Etta James “The Love of My Man” (Chess, 1971)

(Click title to download)

I’m a week or so behind in eulogizing one of my favorite singers of all time.  I’ve been busy the past month (along with having some computer problems) so I haven’t been able to keep up as much as I’d like.  Part of that not keeping up was not acknowledging the passing of the inimitable Etta James.

Her career was one marked by endless personal ups and downs- experiences she relayed in her music and in her amazing autobiography Rage To Survive- but she had remarkable and sustained success with her music despite the down times.  I don’t know how many tracks I could call “my favorite” but it’s a list longer than most artists could ever dream of assembling.

She had most recently been in the news about the controversy surrounding Beyonce’s rendition and ultimate performance of “At Last” at the White House.  While it only seems sensible that Etta should have been honored it ultimately overshadowed a career of remarkable breadth and gave the perception she was being slighted because her hit was being taken by someone else.  In my mind it’s no contest.  Beyonce could never handle 85% of Etta’s catalog, never mind that should couldn’t hold a candle to Etta’s versions of the other 15%.  Etta was also familiar with re-working other people’s material though in her cases she took on tough challenges and made them very much her own.  Who else would dare take on Otis Redding (and win!) in his prime?

Anyhow, I digress.  What is important is Etta had a startling career from her early days with Johnny Otis (RIP) singing her playful “Roll With Me Henry” (penned by Mr. Otis)  and shooting up the tour bus as a wild teenager through her barnstorming soul tracks with Chess finally to her stateswoman like performances of the past 10 years where she would perch upon a crown and rain down her gifts on spellbound audiences who know she was and will always be the true Queen of Soul.

Today’s track is one I rarely hear people discuss and often when they do it’s about the ballad of the same name.

Her music was about as deep as it gets so I know she’ll be gracing these pages, my dj nights and my home turntable for many nights to come.

Harvey Scales and The Seven Sounds “Funky Football” (Chess, 1970)

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Been meaning to post this on a Sunday before a long hard day of watching the week’s NFL drama unfold but I’m usually too busy with waking up after dj’ing and having breakfast to muster the brainpower for the all consuming task of posting a blog entry.  Other than football, things have been remarkably busy, as is usually the case this time of year, apologies if you were upset by the lack of content over the past couple weeks.

To fix that I’m psyched to present today’s 45: “Funky Football” by the esteemed Harvey Scales and his hard working Seven Sounds.  Born in the south then relocated north to the cold country known as Wisconsin, Scales began putting out records as a member of the Seven Sounds but his strength and personality were much too large to be seen as just a member of the group so the names on the label changed but the music remained the same, KILLER. 

Football was going through some momentous changes with the AFL-NFL merger taking place in 1970 so the idea of a dance being named after a sport doesn’t seem that outrageous (does any dance name really sound that weird?  The Ali Shuffle would be a good compliment to this post!)  Plus, the dance seems logical enough “everyone get in a huddle…wave your hands…do the quarterback.”  Man I’d love to see that Soul Train.  Interestingly, both 1970 and 1971 were pretty poor showings for both the Green Bay Packers and the Chicago Bears both posting losing records, maybe that’s who Harvey was referring to when he warned “gonna put you on the bench.” 

Scales made his way up the musical pecking order starting from the small Wisconsin Cuca label to later working with Johnny Taylor (the Seven Sounds as backing band) at Casablanca where he wrote the (first RIAA certified) platinum record “Disco Lady.”  In between there and here Scales touched down at the Stax, Cadet and Magic Touch labels making lots of great records.

Scales is currently still performing and evidently without losing a step; reviews from his show in Chicago last month reported he was performing at Tom Brady and Aaron Rodgers levels.

Hope you enjoy as much as I do!

Tony Morgan & Muscle Power “Racial Segregation (Vocal)” (Chess, 1973)

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What wonders the world holds for us, it’s into December and the only blizzard of the season is a month behind us and we’re otherwise enjoying a string of moderate days.  (Maybe though, it’s less of a wonder and more of a direct byproduct of global warming turning New England into a more temperate zone as the Earth is put into our hand made tanning booth.)

Today’s 45, and what a 45 it is, by Tony Morgan & Muscle Power is appropriately world travelling, bringing the some amazing afro-cuban (nearly west african) rhythm to us via the Chicago blues label founded by Polish Jew Leonard Chess.

Released on Chess in 1973 “Racial Segregation” was written, arranged and produced by Eddy Grant, who you may know from his gigantic 80’s hit Electric Avenue or if you dig below that his massive 60’s hit with The Equals “Baby, Come Back” or my personal favorite “Black Skinned Blue Eyed Boy.”  After a medical issue in 1971 Eddy left his adopted home in the UK to return to his native Guyana to run his Ice label, where he produced this and a cover of “Black Skinned Blue Eyed Boy” along with a few others for Tony Morgan & Muscle Power (alternately spelled ‘Mussel Power’, not sure if that’s a food pun or failed translation, but it shows up regularly).

This record was released on a number of labels internationally, but for American distribution Chess, now run by the much more psychedelically inclined son Marshall Chess, got the nod.  My copy is a DJ Promo so I’m not sure how much noise this made on the charts (nothing according to what I can tell by the silences in Billboard/Cash Box etc) but since when did chart action equate to the quality of a record?

This record is an absolute shaker with every part of the arrangement- voice, clean guitar, horns, percussion- heavy and locked in enough to carry the whole song.  It’s worth noting the flip is an instrumental version that hits just as hard but I prefer the fearless politicizing of the vocal.  A pretty unique record on most accounts and without a doubt worth dropping the coin on if you come across it in your travels.

Till next time, health and happiness,

-George / Snack Attack

The Tams “What Kind of Fool (Do You Think I Am?)” (ABC-Paramount, 1964)

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Today’s Thanksgiving post comes courtesy of The Tams.  Hailing from Atlanta, GA “What Kind of Fool” was The Tams biggest hit.  After some success in the early 60’s on the Philly based Arlen label (with a Joe South penned song no less), The Tams moved over to ABC where they immediately hit gold with today’s record.  Though they didn’t make too much more noise on the charts (until the 70’s and 80’s, gaining popularity in the Beach Music/Shag and UK Northern Soul scenes) their output in the 60’s isn’t overlooked due to lack of quality (Laugh It Off and Be Young, Be Foolish, Be Happy are personal favorites).

Named for their signature Tam O’Shanter hat The Tams were of the well dressed, choreographed dance move mold and were (and evidently still are!) great performers and as is obvious on this record, outstanding musical talents.  The song itself has most of the music pushed to the back of the mix allowing the vocals to carry the weight of the song.

An easy to come by and affordable record, no reason you shouldn’t add it to the T section (or Atlanta section) of your collection.

Enjoy!

Singles Mixer Volume 1.  

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Greetings internet friends.  Here is the first volume of “Singles Mixer” which collects the  first 20 individually posted 45s I’ve put up onto this site into one long mix.  I’ve already mentioned it once but I’ll just repeat, the individually posted 45s will only be up for a limited time after which they’ll end up in one of these mixes.  The posts will remain but without the link to the individual track, when possible please support your local record stores and the artists.  Listening through to the mix the sequencing isn’t as much of an issue as I’d have imagined.  Definitely can be a little curvy but nothing feels totally out of place.  Track list follows.  Enjoy!

Singles Mixer V.1

Jackie Lee : Oh, My Darling (Mirwood)

Major Lance : Hey, Little Girl (Okeh)

Lloyd Price : Bad Conditions (Turntable)

Ruby Andrews : You Made A Believer (Out Of Me) (Zodiac)

The Four Sonics : It Takes Two (Sport)

Betty Harris : I’m Evil Tonight (Sansu)

G. Kerr Orchestra : Back Lash (All Platinum)

Howlin Wolf : Do The Do (Chess)

The Intruders : All The Time (Excel)

Mamie Galore : It Ain’t Necessary (St. Lawrence)

Ruby Winters : Just Like A Yo-Yo (Diamond)

Marv Johnson : Pick A Rose For My Rose (Gordy)

The Classettes : I’ve Got To Space (Ultra-Class)

The Stylistics : Let The Junkie Bust The Pusher (Sebring)

James Brown & The Famous Flames : Shhhhhhh (For A Little While) (Delta)

The Superlatives : We’re So Lonely (Uptite)

Sly & The Family Stone : I Can’t Turn You Loose (Loadstone)

The Soul-Mates : I Want A Boyfriend (Girlfriend) (Era)

Oscar Toney Jr. : Turn On Your Love Light (Bell)

O.V. Wright : Working Your Game (Back Beat)

El Chicano : I’m A Good Woman (Kapp)

The Meditations : Rebounce (Bullwackies / Basic)

“You Ain’t Too Cool” An hour of Soul and R&B 45s

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 Greetings from the dark and freezing valley of Western Mass as we recover from the Halloween snow massacre that took out power, phones, internet and all the other advances of Western Civilization that have been chipping away at our ability to talk to other real-life human beings. 

Just in from a digging trip to Chicago I got home with a massive box of 45s and I was eager to listen to a lot of my finds (no listening stations in stores, no portable) and of course the first thing to happen when I get home is the power goes out for 2.5 days!  As a result, despite this new cache of wax, I didn’t include too much of that stuff, but I got a ton of great sides and made my pilgrimage to the Dusty Groove brick and mortar spot which was great.

Today’s serving of bumpin and thumpin draws heavily on Northern tracks, with some funk(y) tracks sprinkled in the middle and closing up with some R&B.  The JJ Barnes and Radiants track that open the mix are both standard bearers of their respective cities, JJ’s clap/tambourine beat couldn’t scream Detroit more loudly if it had a wall of Man O War amps and The Radiants track has all the hallmarks of Chicago with the falsetto vocals, trading off leads and delicate handling of the arrangements. 

The Ikettes and Barbara George sauce things up a little with the horns turning from soft to vamping and introduce us to a little of the New Orleans flavor.  The Sister and Brothers also hail from Louisiana and drop some seriously killer funk/soul with their ‘Yeah, You Right.’  Adding to the gumbo there’s a nice Lee Dorsey Track and Marie ‘Queenie’ Lyons, who though raised in NYC, was born and recorded in Louisiana.  Bettye Swann another transplant was from Louisiana but relocated to Los Angeles where she recorded some (of my favorite) sides.  Irma Thomas also fits this transplant mold that is coming to shape here, being a NO staple but recording this side of decidedly Stax inspired beauty for the Chess label.

Linda Jones and Willie Mitchell are the two tracks who are geographically dislocated here but it doesn’t mean they aren’t welcome additions to the mix, Willie bringing his rager of a track “That Driving Beat” that feels more at home in the Jr. Walker vein than the restrained Hi-Records sounds we’re used to hearing from him.  The Linda Jones track would be comfortable coming out of any number of studios over a pretty wide swath of time so it’s fine with me we share the love with the coastal Mid-Atlantic. The flip to this record is just as legit and def worth your time if you come across it.

Sprinkled in for good measure are a few other instrumental movers and shakers; the classic Phil Upchurch anthem “You Can’t Sit Down”, a nice groover from Cash McCall (picked that up in Chicago this past week), a record I hadn’t seen before by the memorably named “Robert, Ron & Eddie” (sounds more like dudes around a cooler than a band), Otis Spann’s freakout “Walking” featuring the smooth dudes Fleetwood Mac showing their teeth and The Interpretations rave up “Snap-Out”.

The last batch of records gets us rolling and rocking with Johnny Rivers’ cover of the Willie Dixon song (made famous by Willie Mabon!) Seventh Son, similarly unusual, we have Ruth Brown reprising her hit “Mama…” which was an early hit for her on Atlantic almost 10 years later on the Phillips label, Andre Williams drops some greasy moralizing in Cadillac Jack in a way that makes it seem like he could just breath songs like this without even trying.  I really like how chill the Willie Mabon track is, like it’s missing the deep gut in some of the other R&B tracks but not in a way that’s lacking punch, it’s more conversational and relaxed.  The mix wraps up with an absolute scorcher by Donoman and the Lakettes doing “Here Comes The Fool” a track I never ever tire of listening to, no matter what my mood.

Alright everyone, I’m going to go back to thawing my toes.  Hope you enjoy.

-George / Snack Attack

Tracklist:

J.J. Barnes “Please Let Me In” (Ric Tic, 1965)

The Radiants “Voice Your Choice” (Chess, 1964)

The Ikettes “Don’t Feel Sorry For Me” (Modern, 1965)

Barbara George “If You Think” (Sue, 1962)

The Accents “New Girl” (M-Pac!, 1964)

Robert, Ron & Eddie “Love Potion #9” (UniSFERE, 1968)

Sister & Brothers “Yeah, You Right” (Uni, 1969)

Marie “Queenie” Lyons “See And Don’t See” (De Luxe, 1970)

Bettye Swann “Don’t Take My Mind” (Money, 1967)

Irma Thomas “Cheater Man” (Chess, 1967)

Linda Jones “I Can’t Stop Loving My Baby” (Loma, 1967)

Lee Dorsey “Behind The 8 Ball” (Fury, 1962)

Cash Mc Call “You Ain’t Too Cool” (Thomas, 1966)

Willie Mitchell “That Driving Beat” (Hi, 1966)

Otis Spann “Walking” (Blue Horizon, 1969)

The Interpretations “Snap-Out” (Bell, 1969)

Phil Upchurch Combo “You Can’t Sit Down” (Boyd, 1961)

Johnny Rivers “Seventh Son” (Imperial, 1965)

Ruth Brown “Mama (He Treats Your Daughter Mean)” (Phillips, 1962)

Willie Mabon “Too Hot To Handle” (USA, 1963)

Andre Williams “Cadillac Jack” (Chess, 1968)

Donoman and the Lakettes “Here Comes The Fool” (Thunderbird, 1960)

FYI

Betty Wright “Girls Can’t Do What The Guys Do” (Alston, 1968)

(Click title to download)

For today’s record and this creeping winter I thought we’d head a little south and check out some of the FL based Alston label’s offerings in the shape of Betty Wright’s 1968 debut for Alston.   This single was one of if not the first in Alston’s distribution deal with Atlantic records and (rightfully) put Betty in the public’s eye a few years before her gigantic hit “Clean Up Woman.”

Co-written by man-of-a-thousand-wrestling-masks Clarence Reid (who later morphed into Blowfly) the song is nothing short of blunt trauma, opening with the beyonce sampled horns, you can actually feel the let down and sadness in the song from the outset.  Wright’s voice, which has extreme weight despite actually missing that deep guttural quality that so often female vocalists draw on for strength and power, leaves you gasping for air as she delivers her plaintive plea for women to not lose their self respect by emulating the men they so love.

The verses being delivered in an almost spoken fashion with sparing back ups and an absolutely sublime (and understated) electric piano make the build up to the soaring chorus that much more climactic, almost on the border of panic.

Betty’s work is pretty well known but it’s worth mentioning that though I’m featuring the A side here the flip to this record is actually quite a serious piece of work too “Sweet Loving Daddy” brimming with Stax styled horn driven hard soul showcases Betty commanding the microphone is a totally different and equally convincing style comparable to the work of Etta James.  Probably just a reflection of where I blog from; I spin ‘Sweet Loving Daddy’ regularly, but sitting in a cardigan and drinking tea maybe tilts the scales toward the deep soul side this time around.

Get to clicking and enjoy some sweet Florida soul!

The Magic Tones “Lets Let Our Love Roll On” (Mah’s Records, 1968)

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Nothing to help brighten a pretty dark New England Fall day than a little bit of mid-tempo upbeat Detroit soul.  Today’s cold rain and monochrome grey sky is no challenge for this shimmering bit of beauty brought to us by the Magic Tones.

Released in 1968 on Mike Hank’s label Mah’s Records this 45 was well received and got some decent distribution through Ric Tic before they folded up their operation in the buyout with Motown.  The Magic Tones were actually the reason that Hank re-started the Mah’s label which was active mostly in the early part of the decade in a string of labels that Hanks operated/produced/wrote for included but not limited to D-Town, Wheelsville, Wheel City and an association with a number of other small Detroit labels (including Soul, before it was bought by Motown).

The Magic Tones had been working with Hank as session musicians doing back up vocals and evidently had his faith to revive the Mah’s label to release the hit “Together, We Shall Overcome.”  A massive hit that was recorded days before Dr. Martin Luther King was assassinated and rushed to press selling over 100,000 copies in a short couple of weeks.   It was on the success of that release that two more Magic Tones 45s, including the beautiful piece of music you’re hearing today, were released.

Shortly after this record, with the distribution deal with Ric Tic over, The Magic Tones moved over to Westbound where they made some records with Calvin “Doc” Stephenson later leaving to become a member of The Undisputed Truth.

For all you beat diggers, this track starts with a totally open break with, unusually, a very clean acoustic guitar accompaniment.  It also is worth noting it’s quite clear that Hanks had 10 years in the studio behind him because this song is IMPECCABLY produced.  An acoustic guitar lead with a horn section?  You got it!  Super crisp drums with a little percussion sprinkle?  No problemo.  How about three back up singers behind that lead?  Easy!  It’s the type of stuff that gets overlooked but for me it really separates this record from a lot of others in my collection.

Hope you enjoy! 

The Meditations “Rebounce” (Bullwackie’s, 1982 - Re/Issued 2002)

(Click title to download)

This track can be found in “Singles Mixer Vol. 1”

A pretty depressing couple of events last week with the passing of two luminaries Fred Shuttlesworth and the passing of Sylvia Robinson along with endless videos of police brutality surfacing every ten minutes calls for a deep moment of silence and reflection and then the necessary re-bounce brought to you today by The Meditations.

The Meditations “Rebounce” appears on this Basic Channel re-issue of the 1982 “I Love Jah” sessions recorded in the states at Llyod “Bullwackie” Barnes’ studio / record label / storefront after he too moved from Jamaica and set up shop in the Boogie Down Bronx.

Before moving to the states The Meditations were a very able set of voices that were used in sessions with all the major figures of Reggae from Rasta-fied Roots to Dub with The Congos, Lee Perry and Bob Marley all calling on their unique talents live and in the studio.

The Meditations made any number of deep contributions and continue to play today (with a modified line up) but it’s thier line “open your heart and let me come right in there” that are carrying their weight today.

RIP Fred Shuttlesworth 1922-2011

A true visionary and personal inspiration.

http://www.npr.org/2011/10/05/141083711/rev-fred-shuttlesworth-civil-rights-pioneer-dies

http://en.wikipedia.org/wiki/Fred_Shuttlesworth

El Chicano “I’m A Good Woman” (Revolucion LP, Kapp Records, 1971)

(Click title to download)

This track can be found in “Singles Mixer Vol. 1”

Afternoon to all my internet friends on this grey and damp Sunday.  Before I embark fully on an afternoon of football I just had to drop this jam on the world, hearing it two days ago for the first time I nearly puked with excitement and didn’t want to deprive anyone else of the same feeling.

Anyone who knows me probably knows two things; I love cover songs and I love Barbara Lynn.  So you can imagine my excitement when I picked up this El Chicano record the other day.  I’d been looking for a 45 of “Don’t Put Me Down (If I’m Brown)” forever to no avail and the price was right so I figured I’d check the full length to see what else was on offer.  My dang jaw dropped as the opening hit and I immediately recognized the opening to one of my favorite and one of the most hard hitting soul cuts ever Barbara Lynn’s “I’m A Good Woman.”

I won’t say it’s better but hot potatoes does El Chicano do right by this tune.  Lending it their signature funky LA, Hammond driven “our own thing” groove, the song remains poignant and deep while trading the suggested shuffle of Lynn’s version for a latin tinged percussion driven anthem with Ersi Arvizu handling the mic duties admirably and the backbone of the group Bobby Espinoza absolutely killing the organ.

If you’re not familiar with the OG, ‘highly recommended’ would be an understatement and El Chicano are, kind of like War (both in time, place and style), a great group that straddles styles but put out consistently good, interesting records, especially if you’re not predisposed to Latin music in general they’re a good jump off.

Kickoff looms so I bid you adieu.  Enjoy.

O.V. Wright “Working Your Game” (Back Beat, 1968)

(Click title to download)

This track can be found in “Singles Mixer Vol. 1”

Early Fall greetings from Western Mass.  Getting psyched up for ‘layering weather’ and pumpkins emerging from every nook and cranny and speaking of nooks and crannies, the record on tap for today is something special.  Nooks and crannies, cracks and crevices, pauses and spaces are all put to the test and none go unused with this absolutely slinky, syncopated second line stomper.

Courtesy of the talents of OV Wright, a Tennessee native who cut his teeth on the gospel scene, spending time as a member- as many did with their revolving cast- of the reputable Highway QC’s and the Sunset Travelers and releasing ‘solo’ recordings - really just The Travelers with OV on lead- on Peacock.  It was from his gospel connections with the Sunset Travelers who released records on Duke (and parent company Peacock) that he was introduced to their soul subsidiary Back Beat though not without some drama.  While trying his hand at secular music Wright struck mini-gold with his single “That’s How Strong My Love Is” both as a recording of his own on Goldwax and as a cover by the estimable Otis Redding.  As the song catapulted into the limelight, Peacock took notice and let it be known Wright was still under contract to the Texas label.  So the art work on the label changed but OV’s ability to write amazing records persisted.  He produced a sizable body of work with them (and a couple records for ABC who bought out Back Beat in the mid 70s) before Moving over to Willie Mitchell’s hallowed halls of Hi Records.  All records of quality and of pretty wide breadth. 

The record in question today is quite a barnstormer and a bit of a curiosity in many ways.  Wright’s greatest successes often came from slow, deep, burning tracks that fit perfectly in the matrix of gospel bred deep Tennessee soul and accordingly it spoke to the talents of Willie Mitchell who, having a long history with OV, produced many of his records .  That’s not to say Wright didn’t knock out a dance number or two (Monkey Dog and I Don’t Want To Sit Down to name a couple) but this record defies those odds.  Replete with second line syncopated drumming that sounds strikingly like New Orleans legend James Black, barrelhouse piano and a slithery guitar working non-stop in the back ground.  Feels more like an Eddie Bo production than a Willie Mitchell! 

OV gets totally in the pocket trading vocal duties with his female counter parts keeping the song rolling and rocking, though not departing from his frequently visiting subject of love unfulfilled, though in this case a thinly veiled desire for something deeper than ‘huggin and kissing’ for all of his expenses paid from taking her out to the night clubs.  The biggest problem with this song is it’s a paltry 2:04 and could go on for 20 more, made even more frustrating by the fact that it gets faded out!

Anyhow, the sun is setting and Friday night is knocking on my door.  Enjoy the OV Wright and stay healthy.

Oscar Toney Jr. “Turn On Your Love Light” (Bell, 1967)

(Click title to download)

This track can be found in “Singles Mixer Vol. 1”

With a rainy Friday night upon us it seems fitting to take Bobby ‘Blue’ Bland’s advice and ‘turn on the love light’, this particular interpretation of the Rock and Roll Hall of Fame song “…that changed rock and roll” brought to us by the talented Mr. Oscar Toney Jr.

Toney has the familiar path of coming from Georgia with a background in gospel music, making a few of the right acquaintances and getting some of his early material released on the Cincinnati, OH King label.  While sharing associations, respect and band members with Wayne Cochran (using his backing band), Otis Redding (A letter from Otis is featured prominently on the back of Toney’s first LP), Bobby and James Purify (Toney was a fill in when one of them members was unavailable for a live show), Toney stands on his own (as do all of those artists.) 

It was very easy to look around and find a lot of folks stretching into territory that didn’t fit their skill set or impulses, either opportunistically (‘lets do a ‘dance’ song’ when you’re a true deep soul group) or at the pressures of your producer (Sam and Dave famously disliked the way records were written for them, saying they forced sam to sing in a higher register than he was comfortable making them sound more raw), yet Toney always feels right in place, right in time.  Never stressed, never rushed or out of place and it shows in his ability to get deeply into this performance.

Often cover songs like this just act as forgettable filler to help create album’s worth of material to support a big single but this record definitely has feet.  Recorded with legendary producer Papa Don at Chip Moman’s American Sound Studio, Toney had some great partners working with him in the studio and it shows in this rousing  performance of an already established R&B classic. 

Hope you enjoy!

The Soul-Mates “I Want A Boyfriend (Girlfriend)” (Era, 1963)

(Click title to download)

This track can be found in “Singles Mixer Vol. 1”

Today’s serving of brain melting soul comes courtesy of the talents of Brenda Holloway and Robert Jackson who got together for this solitary single as The Soul-Mates on the Era label in the year that introduced Tab soda and killed our 35th president John F. Kennedy, 1963.

A real deep, heated scorcher, you can feel the sweat soaked shirt sticking to your back from the second the arpeggiated guitar starts the track and you’re lucky if you’re still wearing it by the time Brenda starts the second verse.  An intense two minutes, the song is basically one absolutely killer hook that trades gender perspective and a sweet, pleading refrain for a sweet boy or girl to make their dreams come true. 

Brenda Holloway is a known in this case, producing a decent sized stack of memorable records on Motown (including the absolutely brutal/beautiful “Every Little Bit Hurts” which served as her break-out record).  Prior to coming to the Detroit label she had, obvious from the record, a back ground in gospel, (not so obvious) a classically trained background in the violin, and a lengthy track record of backing bands coming through the area with her girl group Four J’s who cut the EXCELLENT and only record “Will You Be My Love” in 1964 before heading to Motown and remarkably, to open for the Beatles at Shea Stadium in 1965.  Brenda’s move to Motown should come as no surprise, Hal Davis, co-writer on this track was later named head of Mowest, Motown’s west coast offices.

Robert Jackson is a wild card here, anyone got anything other than the unverified internet rumor that he’s Gloria Jones’ brother and that he is the co-writer of this track ?  Either way, the pair have great chemistry and it’s unfortunate they only did two sides together.  The upside is Brenda has a sizable body of work to enjoy even if we must sit and wonder if Robert ever found a girl to hold him tight, every night.

Would be a killer mix-tape track if people still made those anymore.