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 Superlatives “We’re So Lonely” (Uptite, 1966)

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

Today’s record that’s had me flipping my wig for about a year is a barn storming Jersey City vocal group The Superlatives and their B side “We’re So Lonely.” 

I swear I’m not looking for obscurity points here by posting the flip to “I Still Love You” which was at the time a big regional hit and has since endured (primarily in the Northern Soul scene) and been one of the main reasons people still remember this group, if they do at all.  While both are upbeat tracks, the second side in question here stood out to my ears as the show stopper whereas the first side, while a great track, felt like a less intense version of “We’re So Lonely.”

Co-written by Jersey City man about town Paul Kyser who would work with a variety of other groups in a variety of capacities (Soul Generation, Kool and The Gang, Rhyze, etc) and produced by Industry vet Hal Wess at the Cameo-Parkway studios, this record was in the middle of a storm of east coast talent.  This Superlatives group is not to be confused with the Detroit Superlatives who made some great records (in particular 1968’s “I Don’t Know How (To Say I Love You).”

Not for the weak of heart or the heavy of foot, this record has mania inducing, dance demanding music spill forth from beginning to end.  I hope you enjoy it as much as I do.

“Musical Episode: Get Yourself Together”

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Evening Everyone.

Psyched to be putting up my first hour long mix since I accidentally stopped posting them a year or so ago.

The frustrating part of writing about these records is I want to give each one a lot of attention and dig into the record a little more than just listing the song title, artist and label but when I’m putting twenty of them together in succession like this mix it’d be a friggin book if i wanted to dedicate even three paragraphs to the histories of and my feelings about the records.

The mix opens up with a totally killer record by “the 14 year old sensation” Little Carl Carlton.  Yes, the Bad Mama Jama Carl Carlton!  He has some absolutely essential 45s on the Back Beat label from this era.  Label art on this track is particularly awesome, reads that it plays at 46rpm.  The second track is by The Amazers and their knockout track “Without A Warning.”  Rowdy Chicago soul, worked with Curtis Mayfield (he wrote/produced the flip side).  Released on the Thomas label in 1967.  Up next is the super sweet Darrell Banks track “Open The Door To Your Heart.”  He had the sweetest voice and the record performed accordingly selling a million copies.  He moved on to make a couple records for Stax, none of which made much noise before hit untimely death in 1970.  “I Can’t Stop” by The Notations follows.  Released in 1970 on the Twinight label this is actually the B side to their “I’m Still Here.”  I was lucky enough to see these guys perform on the Numero Soul Revue a couple years back, they were amazing performers and super nice guys.  (They signed this copy!)  Sticking with the Chicago theme, The Accents cut it up with their track “New Girl.”  I love this song for a million reasons but the way this group works together and seamlessly includes doo-wop/vocal styling with an upbeat soul backing always impresses me.  The O’Jays “Whip It On Me” switches things up a little with a latin-tinged hip shaker that I never hear people get psyched on, but I really like all the early (and later!) O’Jays stuff. 

Ray Johnson’s instrumental generically titled “Soul City” is next but it’s a real foot shuffler and butt wiggler and definitely a stand out.  Betty Lavette (before the spelling changes) drops a serious piece of soul with her Calla single “I Feel Good (All Over).”  As always she brings heat and serious strength to the microphone.  Heading back to Chicago, The Five Stairsteps bring their (kind of ominous) track “Change of Pace.”  With heavy stomping in the mix it’s an upbeat number but the song carries a heaviness in it that I find kind of striking, the horns are really heavy and even the vibraphone feels kind of scary.  A nice switch up for the sweetness (or, alternately, sadness) that is often associated with Chicago.  Toussaint McCall’s instrumental monster “Shimmy” is next on the decks, (Apologies, this is my scratchy copy, before i traded up.  Just imagine you’re sitting by the fire while listening to this one!)  A super minimal track, Toussaint totally kills it on the Hammond with only a drummer to accompany him.  Awesome record.  Sticking with the organ-driven jams, The Emperors “Karate” takes the stage giving you a chance to work out your unused martial arts dance moves.  Barbara Lynn’s “You’re Gonna Be Sorry” maintains the pace but trades the organ in for a piano and Barbara’s minimalist guitar playing keeping the track in hot shuffle. 

Juggy’s “Buttered Popcorn” is only one of two tracks from 1970 and with it’s vamping horns definitely is the closest to “funk” that’s in this mix though it still feels closer to the r&B of the early Bar-Kays to me.  Bob and Earl a favorite type of record of mine, where instead of trying to create a dance, they just talk about a lot of different type of dances you can do, I can imagine this song could fill an entire set, stretching it out to give each dance a couple minutes. 

Now that I haven’t mentioned Chicago in three sentences, lets get back to business.  “Michael” by the C.O.D.s was a massive regional hit and you can hear why, it’s bubbling, upbeat and absolutely infectious!  I remember reading about this song and was psyched to learn a little about it and when they interviewed on of the band members they were like “yeah, it was about this guy in our neighborhood, Micheal.  Man, he got ALL the girls.”  So good.  Another dance record.  Another chicago record… “Do the 45” by The Sharpees released on the awesome One-Der-Ful label is a great track that sounds like it’s recorded with one mic and as a result a pretty unusual mix.  It also sounds like someone had been listening to some Jr. Walker just before hitting the record button, not a bad thing in my book.  Chuck Wood’s “Seven Days Is Too Long” gets us back into sentimentality.  My copy is a UK pressing (no doubt a result of this being a Northern Soul anthem) though stateside it was released on the Roulette label.  A perfect combination of danceable and beautiful, this song is a real heavy hitter.  The Flamingos (Yes, the doo-wop Flamingos!) drop a come-back, genre shifting scorcher with “Boogaloo Party” (I wonder if the Boogaloo Party took place in Soul City?)  Sugar Pie DeSanto’s “Soulful Dress” is one of the few songs that makes me mime wearing a dress while I’m dancing to it.  This was her biggest hit with Chess though most of her records on there are all bona-fide winners.  In particular her collab with partner in crime Etta James “In The Basement.” 

Up next is Shorty Long with his “Sing What You Wanna.”  Most well known for his funny and funky “Here Comes Da Judge” it’s easy to think he can’t put together a tune, especially not one of this caliber but here you have it, replete with all the motown fixins it’s a worthy slab of clean emotive soul music.  Jumping back to the beginning of the decade to experience an early Aaron Neville single.  Coming from the slightly murky waters of the murder ballad I always feel a little uneasy when I spin this record and people are dancing to a song that threatens to kill their lover if they leave them.  Neville is in top form, delivering an extremely menacing and convincing track while never losing a touch of his angelic falsetto.  Lightening the mood Wendy Rene waxes about the joys of her favorite food BBQ (isn’t it everyone’s favorite, I’m a vegan and I love the stuff).  Mid 60s Stax, literally untouchable.  To be fair I had to get one harmonica in there somewhere (and didn’t want to turn to Stevie) so Slim Harpo drops his rolling rumbling R&B shoulder shaker “Baby, Scratch My Back.”  Closing out the night the inimitable Eddie Holland (from Holland-Dozier-Holland fame) graces us with his scolding of the bad behavior of men “Leaving Here.”  A great number, it would probably serve some fellas to listen close.

Hope you enjoy the mix!

Tracklist:

Little Carl Carlton: 46 Drums and 1 Guitar (Back Beat, 1968)

The Amazers : Without A Warning (Thomas, 1967)

Darrell Banks : Open The Door To Your Heart (Revilot, 1966)

The Notations : I Can’t Stop (Twinight, 1970)

The Accents : New Girl (M-Pac, 1963)

The O’Jays : Whip It On Me (Imperial, 1965)

Ray Johnson : Soul City (Infinity, 1963)

Betty Lavette : I Feel Good (All Over) (Calla, 1965)

The Five Stairsteps : Change of Pace (Windy C, 1967)

Toussaint McCall : Shimmy (Ronn, 1967) (sorry, this is my scratchy copy!)

The Emperors : Karate (Mala, 1966)

Barbara Lynn : You’re Gonna Be Sorry (Jamie, 1965)

Juggy : Hot Popcorn (Sue, 1970)

Bob & Earl : Dancing Everywhere (Mirwood, 1966)

The C.O.D’s : Michael (Kellmack, 1965)

The Sharpees : Do The 45 (One-Der-Ful, 1965)

Chuck Wood : Seven Days Is Too Long (Mojo, 1967)

The Flamingos : Boogaloo Party (Phillips, 1966)

Sugar Pie DeSanto : Soulful Dress (Checker, 1964)

Shorty Long : Sing What You Wanna (Soul,1969)

Aaron Neville : Over You (Imperial, 1960)

Wendy Rene : B-B-Q (Stax, 1964)

Slim Harpo : Baby, Scratch My Back (Excello, 1966)

Eddie Holland : Leaving Here (Motown, 1963)

Marv Johnson “I’ll Pick A Rose For My Rose” 45 Gordy, 1968

This song is definitely not for the weak willed, recently single or overly sensitive romantic types.  I can say because in my coldest, darkest, most cynical moment hearing this song will shatter the illusion that I am a man of any spartan cut; my ability to remain stoic and logical in the face of Marv’s recorded longing simply does not exist.

Marv Johnson, for those uninitiated in his work, was a solid member of the Motown family, having the first single on Anna released under his name though it was picked up by United Artists (don’t be fooled like I was for so long, just because the label is really ugly - in the bad way- it doesn’t mean his sides aren’t worth your time!) for national distribution. 

Side note, Gordy was probably pretty lucky that happened, there are too many stories of tiny labels releasing absolutely stellar records that have massive national demand which the label meets, paying and paying and paying for a million and a half singles only to see the middle men, stores and distributors slow (if ever) to pay effectively bankrupting a group of people who just displayed musical, if not business, brilliance. 

Side-Side Note, lucky they didn’t get hooked into some eventual shit storm distribution deal like Stax-Atlantic allowing Gordy, ever the astute businessman, to retain rights to his artists and work.

Back to this absolutely gorgeous 7inches of circular acrylic.  Cut in 1968 it wasn’t the smash it should have been (who the shit didn’t have something to be totally depressed about or long for in 1968, I mean, really?!) in America but, as is often the case with soft soul dancers like this, it caught on in a big way in the UK the following year.

Marv’s career with Motown continued into the 70s primarily as a song writer but this record, for me, marks the peak of his recording though you’re not going to feel disappointed if you pick up any of the records you come across.

Download here

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

The Intruders “All The Time” 45 (1966 Excel)

Weather appropriate track for everyone on the Eastern Seaboard enduring the lashing or licking that Hurricane Irene has been dropping on us over the past couple days. 

This is an early production/release by the soon to be massively famous team of Gamble and Huff on Excel Records which was their stepping stone into Gamble Records, then on into the Philadelphia International umbrella.  The Intruders were constant companions of the Gamble and Huff team who, relative to what they were able to do with some artists and ‘The Philadelphia Sound’, never really broke out the way they should have with the big blip that carried them being the classic “Cowboys to Cowgirls.”

This record is (along with being weather relevant) a really great uptempo dancer that is carried by an awesome performance by Sam ‘Little Sonny’ Brown who manages to give the otherwise bubbly song a touch of emotion to accompany “the birds may sing, but they don’t sing sweet all of the time” tone of the song.

Clearly an early Gamble and Huff work it lacks any of the touches that became their trademark instead following a driving Detroit sound and adding in some of the doo-wop like back ups this track is definitely an interesting stepping stone in the musical path that Gamble and Huff blazed.  They’re super interesting dudes if you ever get the chance to read up on them.

Download here

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

Here’s Jackie Lee’s 45 on the Mirwood label “Oh, My Darlin’” an extremely clean and beautiful track.  Does an excellent job of balancing some overblown production (strings, backup vocals) and a driving beat to land perfectly in the center and letting the song rely on the strengths of Lee’s voice carry the song.

Download the 45 here.

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