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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