THE ELECTRIC PRUNES - YOU'VE NEVER HAD IT BETTER

Ranking right up there with the mighty "I Had Too Much to Dream (Last Night)", this obscure, single-only track finds one of Los Angeles' finest groups of the era in excellent form. This track was also The Prunes last gasp of freaky, danceable garage psych before they were guided into the massive failure that was their Mass In F Minor LP; a record whose pretentious nature was truly the antithesis of a garage rock band (although it DID yield the excellent track "Kyrie Eleison", as heard in Easy Rider). Sadly, the group itself was basically shut out of the recording of that LP (with the exception of the "Kyrie"); the groove the band cuts here (and also on the incredible Live In Sweden '67 recording, which was commercially issued in the 90's) shows what a mistake that was, as the group is so tight they're downright ferocious.

from 1968...

THE ELECTRIC PRUNES - YOU'VE NEVER HAD IT BETTER


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THE EMOTIONS - BLIND ALLEY

Comprised of the Hutchinson sisters (Sheila, Wanda and Jeanette), these Chicago ladies released over two dozen singles before crossing over in 1977 with the massive "Best of My Love" (including the excellent 1976 single "Flowers", which was a reprisal of the girl group sound through a 70's filter).

On this track, cut in Memphis with the Stax crew, we find the ladies lending those glorious harmonies to a track so lowdown and funky that it practically HURTS. In the best possible way. If the intro to this song doesn't get your blood pumping straight away, time to visit a new website!

from 1972...

THE EMOTIONS - BLIND ALLEY


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THE PROFILES - A LITTLE MISUNDERSTANDING

Here's yet another gorgeous representation of the group soul revival that happened in late 60's Chicago, masterfully produced by Gene Chandler.

While The Profiles released a handful of records, I am afraid that I don't have any biographical info about the group. But what a sound.

from 1969...

THE PROFILES - A LITTLE MISUNDERSTANDING


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BABY RAY - THE HOUSE ON SOUL HILL

Something about this track shouts "record label exploitation" but I dig it just the same.

The singer, Baby Ray (Eddlemon, co-writer of the track) sure had a fine voice, and after one LP release (from which this 45 was drawn) he disappeared from sight in the music biz, apparently. Judging from the names on the label, I'm assuming this was a Nashville session, and the Nashville cats capture a cool groove that leans more towards a marriage of mod beat, folk rock and pop soul than PURE soul, but in its own way, this little record shows that even many of the records that were purely studio concoctions designed to latch on to the musical trends of the 60's could turn out mighty fine.

from 1966...

BABY RAY - THE HOUSE ON SOUL HILL



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THE FASCINATIONS - HOLD ON

Originally formed in 1960 (and counting the great Martha Reeves as an original member), The Fascinations, like so many other girl groups, went through a number of changes between their beginnnings in the early 60's, their reformation in '66, and their break up in '68.

Curtis Mayfield took a special interest in the group, and worked with them in 1962, and also signed them as one of his first A&R ventures with his (then) newly-formed Mayfield label in '66.

This side, their second-to-last release, finds Shirley Walker (aka Shirley Lawson, a name she used for a few solo singles while the Fascinations were on hiatus) showcasing her powerful vocals over a smooth, slow burning track that oozes pure soul and sensuality.

from 1967...

THE FASCINATIONS - HOLD ON


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PEPPERMINT HARRIS - WAIT UNTIL IT HAPPENS TO YOU

As a guitarist myself, an intro like we hear on this song is the type of thing that just brings me to my knees. Simple, direct and authoritative, the opening riff establishes the fact that this jam means BUSINESS.

Texas bluesman Peppermint Harris was born Harrison Nelson Jr, and allegedly given the nickname Peppermint when record producer Bob Shad forgot his name and released his debut record under the name, which stuck with him throughout his career. Harris relocated to Los Angeles in the early 50's, and released a long string of records (including the original version of "I Got Loaded", which has become a standard).

On this track, Harris takes his deep blues sound and mates it to then-current (and always fresh) uptempo soul sounds; a combination that almost always yielded a great record. This one is no exception, and perhaps one of the greatest ever.

from 1966...

PEPPERMINT HARRIS - WAIT UNTIL IT HAPPENS TO YOU


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THE SAVAGE RESURRECTION - THING IN "E"

Bay area psychedelic teens The Savage Resurrection cut only one LP, but what an album it is! This single is also the lead off track, and establishes a hypnotic groove that grooves along relentlessly for a mere 40 minutes. Unlike many of their plodding contemporaries, these youngsters were waxing cuts like this that can light up a ballroom dance floor into a swaying, grooving amoeba.

Sadly, the band only lasted one year, imploding after two key members quit. The group fulfilled some tour dates with replacement members but completely folded by the end of '68. The group HAS had a resurrection of sorts, as they are known to play the occasional gig here in the bay area.

from 1968...

THE SAVAGE RESURRECTION - THING IN "E"



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NEWSOUND - BET YOU NEVER THOUGHT ABOUT IT

Thankfully the label shows that the record is from Chicago, as other than that, I cannot find any info whatsoever about this talented group. What a vocal blend, and what a glorious falsetto lead.

I'm guessing the year.

from c1971...

NEWSOUND - BET YOU NEVER THOUGHT ABOUT IT


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MARK MURPHY - WHY DON'T YOU DO RIGHT?

Poised for massive success as a jazz crooner (he was predicted to be a contender to Sinatra's fame), New York vocalist Mark Murphy snuck out this incredible jazzy r&b number on the flip side of his schmaltzy rendition of "Fly Me To The Moon", that, Frankly, is no match at all for Sinatra.

The song itself has a long and interesting history and started life in 1936 titled "The Weed Smoker's Dream", and was re-vamped by writer Kansas Joe McCoy in 1941 as "Why Don't You Do Right" (as recorded by Lil Green). The song's initial reading is meant to be sung by a woman, and was made most famous through Peggy Lee's sultry version. It's a bit odd for these lyrics to be sung by a man, but all socio-political connotations aside, this track flat out cooks, in a finger snapping "come here chick" kinda way.

from 1962...

MARK MURPHY - WHY DON'T YOU DO RIGHT?


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WILLIE HIGHTOWER - BECAUSE I LOVE YOU

From rural Alabama, Willie Hightower was "discovered" by a local radio DJ that hooked him up with Bobby Robinson (of Fire and Fury Records fame) in New York City. After the release of three singles for the Fury label, Bobby Robinson sold Hightower's contract to Capitol Records and this incredible single was the first result.

Willie shows off his remarkable voice in what is perhaps his greatest performance here, absolutely soaring over an excellent arrangement from Robert Banks. Especially interesting on the label is the production credit of (Richard) Gottehrer and (Seymour) Stein as Sire Productions; The following year, Stein and Gottehrer launched their Sire Records label that went on to be THE most important label for American punk and new wave in the 70's.

from 1967...

WILLIE HIGHTOWER - BECAUSE I LOVE YOU


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THE CONTINENTAL 4 - THE WAY I LOVE YOU

Still, after all the time I've spent studying records and the history of groups it blows my mind to know that a group containing this much talent never scored much in the way of national chart action.

On this debut recording from Philadelphia-area group The Continental 4, the vocalist show off an extraordinary blend, led by smooth falsetto singer Freddie Kelly. While some of the other falsetto led groups of the era can be a bit cloying, the Continental 4 were full of earthy richness that oozes pure soul.

Good way to start off the year, I'd say!

from 1970...

THE CONTINENTAL 4 - THE WAY I LOVE YOU


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