the same track that I dug. Lo and behold, it was the same record I'd been seeking out!

And today I'm happy to share this excellent record with YOU that I've been enjoying since 1985!!!!!

from 1968...

THE ENDLESS PULSE - GHOST MAN


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JIMMY ROBBINS - REPOSSESING MY LOVE

Typically billed as Jimmy Robins (with one "b"), this big voiced many cut one of my all time favorite stompers ("I Can't Please You") and this track is a very recent discovery to me, and it contains the same kind of fire that drives "I Can't Please You".

What a voice, what a cool song. Records like this were definitely an anachronism in this era, but I for one, am glad that they were still being made!

from 1972...

JIMMY ROBBINS - REPOSSESING MY LOVE



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LOVE - YOUR MIND AND WE BELONG TOGETHER

Happy birthday, Arthur Lee. You left us far too young, but at least you were able to get out of jail (after those ridiculous trumped up charges) and see the greatest success and LOVE of your music for a few years. The music left behind by Arthur Lee has been such a massive inspiration and one which I will never grow tired of.

After the release of their incredible and seminal Forever Changes LP, the (more or less) "original" lineup of Love was lost in a haze of drug addiction and lack of the type of success they truly deserved. However, before the band dissolved, they cut this excellent single which captures the state of their disconnect quite well.

Arthur Lee revived the name Love (with an all new lineup) the following year, and while they also cut some great music, the magic of the Artheu Lee/ Johnny Echols/ Bryan MacLean nucleus was gone.

from 1967...

LOVE - YOUR MIND AND WE BELONG TOGETHER


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AZIE MORTIMER - YOU CAN'T TAKE IT AWAY

While Azie Mortimer recording career spanned basically through the 60's, there is very little biographical info out there on her.

Not only was this her second-to-last release, it was also cut near the end of Okeh's glorious run as a label that, in my opinion, was every bit the equal of Stax and Motown in the amount of quality soul music released through this glorious decade.

Producer and writer Richard Parker was involved behind the scenes and behind the boards of many great soul records- in addition to his numerous writing and production credits, he was also an A&R scout on the west coast for VJ records, counting Fred Hughes among his signings.

This record should have been a hit.

from 1969...

AZIE MORTIMER - YOU CAN'T TAKE IT AWAY


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THE FUN CITY - MONO

I'm afraid that this record is a complete mystery, and I can't offer any biographical info about the band. My guess is that it's probably a New York City studio concoction designed to capitalize on the booglaoo craze of '67. I can say almost unequivocally that I've never met a boogaloo record that I did not like. Sounds to me like the singer is a native Spanish speaker, but I'm not the best judge of these things. Whatever the backstory, this record cooks.

from 1967...

THE FUN CITY - MONO


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JOHNNY & THE EXPRESSIONS - SHY GIRL b/w NOW THAT YOU'RE MINE

Two magical sides from a group that released three singles on the Josie label; I'm afraid that's about all I know of them, too.

It's been erroneously reported that Johnny is L.A doowop singer Johnny Wyatt, but this Johnny is actually Johnny Matthews; a singer who seemingly disappeared from view after their third single release.

This is the group's second record, and it's dripping with magic.

from 1966...

JOHNNY & THE EXPRESSIONS - SHY GIRL


b/w NOW THAT YOU'RE MINE


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VIVIAN REED - I WANNA BE FREE

As a lifelong Monkees fanatic, I must admit that I was a bit surprised (but very touched) to see the outpouring from fans regarding the passing of Davy Jones. I was surprised yet not surprised how much of an impact the Monkees made on such a massive number of friends. Seeing the Monkees TV show as reruns as a very young child made a massive impact on who I am today, and the show and the tunes continue to be a source of happiness in my life.

This track, sang by Davy, was made most famous on The Monkees debut LP and seen often on the TV show. Here, it's given a brassy soulful rendition that takes it from soft, heartfelt ballad to a statement of uncompromised independence by Vivian Reed. Vivian became a very well known actress/ singer on Broadway; Davy got his start in showbiz playing the Artful Dodger in Oliver! on Broadway; I'm sure if he knew of this version he would approve.

Rest in peace, Davy.

from 1968...

VIVIAN REED - I WANNA BE FREE


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THE CORONETS - I'M ALL ALONE

This is the earliest track I've ever featured on this site; it's certainly not because I don't love doo-wop/ early r&b sounds (which I certainly do!), but my collection of original 45's from this era is very small and I've never taken the plunge into 78's. I tend to enjoy this type of music on reissues (one person can only handle SO MUCH collection insanity)!

Hailing from Cleveland, Ohio, The Coronets were made up of brothers Sam & William Griggs, Lester Russaw, George Lewis, and lead singer Charles Carruthers and at the time of recording their ages spanned 18-23. After working the local talent show circuit, infamous Cleveland DJ Alan Freed helped the group get signed to Chess records, where the group traveled to cut this record. While the other side ("Nadine") was the hit in Chicago, L.A, Philadelphia, St Louis, and Cincinnati (and it's a lovely harmony number), I especially like the rawer jump side presented here; it's sublime!

from 1953...

THE CORONETS - I'M ALL ALONE

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