Rosetta Hightower: Hightower (1971)

Rosetta Hightower made her primary mark as the lead singer of the classic Philly girl group the Orlons, who rolled off a series of girl group soul hits in the early '60s. After the Orlons broke up, Rosetta Hightower moved to England. Alongside other Yankee transplants like Geno Washington and Doris Troy, Hightower played the club and casino circuit that was in the early stages of developing into what would eventually be called Northern Soul. There she recorded a few singles and released a couple similarly titled albums. ‘Hightower’ (1971) was by far the best of these, merging rock, soul, and folk-rock with stellar session musicians like Rick Grech, Harold McNair, Jim Price, and Bobby Keys. Although the song selection leans far too heavily on familiar recent soul hits like ‘Tracks of My Tears’ and ‘I Heard It Through the Grapevine,’ her vocal prowess is undeniable: rather than showy over-souled histrionics, Hightower's restraint becomes her trademark, lending an elegance to these smartly arranged pop-soul interpretations. It's the four pre-album single sides that are a revelation, however: in particular, the energetic ‘Pretty Red Balloons’ is a lost classic with a killer chorus featuring a swooping string section in the classic bubblegum tradition, and her stormy break-beat cover of Eddie Floyd’s ‘Big Bird’ goes gritty and psychedelic in the manner of contemporaneous Temptations singles. Although the other LP, the self-titled ‘Rosetta Hightower’, was also well done and well sung, it was devoted to Motown covers, rather than to more distinctive material that might have helped her make a name for herself as a solo artist. ~ Stewart Mason, Richie Unterberger, All Music Guide.

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Mary Wells: Servin' Up Some Soul (1968)

Servin' Up Some Soul is the eleventh overall album released by R&B legend Mary Wells, released in 1968 on the Jubilee record label. The success of ‘The Doctor’ and its flip, ‘Two Lovers History,’ prompted Jubilee to rush-release a whole album, which consisted of six originals, written by Mary Wells-Womack and Cecil Womack, and some remakes. Generally the sound here is close to Stax/Volt with a touch of Ike Turner's guitar work, and her voice has a high, wavery quality that's oddly reminiscent of Smokey Robinson. Part of the explanation is that her voice is so husky, when she's in her high register she sounds like a man singing falsetto. Cecil, now known as Zekkariyas, plays guitar and supplies backing vocals. The bluesy, deep soul inspired ‘Woman in Love,’ is saddled with brazen Memphis horns that nearly overpower her lead. ‘Two Lovers History’ is better, more mainstream R&B, Mary's vocal is self assuring and alluring, and the horns are not intrusive. ‘Bye Bye Baby,’ her first Motown release, gets an appreciated update, but maybe lacks the stark, rawness of the original. There is also a rendition of Betty Swann's ‘Make Me Yours’, which sounds as creamy as whipped butter. Womacks' soulful guitar introduces ‘The Doctor,’ a pleasant mid-tempo number that reached #65 on Billboards' Pop 100 Chart and #22 R&B, her biggest Jubilee single. Unfortunately, it was the last time a Mary Wells single would crack the Pop 100, though she would continue to have R&B hits. Servin' Up Some Soul would be her final album for thirteen years with 1981's In and Out of Love, as Come Together, recorded in 1969, wasn’t released until 1993. http://music.aol.com/, http://www.warr.org/

Mary Wells singing live 'My Guy' on Shindig, backing vocals courtesy of The Blossoms (1965):

The Soul Sisters: I Can't Stand It (1964-1968)

While not being biological sisters, these two sure had the "connected" duo thing happening well! Tresia Cleveland and Ann Gissendanner, known as The Soul Sisters, first came to national attention with their pulsating, rock-a-twist rendition of 'I Can't Stand It', in 1964. As a result of this outstanding debut, the girls became one of the most successful, fast-rising groups in the country. An appearance on the Steve Allen network TV'er was received with the utmost enthusiasm. Prior to that they were building fine reps appearing at such famed spot as the Baby Grand in NY and Brooklyn, the Town Hill Key Club in Newark, the Playboy Lounge, Basin Street South and Boston's Louis Lounge. Before that it was strictly gospel engagements throughout the USA and abroad, receiving return engagement request everywhere they sang. After that promising single, they continued recording done-up Blues, R'n'B, Pop and some Gospel-flavored singles, plus an LP for Sue Records, from 1964 to 1968. This 1996 Collectables' compilation reissues that 1964 Sue album, plus some other singles. Included are 'Good Time Tonight', a bright, medium beat driver; 'Night Time', a potent affair that they stroll through with beat-ballad finesse and 'Loop De Loop', which opens in sermon-like manner and then breaks into a sparkling thump-a-rhythm cha cha that sports a 'Saturday Nite Party' atmosphere. It's an oh-so-soft, slow beat cha cha for the gals on the tender sentimental opus, 'Foolish Dreamer'. And you may never have enjoyed 'Blueberry Hill' as much as you will when you hear their captivatingly slow, waltz-beat-ballad interpretation. I'm sure that after you've heard the collection contained herein you'll agree that each tune is a gem and that whether they're done-up blues, rhythm, & blues, popular or gospel, you are listening to from the Soul, Soul Sisters style.~ Taken from the original liner notes by Gene Redd.

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Fontella Bass - The Very Best of Checker/Chess (1965-1968)

The 1965 classic ‘Rescue Me’ is widely regarded as the greatest record Aretha Franklin never made. The song in question was instead cut by Fontella Bass, who, like Franklin, was a singer who channeled the power and passion of her gospel roots to create some of the finest music of soul's golden age. This set is the most comprehensive anthology ever assembled of the great sides the St. Louis-born vocalist recorded for Checker/Chess Records in the mid-'60s. It includes the entirety of her 1966 The New Look album - largely consisting of contemporary covers -, as well as three duets with Bobby McClure - much in the mode of some of the more famous duets coming from Detroit or New York -, plus ten tracks from singles not previously included on album. There are indications that Checker were slightly caught out by the runaway success of ‘Rescue Me’ and weren't sure quite what to do with her, as some of these subsequent singles sound like blatant attempts to capitalize on her hit by sounding as much like it as possible. Some of her best material, conversely, was buried on B-sides, for example ‘The Soul of a Man’ and the duet with Bobby McClure ‘Don't Jump’, which became a big favourite despite being consigned to the other side of flop single ‘You're Gonna Miss Me’. This compilation also shows an evolution in music, as Bass sings in styles that include deep soul ala Atlantic, sweet soul ala Motown, uptown soul ala Wand and soaring soul ala Brunswick. I added ‘Don’t Jump’ as a bonus track, which was not originally included here. http://www.answers.com/, http://www.dustygroove.com/, http://www.amazon.com/

Fontella Bass' classic performance of 'Rescue Me' on Shindig (1965):

Varetta Dillard: Got You on My Mind - Complete Recordings Vol.1 (1956-1961)

Varetta Dillard was one of the great unknown blues shouters of the ‘50s, best known for several hits of poppish R&B in a style very reminiscent of Ruth Brown. As the result of a bone deficiency she spent most of her childhood years in a hospital, where she discovered singing as a therapy. Encouraged and inspired by Carl Feaster, lead singer with the Chords, Dillard began entering talent shows, which led to two consecutive wins at the Apollo's amateur show. Signed to Savoy Records in 1951, she made her own records and duetted with H-Bomb Ferguson, enjoying success with ‘Easy, Easy Baby’ (number 8 R&B) in 1952, ‘Mercy Mr. Percy’ (number 6 R&B) in 1953, and after Johnny Ace's untimely demise, ‘Johnny Has Gone’ (number 6 R&B) in 1955. In 1956 Dillard switched to the RCA subsidiary label Groove, where, much to her distaste, she was coerced into capitalizing on James Dean's death with ‘I Miss You Jimmy’. Later recordings for Triumph and MGM's Cub subsidiary failed to match her Savoy successes, and she ended her solo recording career in 1961, although she continued singing into the late 60s by joining her husband's group, the Tri-Odds, who were active in the Civil Rights movement, performing jazz, a cappella, and black-centric poetry. Bear Family issued a two-volume collection in 1989, the first of which features 29 of Varetta Dillard's songs, leading off with a curious novelty, ‘The Square Dance Rock.’ The other tunes are divided between earnest covers (‘See See Rider Blues’ and ‘Pennies from Heaven’), robust stompers (‘Mama Don't Want What Poppa Don't Want’) and soulful laments (‘That’s Why I Cry’ and ‘The Rules of Love’, with backing vocals by The Cookies). Dillard makes most of these songs entertaining, and sometimes turns in a triumph. http://www.oldies.com/

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Gigi & The Charmaines: Cincinnati's Top ‘60s Girl Group (1960-1967)

This thorough overview of Gigi & The Charmaines' recorded output from 1960 to 1967 shows the Cincinatti R&B trio had the stuff to compete on a bigger field if they'd had a bit more luck. Gigi Griffin, the group's lead singer, was able to meld passion with vocal precision and her partners Dee Watkins and Irene Vinegar brought some superb harmonies and backing vocals to their sessions. Add some memorable production smarts and quality material and you have one of the better soul vocal acts of the era. Their brief and only Billboard chart appearance at #117 in 1961 doesn't reflect the trio's great solo work on six different labels, nor does it take into account their work backing vocals for the likes of Lonnie Mack, Kenny Smith and Carl Edmondson. This compilation not only collects Gigi & the Charmaines' best near-hits, but rare sides, including the group’s Fraternity debut from 1960 ‘Rockin’ Old Man’, backed with ‘If You Were Mine’, for which Gigi wrote the lyrics. It also features their swampy version of ‘Rockin’ Pneumomia and The Boogie Woogie Flu’, a fabby, dangerous sounding and sexy take on Ike Turner’s song ‘I Idolise You’, plus the original version of ‘On the Wagon’, a song later recorded by the pre-fame Ronettes. There are other Columbia, Date and Fraternity recordings, some great examples of their work as back-up singers and all of the trio's Northern Soul favourites, like ‘Guilty’, ‘Girl Crazy’, ‘Poor Unfortunate Me’ and the previously unreleased track ‘I Don’t Wanna Lose Him’.~ http://www.allmusic.com/, http://www.acerecords.co.uk/ Thanks again for passing me this, Martin!

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Helene Smith: Sings Sweet Soul! (1964-1972)

On the Miami soul scene Betty Wright is the first name that springs to everyone’s mind, but Helene Smith was there first and, in the opinion of a few knowledgeable fans, could give her more famous sister a good run for her money. Although Helene’s voice could sound rather insipid on some of the more poppy arrangements that her writers/producers asked her to sing in front of, when given a decent ballad to interpret, she was able to let go with both power and passion. On ‘Willing and Able’ Helene sounds mature, getting a good grip on the slow beat, aided by the way Clarence Reid hammers away at the piano and the drummer really slams his bass drum. The superb deep soul of ‘Wrong or Right He’s My Baby’, and the funky ‘You Got to Be a Man’ with its JB horn line, confirmed her growing confidence. But her one true masterpiece was the much heralded ‘A Woman Will Do Wrong’, with Reid’s idiosyncratic piano lines and one of the most delayed backbeats ever to come out of Miami. As the decade closed Helene found herself less in demand, but she did make a comeback of sorts with a couple of fine singles in 1973. The best of these was the heartfelt plea ‘Help Me to Keep What I’ve Got’ on which Helene sounds even better than on her earlier material. Her voice is pitched in a lower register, overcoming the major criticism she’s faced of sounding too much like a little girl to be a true southern soul queen. We really could have done with more in this vein from her in the ‘70s but sadly it was not to be. http://www.sirshambling.com/
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01. You Got to Do Your Share
02. Willing and Able
03. The Pot Can't Talk About the Kettle
04. I Am Controlled by Your Love
05. Thrills and Chills
06. A Woman Will Do Wrong
07. True Love Don't Grow in the Trees
08. Wrong or Right He's My Baby
09. What's in the Lovin'
10. Pain in My Heart
11. You Got to Be A Man
12. Help Me to Keep What I've Got

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Dee Dee Warwick: I Want to Be With You - The Mercury/Blue Rock Sessions (1965-69)

Like Darlene Love and Cissy Houston, Dee Dee Warwick's considerable gifts as a soul singer were mostly confined to session work. And like Aretha Franklin's sisters, Dee Dee had to struggle with the shadow of a superstar sibling, Dionne Warwick. Certainly she had the talent to compete as an artist in her own right -possessing a rawer approach than Dionne’s and closer to that of her cousin’s Cissy-, but she only had a sporadic run of small hits in the ‘60s and early-‘70s, and benefited from neither frequent recording opportunities nor substantial promotion from her labels. As a sort of companion to She Didn't Know: The Atco Sessions (though I personally prefer this one), this collection compiles everything she recorded for Mercury/Blue Rock from 1965 to 1969, with two tracks from a later 1973 session. Most of the better-known and significant of Dee Dee's recordings are represented here, including her highest charting and signature song, ‘I Want to Be With You’; besides, it marks the first digital appearance of many other rare songs. Warwick lays into the bluesy ‘That's Not Love’ like Etta James, causing distortion as she hauls off and wails with soul-searing power. The obscure Goffin & King tune ‘Yours Until Tomorrow’ is a should-have-been hit, as is the original version of ‘I'm Gonna Make You Love Me,’ later a smash when the Temptations and the Supremes took it to the charts. Ultimately, Warwick was a substantial talent who didn't find her niche, or land songwriters of the Bacharach/David stature to guide her. This AMAZING compilation -predominantly taken from the original masters but still sounding thin and sometimes shrill- is an important historical item for soul fans. I must add that Dee Dee is one of the very few soul sisters who will always deserve a place on my personal Top Five: she is absolutely fantastic. http://www.answers.com/, http://music.aol.com/.

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Dee Dee Warwick performing ‘We’re Doing Fine’ on Shivaree (1965) [minute 3:07 to 5:41]:

Genie Brown: A Woman Alone (1973)

Rare soul sister Genie Brown, of whom I was not able to find any info, recorded this very much sought-after white label promotional vinyl called 'A Woman Alone', on Dunhill Records in 1973. The song 'Can't Stop Talking' can also be found on the albums ‘Edits by Mr. K - The Original Rare Disco Edits’ and ‘Nicky Siano's Legendary 'The Gallery' - The Original New York Disco 1973-77’. Thanks again to Guillermo for passing me this gem.

A1 That's How Heartaches Are Made (3:40)
A2 Maybe This Will Be the Morning (3:04)
A3 Can't Stop Talking (2:57)
A4 My First Night Alone Without You (3:31)
A5 Let Me Stand in Your Shadow (3:09)
B1 Take Me Where You Took Me Last Night (3:40)
B2 It's Gotta Be That Way (3:29)
B3 Wrapped In Love (3:12)
B4 You and Me (3:42)
B5 Life Is Beautiful When Love Is Everywhere (2:20)ee

Ruby Johnson: I'll Run Your Heart Away (1962-1967)

A tremendous Southern soul vocalist whose ability to convincingly sing heartache ballads ranks with any active performer, Ruby Johnson never got a breakout single during the soul era. Raised in North Carolina in the quasi-Jewish Temple Beth-El faith, she grew up singing a cappella at the local temple, but aspired to emulate the power-soul style of Aretha Franklin and Etta James. After singing with Samuel Latham and The Rhythm Makers at Virginia Beach, she moved to Washington, DC, and became show-opener at the popular Spa Club. Never Duncan, manager of Bobby Parker (of ‘Watch Your Step’ fame), signed her first to the Philadelphia-based V-Tone label (for which Parker was also recording), and then to his own Nebs outlet. Subsequently, ex-Washington disc jockey Al Bell signed Johnson to Stax/Volt when he moved to Memphis in 1965. There, she recorded a handful of classic soul records with the writing and production team of Isaac Hayes and David Porter, and backing musicians including Steve Cropper, "Duck" Dunn, Al Jackson and Booker T. and The MG's. These included ‘I’ll Run Your Hurt Away’, a minor R&B hit, 'Come to Me, My Darling' and ‘If I Ever Needed Love’, staples of subsequent soul compilations such as those by Dave Godin. Despite the quality of her records, they met with little success, and in the early ‘70s she returned to a quiet life outside the music business. This compilation contains 20 outstanding singles recorded between 1962 and 1967, 14 of them previously unreleased. http://www.oldies.com/, http://music.msn.com/