Ted Hawkins: Grizzled busker Ted Hawkins was a mainstay at Venice Beach, California along with his ever-present guitar and milk crate for a stool. Enchanting both locals and vacationers with wonderful renditions of Sam Cooke, Brook Benton, and Curtis Mayfield songs, the attentive also heard sensitive compositions that reflected the man’s inner soul. That weathered, yet uplifting voice, stopped listeners dead in their tracks.
Although Hawkins was “discovered” by Bruce Bromberg of Hitone Records, it would take another 20 years before he went “legit” and discontinued sidewalk serenading. Those decades as a soul-drenched Folk artist singing on boardwalks added a “one-of-a-kind” dimension to your typical singer/songwriter profile.
“Songs from Venice Beach” from 1986 served as his introduction, but “The Next Hundred Years”, released in 1994” put him firmly on a wider audience map.
Hawkin’s life is proof that timeless music is often the product of the most dire circumstances, given he surmounted grinding poverty, jail, maternal abandonment, and years of aimlessly drifting across the United States.
Thankfully, before he passed on New Year’s Day 1995, Hawkins experienced the joys of success, performing in clubs like the Bottom Line and CBGB’s in New York, The Fillmore in San Francisco, and overseas, in places like Dublin, Amsterdam, and Hamburg. Ted Hawkins made our lives much richer.
Chuck Willis: Marketed as the “King Of The Stroll” prior to his passing at age 30, “Betty & Dupree” and “C.C. Rider” merely hinted at his depth. Atlanta-born Chuck Willis’ was an illustrious member of the silky voiced brigade of R&B balladeers, including Sam Cooke, Jesse Belvin, Johnny Ace, and Clyde McPhatter. While little high drama occurred in Chuck’s personal life, his music was another story completely.
Chuck Willis first recorded for Okeh, before switching over to Atlantic in 1956, and experiencing a revival with “Hang Up My Rock & Roll Shoes” and “What Am I Living For”. Guaranteeing Chuck’s legacy are such emotionally-wrenching gems like “I Feel So Bad”, “Don’t Deceive Me”, “Going To The River”, “Salty Tears”, “My Story”, and “Two Spoons Of Tears”. Their lyrical integrity verges on the poetic, while their enchanting melodies have stood the test of time.
A restrained performer, his only concession to showbiz was a turban worn at the suggestion of friend Screamin’ Jay Hawkins.
Willis also wrote original material for other acts. “Close Your Eyes” was huge for the Five Keys, while “Sugar” became a favorite for the Cadillacs. “What A Dream” was an R&B hit for Ruth Brown; while a cover by Patti Page made waves on the pop charts.
His songs have been covered by legends like Little Milton, Otis Redding, Buddy Holly, The Band, and Elvis Presley (“I Feel So Bad”). Chuck Willis lived to make others happy---or sad---through his music. Ruth Brown described it best: “He sang his life.”
Lightnin’ Slim: Lightnin’ Slim (born Otis Hicks in 1913) was a 50’s swamp Blues kingpin. His releases were shaped within a cubby-hole sized recording studio in Crowley, Louisiana, under the auspices of legendary producer J.D. Miller.
Distributed on the Nashville-based Excello label, Lightnin’ Slim’s sides were an important factor behind the imprint’s success. Prior to his recording success, Slim had honed his craft as a seasoned veteran of the backwater speakeasies and juke joints that dotted the Louisiana hinterland.
Relying on sparse arrangements and primitive rhythms, his vocals were stark, unadorned, and expressive. Accompaniment was confined to rudimentary guitar---and perhaps a drummer and harmonica.
Slim scored one of Excello’s first R&B chart hits with “Rooster Blues” in 1959. His growling, down-home, brooding delivery was often devoted to re-shaping material from other artists----especially Robert Johnson and Muddy Waters.
Although his performances were simple, they were eminently listenable, and some early sides also included Slim Harpo on harmonica. Most others relied on his highly productive partnership with Lazy Lester
Lightnin’ Slim had a knack for writing some of the quirkiest lyrics in Blues history. On “G.I. Slim”, for example, he bragged about how “I’ve shot dope with the King”; while on “It’s Mighty Crazy” he spins a weird tale about masturbation. It’s no wonder Lightnin’ Slim was considered a country Blues raconteur of the first order!
Richard Berry: He’ll always be remembered primarily known for “Louie Louie”, but Richard Berry was also a leading protagonist on the Southern California R&B/Doo-Wop scenes of the 50’s and early 60’s. His contemporaries included Cornel Gunter, Arthur Lee Maye, Jessie Belvin, and Young Jessie.
Berry sang with a profusion of groups: Flairs (“I Had A Love”), Crowns (“Set My Heart Free”), Rams (“Rock Bottom”), Robins (Riot In Cell Block #9), Dreamers (“At Last”), and Pharoahs (“Have Love Will Travel”), and recorded on labels like Modern, Flair, and Flip.
Berry’s stylistic influence on Barry White was profound. Check that deep-voiced male response voice on Etta James’ “Roll With Me Henry”. It emanated from Richard. Interestingly, Berry recorded “At Last in 1954”, ten years before Etta’s definitive version.
Louis Prima & Sam Butera would record Berry’s “There’ll Be No Next Time”, while Big Sandy & His Fly-Rite Boys would reprise “Yama Yama Pretty Mama” 50 years later.
“Louie Louie” was originally released in 1957, and experienced modest success around L.A., before assuming a life of its own. Covered by countless Northwest bar and garage bands, it exploded internationally with 1963’s version by Seattle’s Kingsmen.
The influence of the song would become so pervasive that it became the subject of numerous articles and even an entire book. Over a thousand versions would be recorded, but it took nearly 30 years (and many lawsuits) before Berry began to reap his deserved financial dividends. Richard Berry passed away in 1997 at age 61.
Pee Wee Crayton: Connie “Pee Wee” Crayton established a solid profile on the 50’s California Blues scene, alongside contemporaries T-Bone Walker, Johnny “Guitar” Watson, Lowell Fulson, Phillip Walker, and other legendary guitarists.
Crayton’s work reflected a typically sophisticated and fluid guitar approach, while his relaxed and friendly vocals was suggestive of such smooth practitioners like Nat King Cole and Charles Brown.
Pee Wee took up guitar seriously at 30 years of age, after witnessing T-Bone Walker playing a 1944 Oakland gig. Sideman duties with Ivory Joe Hunter followed, but Crayton’s career hit its stride after signing with Modern, and he continued doing excellent work with sides on Aladdin and Imperial Records. Some of his classics include “You Know Yeah”, “Wine-O”, “Do Unto Others”, “Every Dog Has His Day”, ”Texas Hop”, “Rosa Lee”, “Blues After Hours”, and “Runnin’ Wild”.
T-Bone enthusiasts desirous of hearing a different groove happening can’t do much better than by tuning into Crayton whose influence on the emerging 60’s West Coast Jump Blues scene was profound. Everyone from Rod Piazza, Hollywood Fats, Junior Watson, Kid Ramos, William Clarke, and Rick Holmstrom absorbed his lessons.
After a 1960’s career lull, Crayton made a superb “comeback” album in 1973 with “The Things I Used To Do”, demonstrating his innate ability to adopt others’ songs and turn them into his own. Pee Wee Crayton was short in stature, but huge in talent.
Robert Ward: Prior to his return to prominence prompted by several acclaimed releases on Black Top, Robert Ward was known only to keepers of the flame. Connoisseurs were familiar with Ward as the guitarist for the Ohio Untouchables, a group he formed in 1960 after leaving his Georgia birthplace and relocating in Cleveland. They backed up the Falcons featuring Wilson Picket on 1962’s “I Found A Love”.
After leaving the Untouchables (a later incarnation the Ohio Players would explode with “Fire” and “Love Rollercoaster”), Ward recorded a few solo records, including “Fear No Evil”, but he was primarily concentrating on Motown studio guitar duties, backing acts like the Temptations and Undisputed Truth.
Ward’s highly distinctive style incorporates a dazzling vibrato-soaked tone, and the Black Top releases gave notice that those signature guitar chops were fully intact. Of equal delight, Ward’s warm soulful vocals were shaded by a Gospel feel. His Black Top debut “Fear No Evil wasn’t a one-off: It was followed by celebrated releases like “Rhythm Of The People”, “Black Bottom”, and “New Role Soul”.
Ward’s facility for assimilating many diverse styles into a convincing whole was truly satisfying to those searching for Blues that reached beyond the traditional 12-bar format. Now living in semi-retirement in Dry Branch, GA, Ward’s music continues to cast its mystical spell---wherever and whenever it’s heard.
The Chords: The song that ushered in the Rock ‘n’ Roll era is open for debate, but a strong case can be made for the explosive energy unleashed by “Sh-Boom”, powered by the Chords’ lead vocalist Carl Feaster. Unprecedented in its across-the-board appeal, this instant monster hit from 1954 marked the first time an R&B tune had charted National Top 10 (reaching #5).
“Sh-Boom” generated numerous covers (Crew Cuts, Billy Williams, Leon McAuliffe). R&Bers grabbed a piece of the brouhaha too, by issuing a succession of wild-eyed titles, like “Boom Magazeno Vip Vay” (Cashmeres), “Ko Ko Mo” (Gene & Eunice), and “Chop Chop Boom” (Danderliers).
“Sh-Boom” was on the lips of everyone back in ‘54. Either they were humming along, or waxing indignant. Satirist Stan Freberg did a merciless take-off called “Sha-Boom”. Stanley pesters the singers in acerbic fashion, demanding: “Just forget the lyrics, and start garbling the words.”
But according to group member Jimmy Keyes, the controversy was completely contrived. Sh-Boom wasn’t designed to shock. Its title and impromptu ravings were merely intended to simulate that blasting sound associated with an atomic device.
Success proved very short-lived for the Chords, or rather the soon-to-be-renamed Chordcats/Sh-Booms. You see, by 1954 year end, another Chords outfit shrouded in anonymity won a lawsuit over naming rights. Stripped of this crucial asset, and beset by poor management, the Chords of ephemeral fame plunged precipitously into instant obscurity.
Their final release, issued in 1960, was called “Short Skirts”. It attracted as much hullabaloo as the sight of a woman’s ankle.
Jerry Murad’s Harmonicats: Jerry Murad’s Harmonicats made history with 1947’s “Peg O’ My Heart”, the first massively popular harmonica-based recording. This “old-timey” 1913 standard took the music world by storm, selling 1.4 million copies, and generating an incredible 17 copycat versions. It wasn’t a fluke: The trio would sustain their popularity into the 1980’s.
The Harmonicats gave respectability to a once belittled instrument by showcasing the panorama of ear-pleasing sounds derived from the mouth organ. Murad devised a set-up akin to a harmonica orchestra: a revolutionary configuration featuring a lead chromatic (Jerry); bass harmonica (Don Les); and the Hohner, a 2-foot long chording harmonica (Al Fiore) used to carry out functions similar to a rhythm guitar.
Murad also understood the recording studio’s potential for upgrading matters through incorporation of an echo chamber sound effect. It lent everything a totally new dimension, and the public responded with unbridled appreciation.
In 1925, 6-year old Turkish immigrant Jerry Muradian saw the harmonica as his path for success and fame. By the 1940’s, he was playing with Borah Minnevitch’s Harmonica Rascals (featuring Johnny Puleo). In 1944, Murad formed his own group.
Their big break was landing a permanent gig in 1946 at Chicago’s Club Vodvil; within a year, “Peg O’ My Heart” expanded the Harmonicats’ fame to international proportions.
The Harmonicats enduring repertoire work is featured on their best-selling 1961 album titled, “Greatest Hits: Cherry Pink And Apple Blossom White”. Its 22 tracks may sound like a throwback to the past, but they’ll definitely ease the stress of modern life.
The Blues Jays (featuring Leon Peels): Blue Jays was a common group brand, but its Ventura, California branch featuring Leon Peels left the everlasting memories. All their superb releases were compressed within a brief 18-month period during 1961-62, including “Lover’s Island”: a gorgeous Top 30 summery ballad that could pacify a lion.
The Blue Jays never toured beyond southern California. Leon and cohorts wisely held on to their day jobs.
But the 45’s that followed in the wake of “Lovers Island” are endurably listenable, thanks to their prevailing mood of serenity, spirituality, and longing. While the Blue Jays catalogue may be limited, Peels’ delicate phrasings ensure that nuggets like “Venus My Love”, “The Right To Love”, “Darlene”, “Write Me A Letter”, “A Casual Kiss”, and “You’re Gonna Cry” remain intrinsically fascinating.
This explains the determination of The Southern California Doo-Wop Society (formed in 1988) to locate Leon Peels and lure him out of 25 years of seclusion. Ensuing performances sponsored by this society would re-acquaint audiences with Mr. Peels’ vocal charisma.
There would be a quality 1990 comeback recording “Once Upon A Time”, and while sporting a different Blue Jays cast, the magic remained intact. Leon Peels passed away in 1997 at age 62.
For those craving the adrenalin rush that accompanies discovering hidden musical treasures lost in the mists of time there is sustenance. Seek out a comprehensive Blue Jays compilation on Relic Records, featuring two interesting tracks Peels also did with the Hi-Tensions. It will make for a perfect year-round listening companion.
Ray Sharpe: Roadhouse classic “Linda Lu” is a staple of the genre, but its creator’s identity is shrouded in near-anonymity. Fort Worth native Sharpe has the distinction of being one of the first blacks inducted into the Rockabilly Hall Of Fame, yet his only brush with national fame occurred in 1959, courtesy of “Linda Lu”.
You might detect a familiar vibe; that’s because “Linda Lu” was produced by the legendary Lee Hazlewood, known as the facilitator behind all those ultra-twangy instrumentals by Duane Eddy. With a pedigree like that, it’s no wonder “Linda Lu” sounded so cool.
Sharpe’s recording career was quite fleeting. He did score a regional hit with the stuttering “Gonna Let It Go This Time”, and interestingly, his last session in 1966 (“Help Me”) was produced by King Curtis. It featured a then-unknown guitarist by the name of Jimi Hendrix.
Others acts have recorded Ray’s material: including Neil Young, Ricky Shelton, and J.B. Hutto, while Sharpe’s entire approach had a huge impact on the Bobby Fuller Four. Friend and late Rockabilly legend Ronnie Dawson would record Sharpe’s “Monkey’s Uncle”, helping re-launch Dawson’s 1980’s comeback. Legend has it these two wild Texans once pondered forming a duo under the name Oreo Cookies (Dawson being white).
Based on this recent message board posting, it seems the madcap antics of this inimitable performer haven’t diminished with the passage of time: “Totally INSANE performance by Ray Sharpe—explosive, out of the box Texas blues action---a la Guitar Watson.”
Smiley Lewis: Along with Dave Bartholomew and Fats Domino, Smiley Lewis was a central figure in the nascent New Orleans R&B scene that played such a crucial role in the development of early R&R.
His signature tune was 1955’s “I Hear You Knockin’ (featuring Huey Smith on piano). Predictably, the lame cover (by Gale Storm) garnered the lion’s share of attention. A successful 1970 revisit by Dave Edmunds, however, remained true to its rollicking spirit.
“Tee-Nah-Nah” on Imperial from 1950 started the ball rolling, leading to 1952’s “The Bells Are Ringing” and Lewis’ first hit. Raucous sides unfolded in a steady procession, including “Blue Monday”, “Rootin’ ‘n’ Tootin’”, “Real Gone Lover”, “I Hear You Knockin’”, “Can’t Stop Loving You”, “Someday”, and “One Night (Of Sin)”. Each rocked as hard as the previous; none more so than the blistering “Shame, Shame, Shame” from 1957.
Lewis was the original purveyor of “Blue Monday” from 1954. It set a bad luck pattern, however, in terms of spotlight denial, as two years later Fats Domino’s version rocketed up the national charts. In 1958, Elvis Presley did a sanitized version of “One Night”, replacing “of sin” with “with you”.
Smiley Lewis passed away in 1965 at age 53. His bold, declamatory style was full of grit and passion. He belongs in the same rarified company as the likes of Big Joe Turner and Roy Brown
Roy Hamilton: One artist deserving of lasting stardom that wasn’t in the cards is Roy Hamilton, often referred to as The Golden Boy Of Song. Hamilton’s string of hits from 1955-1961 showcased his engaging baritone, imbued by an effervescent cocktail of Gospel and Pop. In 1955 alone, Hamilton was responsible for two smashes, as “Unchained Melody” and “You’ll Never Walk Alone” (his signature tune) sold in the millions.
Hamilton was a Soul figure of pioneering proportions, and instrumental in establishing many of the criteria necessary for crossover success. His influence on such soon-to-arrive artists as Solomon Burke, Sam Cooke, Jerry Butler, Brook Benton, and especially Jackie Wilson, cannot be overstated.
Yet, the fickle gods of fate bestowed far less recognition upon Roy than that accorded the aforementioned. His career went into a downward spiral soon after 1961’s gospel-laden rave “You Can Have Her” offered up one last moment of glory. He deserved better.
His subsequent releases maintained a high quality level, but the public’s antennae was tuning into a harder sound. And that wasn’t Roy’s forte. The following adage bears repeating: The Record Biz is merciless on those who lose momentum—for even an instant.
Other tasteful delights from Hamilton’s legacy include the contagious, Clyde McPhatter-influenced “Don’t Let Go”, “Ebb Tide” (later covered by the Righteous Brothers), “If I Loved You” (from Carousel), and the inspirational “Reach Out For Me.” When Roy Hamilton passed in 1969, he was only 40 years old.
(Little) Esther Phillips: She was dubbed Little Esther after Johnny Otis discovered her in an amateur contest. Alcohol and drug problems often sidetracked her, but that nasally yet emotionally-charged voice attracted the attention of those craving something different.
Her recording career sputtered at times, with hits hard to come by. An initial run of success was registered on Savoy Records from 1950-1951. Some titles include “Mistrustin’ Blues”, “Double Crossin’ Blues”, “Far Away Christmas” and “Deceivin’ Blues. In 1951, she left Savoy due to royalty disputes.
A decade long skid was halted after “getting clean”. Signed with Lenox Records in 1962, she adopted the stage name Esther Phillips and recorded her signature tune, the country-flavored “Release Me”. It penetrated three markets, Pop, Country, and R&B, and gave her the distinction of being the first female R&B artist to successfully incorporate Country sides into her repertoire.
Switching to Atlantic Records in the mid-sixties, she recorded eclectic material in a soulful vein. However, critical acclaim was seldom matched by commercial success. Her 1971 debut album on Kudu Records, “From A Whisper To A Scream”, finally paid off via its unflinching honesty in conveying her personal struggles with heroin addiction.
The album was so compelling Aretha Franklin acknowledged her “sister in song” as more deserving of a Grammy than herself. Phillips biggest success would be her last: a 1975 re-make of Dinah Washington’s “What A Difference A Day Makes”.
Substance abuse, meanwhile, had irreversibly weakened her liver and kidney, causing Phillips’ light to be extinguished in 1984.
The Harptones: The Harptones are the greatest vocal group to ever emerge from New York City. They’ll forever be associated with “Life Is But A Dream” (originally issued in 1955 on the Paradise label) featured in 1991’s GoodFellas movie soundtrack. It provided a level of recognition that had hitherto been denied them.
Pre-1991, their mystique was a well-kept secret; their reputation largely restricted to aficionados in the tri-state area of New York/Connecticut/New Jersey.
Their story starts in 1953 when an MGM Records representative became fascinated by their version of “A Sunday Kind Of Love” performed at the Apollo Theatre. They were ultimately signed to a local imprint, Bruce Records, a precedent that would confine their classy offerings chiefly to the Big Apple and vicinity.
1953 to 1962 was their heyday. They recorded for 12 labels, and experienced several personnel changes, without adversely affecting the quality of their output. Most sides are blessed by the astonishing lead of Willie Winfield, who without overstatement, can be compared to Clyde McPhatter.
Their pianist/arranger/composer Raoul Cita was essential in developing their unique style which incorporated jazz harmonies, lifting them far above the fray. Just listen to such tantalizing sides as “That’s The Way It Goes”, “My Memories Of You”, “Foolish Dreams”, “Oo Wee Baby”, and “On Sunday Afternoon”.
“Love Needs A Heart”, their splendid comeback album from 1982, harvested magical moments aplenty, like “My One And Only Love” and “If I Give My Heart To You”. The Harptones’ shining legacy is that their name is synonymous with vocal excellence.
Pete Drake: A giant on the pedal steel guitar, Drake backed a variety of artists too exhaustive to detail, but in Country alone, Drake played on Lynn Anderson’s “Rose Garden, Charlie Rich’s “Behind Closed Doors”, Tammy Wynette’s “Stand By Your Man”, and all of Bob Dylan’s Nashville albums. Those latter contributions gave the instrument broad legitimacy beyond the County field. Drake also played on 70’s albums by George Harrison and Ringo Starr.
A protégé of Jerry Byrd, Drake toured extensively with legends like Don Gibson, Marty Robbins, and Pearl & Carl Butler. It’s astounding, but in 1966 Drake appeared on 38 of 48 BMI award-winning recordings. And let’s not forget the five Elvis Presley movie soundtracks he played on.
Drake had a 1964 international hit with “Forever” which incorporated a mouth device that simulated a human-sounding voice. The Talking Steel Guitar may seem simple in theory, but it took Drake 5 years to perfect it.
In the early 60’s, Drake singlehandedly brought the pedal steel guitar back to prominence, at a time when Nashville had virtually banished it. Names like Jim Reeves, George Hamilton IV, Roger Miller, and Roy Drusky invariably sought out Drake---and his magic touch.
By the 70’s Drake was concentrating on production, guiding artists spanning several genres, like B.J. Thomas, Leon Russell, Otis Williams, and the Four Freshman. Inducted into The Steel Guitar Hall Of Fame in 1987, his legacy is enshrined as a perpetual benefactor to the instrument and to all steel guitarists. Pete Drake passed away in 1988.
Donnel Clyde ‘Spade’ Cooley: Spade Cooley seems forgotten. Yet, novelist James Ellroy, of L.A. Confidential fame, has woven Cooley’s extra-curricular follies--real and imagined--into several novels.
Cooley’s biggest hit, “Crazy Cause I Love You”, portended ominous events. In 1961, this American western swing pioneer was convicted of stomping his wife to death. Given a temporary pass to do a 1969 benefit, Cooley exited the stage after performing, and immediately collapsed from a fatal heart attack.
Ironically, his music was a sprightly brew of hillbilly rhythms and jazzy improvisations. The “Spade” moniker was dealt him for his poker smarts; Cooley was also a near-genius on the fiddle.
Minor roles in 1930’s cowboy flicks led to a full-career time music career. Cooley’s major breakthrough happened in 1948. Signing a 7-year lease with Santa Monica’s Ballroom, he began packing it regularly. It held 8,000!
In the late 40’s, he was Bob Wills’ main competitor, except Cooley did it with a full-scale orchestra. Dubbed the King Of Western Swing, he was a phenomenom: recording contracts, radio and TV shows, films, hits like “Detour”, “Chew Tobacco Rag”, “Shame On You”, and “Yodeling Polka”, while pulling down $10 G’s weekly.
By 1957, it was coming apart: The TV show got cancelled, while fast-evolving music trends left western swing in the dust. Pouring gas on the fire was a sour land deal; and a broken marriage. Bedeviled by fits of jealous rage stoked by relentless drinking, the man was a ticking time bomb---about to explode
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Today, the sunny side of Spade Cooley survives through acolytes like Big Sandy & His Fly-Rite Boys, the Lucky Stars, and the Bebop Cowboys.
Lillian Leach & the Mellows: Lillian Leach & the Mellows featured a female lead, a rare occurrence within 50’s R&B groups.
Leach recorded with the original Mellows on the small Jay Dee label from 1954-1955. Alluring sides like “How Sentimental Can I Be”, “Smoke From Your Cigarette”, and “I Still Care” are stellar examples of romantic ballads that hold their own with the era’s best. “Yesterday’s Memories” from 1955 is the evocative theme and title of the long-running Internet-based classic R&B show of music maven/writer/ broadcaster Marv Goldberg ( (www.uncamarvy.com).
The Mellows’ second incarnation was an outgrowth of the Chimes, a group from the famed Morrisana section of the Bronx. Morris High School that proved a valuable training ground for groups like the Chords, Cadillacs, Wrens, and Robert & Johnny. The new Mellows recorded for Celeste Records.
Although no hits accrued to them, lovers of high-quality group harmony put their repertoire in the highest regard. Superior melodies burnished by polished and mature harmonies abound. Mellows’ releases on Celeste include “I’m Yours”, “Moon Of Silver”, and “My Darling”. After one 1957 release on the Candlelight label, Lillian Leach quit performing to concentrate on raising a family.
In the last 25 years, however, Lillian Leach has managed to combine semi-retirement and occasional performances with surviving members of the Mellows. One high point was captured on “The Mellows: Live In Concert”, available at www.cdbaby.com. Close your eyes and you’ll swear the clock on the wall has been magically turned back four decades.
Harold Burrage: Effortlessly switching from R&B/Blues to Rock ‘n’ Roll to Soul, Harold Burrage never experienced much commercial success, but he attained a two-pronged legacy. There are his 1956-58 Cobra releases produced by Willie Dixon that heralded Chicago’s emerging Soul sound. His enduring influence, however, occurred just prior to his 1965 death, when Burrage mentored developing soul titans Otis Clay and Tyrone Davis who borrowed freely from his style.
Harold’s first record was on Decca in 1951. “Hi Yo Silver” really jumped, but Burrage’s only hit coincided with his final year, when “Got To Find A Way” reached #31 R&B. Several other compositions registered, but only as covers, like the storming “Crying For Me” which Burrage did on Vee-Jay. However, Bobby “Blue” Bland’s version had the greater impact
As a Cobra session pianist, Burrage backed artists like Magic Sam, but he also did some excellent sides on his own, often accompanied by guitarists like Otis Rush or Wayne Bennett. On “Messed Up”, “Betty Jean”, and “She Knocks Me Out”, Burrage displays a keen facility for handling unabashed rock ‘n’ rollers. On the groove-laden novelty “Stop For The Red Light”, Burrage reveals a light yet very deft touch. The glittering jewel, however, is the strikingly poignant “I Cry For You” where Burrage displays the full extent of his vocal range.
Do you ever get a sinking feeling you’ve heard it all? If so, remember the name Harold Burrage. His music will provide ample reasons to reappraise your assumptions.
Eva Cassidy: Prior to her 1996 death at 33 from melanoma, Eva Cassidy was the toast of the Washington DC club scene. Beyond that enclave, she remained a relative unknown.
A gifted vocalist with a knack for re-inventing any song as her own, Cassidy possessed a God-given ability to touch one’s soul. Perhaps her diffident personality and reluctance to embrace fame was a career-advancing impediment; still her manager’s 10-year campaign to land a national recording contract proved fruitless. The Industry mandates categorization, and Eva rebuffed all efforts to confine her to some marketable cubbyhole. For her, it boiled down to the music she loved, and that encompassed all genres.
The ascent toward posthumous recognition started with the release of Songbird, a compilation of several tracks. It got some airplay in America, thus casting its spell upon thousands of listeners; but in Britain, freedom from structured playlists ensured way more airplay for this eclectic release. Songbird began selling in numbers associated with names like Madonna and the Beatles, eventually reaching #1 on the U.K. charts in 2001.
A feature on television’s Nightline provided further national exposure. The response was immediate: The next day, 5 of Cassidy’s albums became Amazon top sellers.
Today, the Cassidy cult has an international reach, constantly irrigated by word-of-mouth plaudits and devotional websites. There are so many wonderful releases to savor, like “Time After Time” and “Eva By Heart”, but special reverence is held for “Live At Blues Alley”. Like a halo, the magnetism of her artistry lends a palpable luminosity to the proceedings.
Roy Brown: His “no-holds-barred” style provided the template for generations of future rockers, but his legacy is enshrined by “Good Rockin’ Tonight”, generally regarded as the first Rock’ n’ Roll song.
From 1948-1951, Roy Brown delivered 15 consecutive hits on Deluxe, including “Boogie At Midnight”, “Miss Fanny Brown” “Letter From Home”, “Cadillac Baby”, and “Laughing But Crying”. His wild, half-pleading/half-shouting style was Gospel-based, and presaged a style adopted by upcoming greats B.B. King, Bobby Bland, and Little Richard.
Early on, Brown patterned himself after his idol Bing Crosby. An appearance in Shreveport, Louisiana in 1946 featured Roy singing stuff like “Stardust” and “Blue Hawaii”. “Good Rockin’ Tonight” was actually been written for his trumpeter, Wilbur Brown (no relation). But that day Wilbur took ill, so Roy sung it. The locals went nuts!
While Wynonie Harris’ version of “Good Rockin’ Tonight” became the bigger hit, Brown the crooner morphed into a full-throated belter with that irresistible lowdown range and power.
After his 3-year streak at Deluxe ended, King/Federal bought out Brown’s contract. Roy expected King would reimburse him for his rightful royalties. Instead he got blackballed for his trouble. The hits evaporated--and likewise the big-money gigs.
In the 1970’s Brown was doing business as a successful door-to-door encyclopedia salesman, using the moniker Good Rockin’ Brown to break the ice. The nostalgic angle worked like a charm, and music was assigned backburner status. Felled by a heart attack in 1981 at 56, Brown’s love of performing might have yielded a further run of popularity with the pending 1980’s Blues revival.
Wayne Cochran & The C.C. Riders: Grit, flamboyance, hard work, and talent made Georgia-born Wayne Cochran a dominant stage performer who regularly packed supper clubs and big-money saloons from Miami to Vegas, and sundry points in-between. Often dubbed the “white James Brown”, Cochran soared above the beehive of JB imitators.
From 1957-63, Cochran had struggled as a rockabilly singer. Singles released on forgotten labels went nowhere, although he did write “Last Kiss”, an eventual chart-topper for J. Frank Wilson.
Cochran’s heyday ran from 1965-1973, prompted by a makeover involving a re-invention of his stage persona into a larger-than-life Soul Czar: the personification of flash. The exclamation point was his immaculately-coifed, stretch limo-sized silver pompadour.
The Barn in Miami served as Cochran’s home base. He turned it into the area’s number one nightspot. Jackie Gleason loved the excitement, and often dropped by with the June Taylor Dancers, figuring they might pick up some cool new steps from WC.
TV appearances on the Gleason, Merv Griffin, Mike Douglas, and Johnny Carson shows spread the news, and by the mid-60’s Wayne Cochran & The Cochrane Circuit Riders were constant in-demand headliners.
Cochran’s ascent was accomplished without benefit of a hit record—a rarity in those days. It wasn’t for lack of trying. “Going Back to Miami”, “Big City Woman” and “Get Down With It” cooked with grease groove, and deserved better fates.
By the 70’s, years of wailing had wreaked havoc on Cochran’s pipes, severely reduced his touring schedule. In 1981, Cochran found religion. He’s now a pastor somewhere in the south Florida area.
Al Bowlly: His dulcet tones enchanted millions, while bringing hope to a generation for whom optimism was in short supply. Al Bowlly was blessed with a remarkable range and an uncanny ability at conveying sincerity and emotion within the confines of a 3 minute song.
Arriving in Britain in 1927 from South Africa, Bowlly quickly registered stateside with “If I Had You”. In 1930, Al signed with Ray Noble’s Orchestra, the start of a highly productive association.
In 1934, the Bowlly/Noble tandem sailed for New York where a special orchestra was assembled for them by Glenn Miller. It included Bud Freeman, Charley Spivak, and Claude Thornhill.
By the mid-30’s Bowly’s stature rivaled Bing Crosby, amassing hits like “Blue Moon”, “Melancholy Baby”, “The Very Thought Of You”, “Midnight The Stars And You”, and “Easy To Love”. Bowlly had an NBC radio show and also appeared in The Big Broadcast of 1936. In 1937, Al returned to England, touring and recording there primarily with his own bands.
Bowlly’s death from an enemy bombing raid over London in 1941 binds him inextricably to reminiscences surrounding World War II.
His influence ranks alongside Crosby. It’s especially evident in Leon Redbone, whose elegant, relaxed, and rhythmic style owes much to Bowlly’s approach
Today, Al Bowlly commands levels of respect that actually surpass what he attained during his heyday. A special place is etched in Britons’ hearts, but his music is embraced by the entire world. There’s an ongoing fascination with Bowlly’s intriguing life, and especially the over 1,000 recordings he left behind.
The 5 Keys: The 5 Keys are a revered R&B group that started out as foursome in 1944, performing primarily gospel music.
In 1949 they embraced R&B; and by 1951 the classic line-up had coalesced: Rudy West (first tenor), Maryland Pierce (second tenor), Ripley Ingram (octave tenor), Dickie Smith (baritone/second tenor), and Bernie West (bass).
Their New York debut proved a smash, as they bested 31 other groups at Amateur Night at the Apollo. Eddie Mesner of Aladdin Records inked them immediately.
“Glory Of Love” put them on the fast track, hitting # 1 R&B in 1951. Rudy West wasn’t present at many Aladdin sessions due to army service, but his 1954 return to civilian life coincided with the Keys’ switchover to Capitol Records, which heralded the groups’ peak years.
The up-tempo “Ling Ting Tong” (featuring Pierce) rocketed up the charts. Meanwhile, West held sway on such romantic sides as “Close Your Eyes”, “The Verdict”, “Out Of Sight Out Of Mind”, Wisdom Of A Fool”, and “Let There Be You”. By 1957, the Keys were garnering serious crossover exposure.
Things slowed in 1958, and West left to pursue a solo career. Thomas Threat provided a seamless replacement. A sojourn at King Records yielded several evocative ballads, but only “Dream On” became a modest hit. Attempts at updating their style in a Coasters-style novelty direction (“Bimbo”, “Ziggus”) failed to excite.
In the sixties, the group--with and without Rudy--recorded for several small labels. When Rudy West passed away in 1998, it marked the end of a glorious saga.
Nolan Strong & the Diablos: The good news drifting out of Detroit in 1954 was “The Wind”, an ethereal ballad by the Diablos (later covered by the Jesters) featuring impeccable lead vocals by Nolan Strong. His floating tenor and gently delicate phrasings were evocative of Clyde McPhatter, and Strong’s style made a huge impression on Marvin Gaye.
It started in 1954, as some gung-ho teenagers entered Fortune Records, owned by Jack and Devora Brown, to cut some demos. The Browns were impressed, and the Diablos’ debut “Adios My Desert Love” was an enticing cha-cha.
But the follow-up, the half sung/half spoken haunting “The Wind” made the lasting impression. A stream of seductive ballads ensued, including “Hold Me Until Eternity”, “I Am With You”, “I Wanna Know”, “Since You’re Gone”, and “Remember Me”.
The guys could handle faster items with equal adeptness, as borne out by “Jump Shake & Move”, “Try Me One More Time”, and “Welcome To My Heart”.
In 1956, when Strong received his draft notice the Diablos were Fortune Records’ most successful act. It was a 2-year stint, and Strong’s absence didn’t go unnoticed. The Browns started de-emphasizing the other singers’ contributions immediately after Strong’s return to civilian life.
The group’s last hit, 1962’s “Mind Over Matter”, only mentioned Nolan Strong’s name on the 45. This created impossible strains that eventually led to the group’s demise.
At one time, Berry Gordy wanted to bring the Diablos into his fast-growing Motown complex, but the Browns countered with a better offer. This bears witness to the tremendous regard held for this very special group.
Johnny Mercer: Most authorities rate Johnny Mercer as the greatest lyricist of the 20th century. Ample evidence abounds, gleaned by this small sample of his indestructible compositions: “Moon River”, “Accentuate the Positive”, “Goody Goody”, “Glow Worm”, “Too Marvelous For Words” , “A Fine Romance”, “Autumn Leaves”, “Satin Doll”, “The Days Of Wine And Roses”, “Fools Rush In”, and “Blues In The Night”.
Mercer also worked with composers of immense stature, like Harold Arlen, Jerome Kern, Henry Mancini, Duke Ellington, Frank Loesser, Jimmy van Heusen, and Richard Whiting.
It all started with 1933’s “Lazybones”, co-written with Hoagy Carmichael. Mercer’s debut film project would yield “I’m An Old Cowhand” for a 1935 vehicle starring Bing Crosby. Mercer’s Hollywood tenure lasted 30 productive years; he even penned tinsel town’s anthem, “Hooray For Hollywood”.
Mercer was responsible for “Jeepers Creepers” and “You Must Have Been A Beautiful Baby”. Uplifting entries from 1942 include “Skylark”, “Tangerine” and “That Old Black Magic.” “Something’s Gotta Give” from 1954 showcased Mercer’s combined lyrical and compositional skills.
Johnny often performed along with the Pied Pipers, frequently entertaining the troops with morale-boosting entertainment. His sophisticated, relaxed delivery made him the perfect partner for such classy chanteuses as Jo Stafford (“Candy”) and Margaret Whiting (“Baby It’s Cold Outside”).
Besides “One For My Baby”, several Mercer songs became highly associated with Sinatra, like “Summer Wind” and “Dream”.
This only scrapes the surface. There’s much more that could be mentioned, like Mercer’s role in forming Capitol Records and discovering talent such as Nat King Cole and Peggy Lee.
Leroy Anderson: Seldom does his name elicit nods of recognition except from assiduous audiophiles, yet the music of Leroy Anderson has brought untold joy to millions of people. His light orchestral compositions form the backdrop to our day-to-day lives: Those indestructible melodies seem so enticing, as if bequeathed to us by antiquity.
The all-time Christmas standard “Sleigh Ride” is Anderson’s most recognizable calling card, but Anderson’s repertoire extends to an all-seasons affair. Another favorite is the idiosyncratic “The Typewriter” which features the staccato-like clicking of typewriter keys and rings of margin bells. Somehow the novelty factor never detracts from its artistic integrity.
Born in Cambridge Massachusetts, Leroy Anderson’s burgeoning reputation aroused the attention of Arthur Fiedler, conductor of the Boston Pops Orchestra. Duties handling arrangements for traditional and popular music were followed by commissions to compose. His first splendid creations were “Jazz Pizzicato” (1938) and “Jazz Legato” (1939). By 1953, Anderson’s pieces were the most performed ones by American orchestras.
Right now, somewhere in the world, Anderson’s creations are delighting listeners, whether at symphony halls, movie theatres, school assemblies, or places people congregate on festive occasions. His brass-heavy pieces, like “Trumpeter’s Lullaby” and “Bugler’s Holiday” are full of buoyant, optimistic, and exuberant flourishes. It’s little wonder they’ve become fixtures within so many bands.
“Blue Tango”, “Serenata”, and “Syncopated Clock are as equally beloved today as when first heard over a half-century ago. People from all walks of life feel elevated by the spirited cadences of Leroy Anderson’s life-affirming compositions, ensuring his music will endure forever.
Bert Berns: The fame limelight never shone directly upon him, but connoisseurs regard Bert Berns as an Industry savant whose multi-varied roles helped launch the Soul explosion of the 1960’s. His VIP status was based on hard work----plus tons of talent.
Under the pseudonym Bert Russell, he wrote a succession of era-defining hits: “Little Bit Of Soap” (Jarmels); “Tell Him” (Exciters); “Cry Cry Baby” (Garnet Mims); “Piece Of My Heart” (Erma Franklin/Janis Joplin); “Time Is On My Side” (Irma Thomas/Rolling Stones); “Hang On Sloopy” (Vibrations/McCoys); “Cry To Me”, “Down In The Valley” (Solomon Burke); “Twist And Shout” (Isley Brothers/Beatles); “Are You Lonely For Me Baby?” (Freddie Scott); “Everybody Needs Somebody To Love” (Wilson Pickett/Solomon Burke); “f I Didn’t Have A Dime” (Gene Pitney).
Berns had a premonition that a bout of childhood rheumatic fever would limit his lifespan (he died at age 38 in 1967), so he lived life at breakneck speed. When not composing, he was producing some top Atlantic acts, including Ben E. King, Drifters, Barbara Lewis, Esther Phillips, and especially Solomon Burke. Bert later formed Bang Records; cultivating such talent on their Shout R&B subsidiary as Erma Franklin and Freddie Scott.
Others remember Berns primarily for producing Van Morrison’s group Them in 1965 on Decca Records, and for the authorship of “Here Comes The Night”. His association with Van Morrison later culminated in producing Morrison’s breakthrough “Blowin’ Your Mind” album that also included “Brown Eyed Girl”.