Lula Reed: I'll Drown in My Tears -The King Anthology (1952-55)

Discovered by noted bandleader and later her husband Sonny Thompson, Lula Reed recorded extensively for King and Federal Records for over ten years interrupted by a brief sojourn with Chess subsidiary Argo in the late '50s, and Tangerine Records in the '60s. Although she seldom troubled the R&B charts, Lula was a consistently good seller for King during her first tenure with the label, and R&B fans of the day regularly wore out copies of her 78s at home or on jukeboxes. She came close to a chart hit a few times, with ‘Watch Dog’, ‘Bump on a Log’ and the original version of the much-recorded ‘Rock Love’, but inexplicably the real big time never beckoned for this pretty and talented thrush. Even so, she was a regular on record for well over a decade and in that time she recorded nothing that wasn't at least worth a listen - and most of it was worth a great deal more than that, as you'll hear here. It's fair to say that Reed was a true prototype for the next decade's ladies of soul. Although owing something to Dinah Washington, Lula had a warm, nasal style that was not directly influenced by anyone or anything. Sonny Thompson simply encouraged her to sing 'em how she felt 'em, and the results were usually ten times more torrid than most anything else around at the time. Echoes of her phrasing can be heard in the recordings of Maxine Brown, Esther Phillips and particularly her contemporary Mable John. This set features every important recording from her first period with King between 1952 and 1955, including four sides she did as vocalist with Sonny Thompson & His Orchestra as well as two previously unissued tracks. The most notable of these cuts is the moving ballad ‘I'll Drown in My Tears,’ - later covered by Ray Charles for a hit as ‘Drown in My Own Tears’-, which made number five in the R&B charts. The pace varies a little into uptempo jump at times, with a little gospel on ‘A Quiet Time with Jesus,’ a bit of a down-home blues flavor in the acoustic guitar on ‘Troubles on Your Mind,’ and a little early rock & roll in 1955's ‘I'm Giving All My Love’ and ‘Rock Love’. Always one of those troubled artists in whom the secular constantly warred with a more dominant spiritual side, Lula Reed quit the world of R&B in the early ‘60s to go back home and the church that had uncovered her talent. All efforts to contact her and interview her about her "wicked" recording career were rebuffed. King's first lady of Chicago R&B passed away a year ago, on June 21st, 2008. http://www.acerecords.co.uk/, http://www.allmusic.com/, http://www.rockabilly.nl/

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Here is one of the nice Lula Reed's mid-'60s recordings for Tangerine Records, 'Walk on by Me':

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Pat Lundy: The Lady Has Arrived (1976) ... plus

Pat Lundy is known mainly for ‘Day by day’, a track with a nice funky intro which was the 'B' side of DC La Rue's Blackpool Mecca classic ‘Cathedrals’, in 1976. It was a new release on the Pyramid label then. Sadly the lady has had no hits of her own, and for someone who has put out four albums, very little is known. Lundy was a New York-based singer and actress, and was apparently a girlfriend of New York producer Buddy Scott. She was originally a member of the Symbols - a group that she left in 1962 - and put out several albums and singles on Deluxe, Columbia, RCA, Toto, Leopard and Heidi labels over a 20 year period, some of which are quite worth sorting out. This album, The Lady Has Arrived, alone stands high out there. It contains a version of the Jackie Wilson's classic ‘Ain't No Pity in The Naked City’, the Northern soul tune ‘Happy Walk’, the soul blues ballad 'Baby Don't You Let Me Down', and the jolly little stepper ‘Let's Get Down To Business’, amongst others. A binding force behind many of her songs was writer Jimmy Radcliff & productions of Buddy Scott. Bob Babbitt (much used by James Brown) bass player is found on this album, arranged by Phil Medley with Patti Austin on backing vocals and recorded at Groove Sound Studio's in New York, in 1976. One of her most sought-after cuts at the moment is the 12" of 'Work Song' (commands a £50 price tag), a song whose break has been sampled by many rap vocalists since the ‘80s. I added 4 bonus tracks to the album: the aforementioned 'Work Song', her answer song to Ben E. King's 'Don't Play That Song', 'Play It Again', and the Northern Soul stompers 'Prove It' (1969) and 'Soul Ain't Nothin' but the Blues' (1968). I am sorry I couldn't get a better copy of the latter, but it is so good that I decided to include it anyway. It will have to do as a mere appetizer! After marrying Chuck Patterson - an actor and Equity advocate for minorities and women - Pat continued performing and became an SGI member dedicating her life towards peace in the world. She died in 1994 from brain cancer, just before her 52nd birthday. http://mickeynold.blogspot.com/

Jean Plum & Veniece: Bluesoul Belles Vol.3 - The Hi Recordings (1965-1978)

This is an outstanding 21-song excavation of Willie Mitchell's vaults for the masters of Hi Records obscure deep soul artists Veniece Stalks and Jean Plum. Chicagoan soul diva Jean Plum arrived at Hi Records in 1975. No newcomer, she had previously recorded using her real name Betty Jean Plummer for Checker in 1967. Singles for the Salem and Bell labels followed in the early ‘70s. With her appellations foreshortenend at the suggestion of new mentor Willie Mitchell, she debuted for Hi with the remarkable “soft-deep” double-header ‘Look at the Boy’ and ‘Back to You’. Talking to the British publication Blues & Soul the following year, the singer expressed her excitement at the completion of sessions for her first album. The inclusion of treasures like ‘Loneliness’ and her supremely soulful interpretations of Aretha Franklin’s ‘Today I Sing the Blues’ would surely have ensured a top quality se but, sadly, the LP was never released. The 1976 single ‘I Love Him’ was Jean Plum’s only other release until her final platter two years later. As for ex-fashion model Veniece Stalks, she joined Hi Records in 1965, released two singles pdq and promptly disappeared from the recording scene for six years. Minus her surname, she returned form that hiatus with the driving downhome saga ‘Stepchild’, prompting a trip to England, Germany and Switzerland supporting Wilson Pickett. A further three year silence preceded her next release ‘Every Now and Then’, the title of which seemed to sum up her career momentum. A revival of Otis Clay’s ‘Trying to Live My Life without You’ in 1975 proved to be Veniece’s farewell disc. Taken from the liner notes of Troubles, Heartaches & Sadness – Hi Records’ Deep Soul Sisters (1966-1976). Thanks to Daniele for sending me this so hard-to-find compilation of one of my favourite soul sisters (Jean Plum).

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Dee Dee Sharp: Happy 'Bout the Whole Thing (1975)

Considered one of the first black female solo vocalists from Philadelphia to achieve success in the early '60s, Dee Dee Sharp has consistently transformed her recording career, starting as a teen idol and re-emerging in the late '70s as a song stylist with husband Kenneth Gamble and partner Leon Huff's Philadelphia International Records. Over a five-year period as Dee Dee Sharp Gamble, she recorded a total of three albums for the label, being Happy 'Bout The Whole Thing (1975) the first of them. This Philly sound outing has pop leanings that infiltrate the disco so important to the dance music empire of Gamble. ‘Love Buddies’ is an interesting concept seeing that much of the Philly sound was club oriented, and this first song is the only one penned by Kenneth Gamble and Leon Huff. ‘Touch My Life’ is an adequate tune by James Mendell, but it's Sharp's exquisite voice that really shines, taking over the material and making the entire album excellent. The familiar sounds Sharp creates are a perfect marriage with the Philadelphia sound. The cover of Stan Vincent's ‘Ooh Child’ is sublime, and her cabaret co-write with Mendell on ‘Real Hard Day’ is really strong. 'Make It Till Tomorrow,' the second of three songs co-written by Dee Dee, shows up the tantalizing vocals and sassy style which have been Sharp's signature during her career. Hearing her distinctive and happy cover of ‘I'm Not in Love’ (the 10cc hit) stretch over five minutes and 17 seconds - the longest track on the record - is a delight. This song would be a Top 100 R&B hit for her. Sharp looks stunningly beautiful on the cover and the sounds she emits are superb. She takes the less than perfect ‘Share My Love’ and gives it her best, bringing it to a plateau it simply couldn't reach in lesser hands. Six of the nine titles are written or co-written by associate producer James Mendell, his ‘Best Thing You Did for Me’ a beautiful pop conclusion to this elegant collection. http://www.allmusic.com/, http://www.soultracks.com/

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I'm running out of words to express how much I appreciate Martin's efforts to provide to all of us with such great music. Thank you again and again and again and again!

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The Marvelettes: The Marvelettes / Sophisticated Soul (1967-68)

Probably the most pop-oriented of Motown's major female acts, the Marvelettes might not project as strong an identity as the Supremes, Mary Wells, or Martha Reeves, but recorded quite a few hits, including Motown's first number one single, ‘Please Mr. Postman’, in 1961. Featuring two strong lead singers, Gladys Horton and Wanda Young, the Marvelettes went through five different lineups, but maintained a high standard on their recordings. After a few years, they moved from girl group sounds to up-tempo and mid-tempo numbers that were more characteristic of Motown's production line. They received no small help from Smokey Robinson, who produced and wrote many of their singles. Their partnership with Robinson is particularly evident on their fifth album, The Marvelettes, released in 1967, which spawned the massively popular ‘The Hunter Gets Captured by the Game’. The song just missed the top of the R&B charts, peaking at #2, and hit #13 at Pop. They followed with a remake of Ruby & the Romantics' ‘When You're Young and in Love,’ written by Van McCoy, peaking at #9 at R&B, #23 at Pop and #13 in the UK. The rest of the album tracks are consistently exciting: ‘He Was Really Saying Somethin'’ grabs you from the first measure with a savvy guitar/piano hook, spacious percussion and a bustling bass line; two uptempo tunes, ‘Keep Off, No Trespassing’ and ‘Barefootin',’ overcome obvious hooks with sheer energy; other highlights are ‘The Day You Take One (You Have to Take the Other)’ and the lovely ballad ‘This Night Was Made For Love’. Perhaps this is the best studio album the Marvelettes ever recorded. The spotlight was shared between Horton and Young, and one can attest to the differences in their styles (Horton was earthier, Young the more pop-oriented). Their next record, Sophisticated Soul (1968), was one of the best album of covers Motown ever did. The group was at its peak during these sessions, and was getting excellent production and outstanding musical support from the great studio band. From the opening ‘My Baby Must Be A Magician’ (#8 R&B, #17 Pop) to ‘Destination: Anywhere’, or ‘You’re The One For Me Bobby’, you get that lush mix of pop and soul that Motown was famous for. For trivia buffs: former Andante Anne Bogan made her debut as a Marvelette here singing ‘I'm Gonna Hold on Long as I Can’. Even if this album was not as good as their previous effort, it was however another artistic triumph and a proof that girl groups can mature with age. You can have now both albums on this nice two-in-one set. http://www.warr.org/, http://en.wikipedia.org/, http://www.allmusic.com/, http://soulstrut.com/

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The Marvelous Marvelettes sing 'Don't Mess with Bill':

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On Teen Town performing 'Too Many Fish in the Sea':

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Gloria Barnes: Uptown (1973) ... plus

Gloria "Towanda" Barnes is an obscure soul sister whom little is known except what can be gleaned from the notes on the back of her Maple album, Uptown, from 1973. She came from Harlem, NYC, and was discovered on Mary Fox's Northern Soul Night on Radio Stoke. Her first release was 'If I Am Guilty’ / 'Oh Darling' on the Groovy Imprint, as Towanda Barnes, but she is best known on the Northern Soul circuit for the tracks 'You Don’t Mean It' (backed by Lewis/Brantley song ‘Find Someone to Love Me’) and 'Love Slips Through My Fingers', interestingly both originally recorded by the Ohio Players. However, it is on her Uptown album that she really shines, showcasing her supreme vocals, particularly on the seven minute opus ‘Old Before My Time’. The record features 8 great songs - a few with Lee Moses and the Desciples Backing -, and mixes upbeat with some fine deep stuff. I included her first recording ‘If I Am Guilty’, as a bonus track. I am sure you will love it! http://indangerousrhythm.blogspot.com/, http://www.amazon.ca/, http://www.youtube.com/

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1. Old Before My Time
2. I'll Call You Back Later
3. I Found Myself
4. Gotta Get Away
5. You Don't Mean It

6. Home
7. She Wants a Stand In
8. I'll Go All the Way

9. If I Am Guilty [Bonus Track]

Patti Austin: End of a Rainbow / Havana Candy (1976-77)

Patti Austin brought a new sophistication to soul music during the late ‘70s, working in a generation with singers like Jean Carn and Marlena Shaw to forge a whole new style of modern R&B. Some of Patti's work of that era is a bit more pop-oriented than the other two, but the selection on this compilation containing her first two smooth jazzy soul LPs for CTI Records - End of a Rainbow and Havana Candy - got some of her finest moments. Originally issued in 1976, End of a Rainbow was Patti's solo debut album for CTI. Although not a commercial success, this album was one of the first ever to be exclusively devoted to the "Quiet Storm Sound" that was just then blossoming. Arranged by David Matthews, the album contains five original tracks later remixed for In My Life plus a lot of good stuff written mostly by Patti. It includes classic songs like 'What's at the End of a Rainbow', 'You Don't Have to say You're Sorry', 'In My Life' and the beautiful 'Say You Love Me'. CTI boss Creed Taylor obviously spared no expenses in getting the best session players for this cult record, including Randy and Michael Brecker, Joe Farrell, Richard Tee, Barry Miles, Eric Gale, Steve Khan, Will Lee, Chuck Rainey, Steve Gadd and Ralph MacDonald. As for Patti, her soulful, tender and at times wistful and melancholic vocals are nothing short of exquisite. Havana Candy (1977) was Patti Austin's second solo album for the label and it was as sweet and warm as her best work with Quincy Jones, but with a stronger spirit that is all her own. Stylistically, it's very similar to its predecessor and Patti's passionate and emotive vocals are truly magical and spellbinding on gorgeous ballads like ‘I Just Want to Know’, ‘Little Baby’ and ‘That's Enough for Me’. Produced by Dave Grusin and Larry Rosen, the line-up includes Michael Brecker, Eric Gale, Steve Khan, Richard Tee, Marvin Stamm, Dave Valentin, John Tropea, Will Lee and Ralph MacDonald. While neither commercially successful, Havana Candy is another Patti Austin classic which anyone who loves good music should not miss out on. http://www.amazon.com/.

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Patti performing 'I Just Want to Know' on Soul Train, in the late-'70s:

VA: Philly Soul Girls, Vol.1 (1963-1967)

B & L Productions, formed by songwriter Frank Bendinelli and arranger Leroy Lovett, recorded quite a bit of music in Philadelphia in the ‘60s for either their own small labels or for lease to other companies. Much of it typified the city's transition from R&B, doo-wop, twist, and girl group music to early Philadelphia soul, and this 26-song compilation of rare singles and unreleased material focuses on the women vocalists they recorded during the mid-'60s. It could not be said that Motown wasn’t an inspiration for many of these songs, but that's not the worst thing in the world; at least the model is good, and the execution more than pleasing. Certainly the standout cut here is Patty & the Emblems' ‘Mixed Up Shook Up Girl’ (the unreleased long version), with its swaggering horns and confident girl-group-styled vocal. It was a big hit in Philly in 1964, and had the potential to be a big hit everywhere. Another highlight is Joyce Bennett's ‘New Boy,’ a good sassy girl-group tune with an uptown sound. Incidentally, the four cuts by Honey & the Bees are by an entirely different group than the more popular Honey & the Bees that recorded for Arctic/Josie. All in all, this is a wonderfully rich body of work filled with many overlooked gems and lots of upbeat groovers with a Northern Soul bounce, including ‘Call On Me’ and 'It Happens Everyday' by The Persianettes, ‘The Hard Way’ by The Butterflies, ‘Uncle Sam’ by The Sherwoods, ‘That Guy Belongs To Me’ by The Swans, ‘Inside of Me’ by Fannie & The Varcells, ‘Dead End’ and ‘Here I Am’ by Ann Byers, plus two great tracks by unknown artists! Although, of course, the city had in the early ‘70s a huge reputation for pre-disco girl groups, this great collection takes a good look at Philly's strong female soul scene during the ‘60s. Shouldn’t miss this one! http://www.answers.com/, http://www.dustygroove.com/

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The Bobbettes: The Ultimate Collection - Mr. Lee and Others (1998)

The Bobbettes were among the first successful girl groups of the rock era. In a field dominated by male artists, these five young girls from Harlem became the first all-girl doo-wop group to have a #1 R&B hit and a Top Ten pop hit with their first single, 'Mr. Lee,' in 1957. Originally dubbed the Harlem Queens, the group teamed sisters Emma and Jannie Pought with Laura Webb, Helen Gathers, and Reather Dixon. First meeting in 1955 while singing in the glee club at Harlem's P.S. 109, soon the girls were appearing at the Apollo Theater's legendary amateur nights, and through manager James Dailey, they landed a contract with Atlantic. Inspired by their fifth grade teacher, the Bobbettes' debut ‘Mr. Lee’ appeared in mid-1957 and was also their biggest hit. The song reportedly began as an insulting one until their label made the group change the lyric to something more upbeat. Four Atlantic follow-ups failed to chart, and after issuing the ballad ‘You Are My Sweetheart’ in 1959, the group left the label for the Triple-X imprint. There they released ‘I Shot Mr. Lee’, a song which returns to the original sentiment when the girls gleefully describe shooting Mr. Lee in the head. Despite (or perhaps because of) its graphic subject matter the song began to climb the charts, forcing Atlantic to release their own version and effectively killing the single's momentum. Although the subsequent ‘Have Mercy Baby’ and ‘Dance with Me Georgie’ both emerged as minor hits, in 1960 the Bobbettes moved to End Records, cutting the standard ‘Teach Me Tonight.’ 1962's ‘I Don't Like It Like That,’ an answer song to the Chris Kenner hit ‘I Like It Like That,’ was the group's last chart entry, although they continued recording for a series of labels, most notably Diamond and Mayhew, through 1974, touring oldies circuits in years to follow. The Bobbettes were a unique vocal group with an original style and a youthful energy that is contagious, particularly on their early cuts. As lengthy as it is, this 34-tracks collection doesn't have all of the Bobbettes' singles, but compiles so many of them that collectors can hardly complain. http://www.answers.com/

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Esther Phillips: And I Love Him! / Esther Phillips Sings (1965-1966)

Esther Phillips was perhaps too versatile for her own good, at least commercially speaking; while she was adept at singing blues, early R&B, gritty soul, jazz, straight-up pop, disco, and even country, her record companies often lacked a clear idea of how to market her, which prevented her from reaching as wide an audience as she otherwise might have. An acquired taste for some, Phillips' voice had an idiosyncratic, nasal quality that often earned comparisons to Nina Simone, although she herself counted Dinah Washington as a chief inspiration. This compilation packages her first two LPs for Atlantic, 1965's And I Love Him! and the following year's Esther Phillips Sings. A collection of "great love songs," And I Love Him! leads with the title track, a Beatles cover and an R&B hit, featuring a soft yet tremendously effective performance from Esther. Elsewhere Phillips wears her Dinah Washington influences well, stretching out her voice and exercising it with a sly, nuanced delivery while tackling a few excellent choices for material: ‘Shangri-La,’ ‘Out of the Blue,’ and ‘I Wish You Love.’ Surprisingly, she also exhibits a sure hand with some odd crossovers like ‘Moonglow' & 'Theme from Picnic,’ ‘People,’ and ‘Girl From Ipanema.’ The arrangements, by Ray Ellis, are definitely geared toward adult pop, but fortunately they're never so ostentatious that they get in the way of Phillips' idiosyncratic voice and gorgeous performances. This album is wonderfully complemented here by Esther Sings, a lovely collection of standards that she sings in her own individual and totally winning style. With the opener ‘It's All Right With Me' leading the way, Oliver Nelson's seven arrangements bring out the best in Phillips, giving her plenty of space with light instrumentation but filling any available gaps with his strong, brassy orchestra. ‘A Taste of Honey’ and 'Just Say Goodbye' are also very successful, leaving the big-band era for a groovier period of swinging traditional pop. All in all, both albums showcase Esther Phillip's finesse and easy charm linking the world of R&B and jazzy pop. http://www.answers.com/

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Esther Phillips' classic rendition of The Beatles' 'And I Love Her (Him)'. She is introduced here by Mr. Lennon himself: