Author: Mike A

American Singles

Pick of the week

TRAMMPS: Where Do We Go From Here; Shout (Philadelphia Int PIR 2382).
Almost a quintessential Philly Sound “matt” drum thonker with an oh-so-sexy deep bass recitation intro (right on!), the Golden Fleece gang’s current US Soul hit is right in the British disco groove of the moment . . . possibly even more so than the Intruders’ resurrected “Win, Place Or Show (She’s A Winner)”, I fear. Dig the impassioned yet cool singing too, helped along by either the Three Degrees or – could it be? – the First Choice. Unlike on the US 45, we get a cumbersome reworking of the Isley Brothers’ classic raver on the flip.

SOLOMON BURKE: Midnight And You; I Have A Dream (ABC 4002).
Now ABC have their own label here instead of putting everything on their other British outlet, Probe – and Bishop Burke kicks off both it and the latest phase in his recently ailing career with a real winner. There are so many names in the credits that it’s hard to know who did what on the production, but one thing is clear: it says: “Inspired by Barry White for Solomon Burke” . . . and indeed the White style is much in evidence. Over a gorgeous slinky backing, Solly double-tracks first a masculine yet wailing vocal in the voice which Tom Jones copied, and then some deep bass sexy comments. Amongst other goodies, the shimmering slowie contains the line of the week – “undress your mind!” With a sad irony in the light of recent events, the sanctified slow flip includes the sound of Martin Luther King making his famous speech. SOUL PICK.

DIANA ROSS & MARVIN GAYE: Stop, Look, Listen (To Your Heart); Love Twins (Tamla Motown TMG 906).
Still raiding the catalogue of Thom Bell and Linda Creed-penned Stylistics hits for material, the “Love Twins” give us another sweet slowie but – and I wish I didn’t have to say this – it throws the vocal spotlight more on Marv than Di and may suffer here as a consequence, being that much less “Pop”. The gently funky slow flip’s a real groin-grinder for those more intimate moments, and it’s also possibly a better, more commercial, bet. SOUL PICK. Continue reading “July 6, 1974: Trammps, Solomon Burke, Diana Ross & Marvin Gaye, R. Dean Taylor, Jackie Moore”

Stateside Newies

JOE COCKER: Put Out The Light (A&M 1539).
Up 10 to 72 on its second week on the Hot 100, Joe’s first single in quite a while (it’s actually culled from his new “I Can Stand A Little Rain” album) finds him still stumbling about amidst tempo-changing brass and chanting chix in his old style. Possibly as horn-playing Jim Price produced, there’s almost more brass than Joe.

ERIC CLAPTON: I Shot The Sheriff (RSO 409).
Without having heard it myself, I can’t do better than repeat Billboard’s great interest-arousing review: There’s no guitar solo in Eric Clapton’s return single after a recording layoff of some two years. But “Sheriff” is such a catchy goof of a winner that it’s easy to see why RSO felt they had to go with it. Song has a lot of the Latino percussiveness and broad outlaw storyline of “Cisco Kid”. On Billboard reviewer found himself humming it 11 hours straight.

WET WILLIE: Keep On Smilin’ (Capricorn CPR 0043).
The five one-time and probably still would-be Punk-Rockers from Mobile, Alabama, have surprisingly scored their first single hit (at 44 with a bullet) by harnessing what amounts to their version of the old “Malaco Sound” to an identity-crisis ditty of optimistic bent. Thus, the Van Morrison-ish vocals and cooing chix get held up by that “Groove Me”-type lurching rhythm pattern created by the Reggae-style bass. It works OK, too, without being anything terribly exciting. Continue reading “June 29, 1974: Joe Cocker, Eric Clapton, Wet Willie, Ozark Mountain Daredevils, Johnnie Taylor”

Stateside Newies

BOWIE: Rebel Rebel (RCA ABP0 0287).
Although the label credits its source as “Diamond Dogs” (which, coincidentally, at 19 in just two weeks, seems set to be Darling David’s US best yet), this is neither the British single nor album version!!! Totally different, it starts with a bang straight into “Hot tramp, I love you so” before the much altered backing becomes heavily phased and a reverse-running tape (which seems to be playing “la-la-la-la-la” backwards) confuses the sound even more. Whether by intent or otherwise, when run in reverse the “rebel rebel” parts also seem to come out with undertones of “woman woman”!! Heavy! Is this one of those cryptic Beatles-like “hidden messages”?? When played in the right direction, the whole effect is indeed much more exciting than the original Stones-styled sound to which we have become accustomed here, and the single – following this (exclusive?) revelation – is obviously destined to become a much imported collector’s item overnight. But, what’s it all about, Bowie? And is the American album the same as the British?

BROWNSVILLE STATION: I’m The Leader Of The Gang (Big Tree BT 15005).
Here’s something else that’s different: instead of Gary Glitter’s motorbikes, this US hit cover-version (at 52) by the “Boy’s Room” guys starts out with the pounding beat and some power chords before stomping raucously along at a faster lick than Gary’s. Without the gimmicks and flash, it becomes just another noisy rocker.

KISS: Kissin’ Time (Casablanca NEB 0011).
The subject of a massive publicity campaign, this rather ugly updating of the Bobby Rydell oldie is still moving awfully slowly (83 after five weeks) for the Neil Bogart-owned label, which specialised only in easy-to-promote products . . . and to which Marc Bolan and T. Rex are now signed for the US! However, Kiss are still the leaders of America’s own mini Rock Revival trend, as they’re above FANNY’s updating of the Bellnotes’ “I’ve Had It” (also on Casablanca, NEB 0009), JOHNNY T. ANGEL’s of Ray Peterson’s “Tell Laura I Love Her” (Bell 45,472) and WEDNESDAY’s of Mark Dinning’s “Teen Angel”. The guys who you might expect to be leading the Rock Revival movement, FLASH CADILLAC & THE CONTINENTAL KIDS, have in fact (and quite sensibly) done a cover-version of Barry Blue’s old-style yet new “Dancin’ On A Saturday Night” (Epic 5-11102). Continue reading “June 22, 1974: David Bowie, Brownsville Station, Kiss, Razzy, The Commodores”

Stateside Newies

VICTOR TRUMPER: The President Song (MCA 40260).
Remember all the fuss (and the big sales) caused by “The Americans”, earlier this year? It was an ultra right-wing commentary written and narrated by Canadian broadcaster Gordon Sinclair, and taken to platinum status on the Hot 100 by Byron MacGregor, which got played quite a bit on Capital Radio’s “You Don’t Know What You’ve Got” show but which never came out here. Well, wily Victor Trumper remembers it well, and with splendid self-sacrifice has laid aside his trusty willow to enter the political arena in the hopes of making big sales (and big bux) with HIS tribute to some particular Americans. Beginning at the beginning with George Washington and ending at the end with Richard Nixon, Victor intones the names of all thirty-seven American Presidents, pausing momentarily after the assassinated ones, and interspersing each bit of the list with an enigmatic little chorus along the lines of “They all made you what you are today, please don’t throw it all away”. After the last chorus, he gets to Lyndon Johnson and Richard Nixon, and then the record just stops. Now, although ultra-patriotic in intent, already the record is causing wildfire controversy in America, where some radio stations are banning it from their airwaves with the argument that it is an incitement to assassinate Nixon too! Currently big in Boston and banned in New York (a switch from the usual order), yet with many more radio stations uncommitted in the latter city, it’s obviously the sort of single that’ll either sell a million overnight or else die a rapid death. It’s actually good enough to deserve the former fate, which ought to please Victor (whose identity might surprise some: despite the American patriotism, he is in fact British and a broadcaster himself). Now ain’t that nice?

LAMONT DOZIER: Fish Ain’t Bitin’ (ABC 11438).
It seems strange that Lamont Dozier (currently up 11 to 14 with a bullet on the R&B Chart), who after all was one of Motown’s legendary producers along with Holland brothers, is scoring a hit himself with which he has no connection other than as singer. Produced, co-arranged and co-penned (but not with Lamont) by McKinley Jackson, and culled from the “Out Here On My Own” album, it’s an effectively lurching medium-slow rhythm jiggler that’s sung with the Levi Stubbs type of strangulatedly hoarse urgency.

TAVARES: Too Late (Capitol 3882).
Just one place behind Lamont Dozier R&B but 14 above him above him at 77 Pop, the Tavares brothers’ latest is a slick and smooth creamy chugger with slightly Latin rhythms during the gradually building intro and Spinners-style professionally good vocal work behind the coolly impassioned lead singer. Penned and produced by prolific hitmakers Dennis Lambert and Brian Potter, it gets credited as a Haven Records Production yet is not actually on that duo’s new Capitol-distributed Haven label. Continue reading “June 15, 1974: Victor Trumper, Lamont Dozier, Tavares, The Dells, Smokey Robinson”

Stateside Newies

BUNNY SIGLER: Love Train, Pts. 1/2 (Philadelphia Int. ZST 3545).
Pulled from Bunny’s “That’s How Long I’ll Be Loving You” album and cut in two for singles release, here’s his ultra-soulful slowing-up of the O’Jays’ international smash. There’s still plenty of rhythm, but this time it’s a ponderous slow lurching thump ‘n thud to which you can actually grasp the one you love while you sway on board the love train with a groin-grinding action! (And if you can’t be near the one you love, love the one you’re near!) Anyway, back on the track, Bunny (a bloke, y’know, of mighty disco fame in the past) gets a gospelly feel going as he wails and rants away over a loosely chanting group, who actually start the record off with some formless background chatter over the strongly-featured organ’s sanctified chording and the churchy piano’s ditto plonking. On Part 2, the music drops away, and Bunny preaches to the accompaniment of this by now humming group, members of whom chip in with righteous “yeah, yeahs”, before the music comes back in and the beat returns. A really good concept, done well, and obviously destined to be extremely popular amongst the Soulful folk.

LITTLE MILTON: Behind Closed Doors (Stax STA 0210).
So now Milton Campbell wraps his bluesy throat around the Charlie Rich smash, substituting a frantic passion for Charlie’s quiet conviction. The result is actually less personal than the quieter approach, and summons up – in my mind, at least – mental images of a far sweatier and more wham-bam set of behaviour patterns behind those closed doors than does the more refined boasting of sensitive yet burly Rich. Still, different strokes for different folks, and different tricks for different chicks. (Phew, keep it up! – Assistant Ed).

TYRONE DAVIS: What Goes Up (Must Come Down) (Dakar DK 4532).
Speaking of keeping it up, Pete, Tyrone here has the oh-so-truthful answer! It’s always hard to describe Ty’s discs, because as with those of such as Al Green they do tend to have the same formula, but vary considerably in the detail which makes up their overall similarity of sound. This new one, which is doing extremely well R&B (at 20 this week), is another bouncy whomper with rhythm-riding phrasing and all sorts of subtleties. Continue reading “June 8, 1974: Bunny Sigler, Little Milton, Tyrone Davis, Gladys Knight & The Pips, Maria Muldaur”

Stateside Newies

GENE REDDING: This Heart (Haven 7000).
Penned/produced by winning team Dennis Lambert and Brian Potter, and the first single on the new Capitol-distributed Haven label (which has the comforting logo of a red-roofed idealised house nestling snugly amongst some green trees), “This Heart” is a bit like a re-tread of “I’m Gonna Make You Love Me” and several other well tried changes, given the Thom Bell-derived but more likely Al Wilson-aping Pop-Soul treatment of cooing chix, lush arrangement and “matt” drums drily pumping away. Gene (no relation) hits all the notes with his inoffensive voice, and is still climbing Pop while hanging fire a bit in the middle of the R&B Chart.

THE (NON-LIVERPOOL) SPINNERS: I’m Coming Home (Atlantic 45-3027).
Talking of Thom Bell, here’s his latest creation (co-penned with Linda Creed but otherwise all his own work) for the Spinners, whose style it is that has influenced the new Al Wilson/Gene Redding Pop-Soul sound. To an ambiguous beat which never does decide what it wants you to do to it, the lead voice wails away and the group (or are they all chix?) make docile noises in the background. Given a more definite rhythm this would be more satisfying listening – still, it’s rapidly climbing Pop/R&B.

WAR: Ballero (UA UA-XW432-W).
Already available to you on their new “War Live” LP, the guys’ latest US single is a great pulsating treatment of their old Latin groover. If you’re as much of a sucker as I am over them crazy Latin rhythms, this lazy yet energetic percussive groove will be your meal . . . although doubtless it’s longer in the LP version. Continue reading “June 1, 1974: Gene Redding, The Spinners, War, Trammps, George McCrae”

American Singles

Pick of the week

STEELY DAN: Rikki Don’t Lose That Number; Any Major Dude Will Tell You (Probe PRO 622).
Lead-off number on their great “Pretzel Logic” album, which is pure listening pleasure from beginning to end and really should be bought instead, this gradually unfurling mellow Latin lilter is too subtle for a single yet makes an ideal introduction to the group for the impecunious. Their harmony sound is just a killer on the slow flip. Dare I claim that “Pretzel Logic” is as complete and indefinably “right” as was “The Band”? MUSIC PICK.

THE MONKEES: I’m A Believer; Monkee’s Theme (Bell 1354).
Now that it’s hip to dig the Monkees, this could be a timely revival of their first and still biggest British smash from ’67. The Neil Diamond-penned hit side is surely familiar to all but the very youngest, while Boyce & Hart’s telly “Theme” – with its “Hey, hey, we’re the Monkees!” – makes a strong and welcome alternate title . . . no, I’m sorry, I mean alternate A-side. NOSTALGIA PICK.

LITTLE BO PETE & THE 1974 ROCK & ROLL JANITORS: Good Golly Miss Molly; Lucille (Surrey International SIT 5005).
Get over the jokey group name and you’ll find that these two old Little Richard rockers have been given powerhouse treatments about which anyone should feel proud. The beat don’t quit, nor does the excitement. Phew, once more round the room, James! DISCO PICK.

FLESH GORDON AND THE NUDE HOLLYWOOD ARGYLES: Superstreaker; Naked (Paramount PARA 3049).
With a group name like that you’d be right to expect a revamped version of “Alley Oop”: what you might NOT expect, though, is for it to be as good as it is. With lines like “Look up in the tree, it’s a sugar-cured ham!” – “No, it’s Superstreaker!”, it’s a veritable laffarama. Arranged by White Tornado, the whole thing smacks of Gary Paxton. It certainly cuts the Ray Stevens newie, to my mind. FUN PICK. Continue reading “May 25, 1974: Steely Dan, The Monkees, Little Bo Pete & The 1974 Rock & Roll Janitors, Flesh Gordon And The Nude Hollywood Argyles, Ray Stevens”

Stateside newies

ARETHA FRANKLIN: I’m In Love (Atlantic 45-2999).
R&B 1/Pop 24 – those are Aretha’s Chart positions this week with this imaginatively developing complex tour-de-force from her current number one R&B album, “Let Me In Your Life”, and, as this column seems to have been getting a bit Chart orientated of late, I thought it might be an idea to run down some of the other R&B hits that I haven’t gotten around to mentioning yet.

BLUE MAGIC: Sideshow (Atco 45-6961).
R&B 20/Pop 92, and bulleting up both Charts, the Sweet Soulsters’ newie opens with a distorted fairground barker’s voice exhorting “Hurry! Hurry! See the saddest show in town for only fifty cents!” before the slow soulful sweetness sets in. As a bonus, their Vince Montana-arranged version of “Just Don’t Wanna Be Lonely” is on the flip.

THE UNDISPUTED TRUTH: Help Yourself (Gordy G 7134F).
R&B 73/Pop 72, bulleted on both, Norman Whitfield’s proteges are in their usual surrogate Temptations role as they do an actually not bad Timmy Thomas rhythm “Psychedelic Shack” that doubtless will – if it hasn’t done so already – turn up on a future Tempts album. Southern dancers will dig. Continue reading “May 18, 1974: Aretha Franklin, Blue Magic, The Undisputed Truth, Sylvia, Four Tops”

Stateside newies

BO DONALDSON AND THE HEYWOODS: Billy, Don’t Be A Hero (ABC 11435).
Currently winning the Chart race in America (up 19 to 38, as opposed to Paper Lace down 4 to 100), Bo and the boys very slightly speed up the tempo, use a somewhat perfunctory mechanical whistle instead of Lace’s irritating (delete according to taste) real thing, and – the only part that was half way decent about the original – they completely lose the soulful session-singing chick’s voice. So, the result must be pretty much like Paper Lace’s own “live” version. Now for some good music . . .

DON COVAY: It’s Better To Have (And Don’t Need) (Mercury 73469).
Ole “Super Dude” is back with a joyfully whomping, stomping, bouncy beat and a strong Gospel feel to his “you know, I can’t get no more . . . satisfaction” (the last word by a wailing Gospel group) new R&B hit, currently at 64 with a bullet. Mmmm, mmm!

WILLIAM BELL: Gettin’ What You Want (Losin’ What You Got) (Stax STA 0198).
With a similar sort of message to Don’s, William is another veteran Soulster doing well with his latest (at 60 R&B with a bulet). It’s a simply Soulful slowie, slinkily sold by Bill and some chix, which puts over another version of the old Jody story. Continue reading “May 11, 1974: Bo Donaldson & The Heywoods, Don Covay, William Bell, Bobbi Humphrey, Rufus Thomas”

Stateside newies

WILLIAM DeVAUGHN: Be Thankful For What You Got (Pts 1 & 2) (Roxbury BRBO 0236).
Created by a whole host of unfamiliar names, this fast-rising R&B hit (up 11 to 14 this week) is like a cooled-out ‘70s-style “You Got What It Takes” not only in its idea but also in its lyrics – with one important exception. The “You” of the title, unlike in Marv Johnson’s earlier hit, relates to “you out there” rather than to a specific female “You”. Yes, it’s a message song to the brothers and sisters who may not drive a Cadillac – may not have a car at all – but who should be thankful for what little they do get. Taking his cue from another modern black singer of messages, William (who wrote it too) assumes a light Curtis Mayfield-type vocal delivery, yet gets backed in a way that relates to no-one else. There’s a solidly booming bouncy slow thud beat in amongst a gorgeous mixture of delicately-tapping bongos, drily scratching wah-wah, languorously chording organ, jazzily tinkering guitar, and beautifully underplayed vibes, all of which get breathing space on the basically instrumental backing-track-ish B-side, and all of which combine with William’s unhurriedly cool Mayfield vocal to create a compulsive “play it again” little platter. There’s a really strange sense of atmosphere about this one, and it’s a beaut.

THE JONESES: Hey Babe (Is The Getting Still Good?) (Pts 1 & 2) (Mercury  73458).
Hey, Soul Group Freaks! Remember the lovely vocal sounds made around 1967 by such groups as the Falcons, Intruders, Parliaments and others? An unusual harmony that related in a way to Gospel and Jazz, and which was accompanied by a distinctive happy but extremely “black” set of bouncy chords. A sound which never really did catch on in “white” Britain, and which in the States was biggest in the cities of the North-East. Well, stand back Freaks, here come the Joneses and boy, do they have that sound, but good! The delight of hearing those beautiful harmonies again is increased by the guys’ use of rumbling deep bass doo-wops in places, and by a snazzily snarling baritone sax in the joyfully happy backing. Now that the not dissimilar Intruders have finally broken through in Britain, the way may even be open for the Joneses too. In America, they’re currently at 40 on the R&B Chart after 8 weeks. Oh yeah, and if the vocals are too deep for Northern dancers, the flip’s a backing-track instrumental!

ULTRA HIGH FREQUENCY: Incompatible (Wand WND 11262).
UHF recently came chugging out of Philly City on the right tracks, if you remember, and now they’re back with a nicely traditional – if indistinctly defined – vocal group thumping shuffler which features much the same sort of vocalese as the previously described Joneses. Lots of vocal interplay, bass voices, complex harmonies and old-style Philly wup-woohing on the climaxes. There’s a driving beat amongst it all, but this may be one for the vocal fanciers more than for the dancers. Continue reading “May 4, 1974: William DeVaughn, The Joneses, Ultra High Frequency, The Chi-Lites, Graham Central Station”