Preston Glass: Love & Compassion - January 2018 SoulMusic.com Interview

Preston Glass: Love & Compassion – January 2018 SoulMusic.com Interview

Throughout the decades, soul music has been the birthing place for recordings with potent lyrical messages that have touched listeners worldwide – think Marvin Gaye, Stevie Wonder, Curtis Mayfield, Nina Simone, James Brown, producer/songwriters Kenny Gamble & Leon Huff and others.  Award-winning producer, songwriter and musician Preston Glass has created a wonderful compilation of new recordings by a bevvy of established and new artists aptly entitled “Love & Compassion” and SoulMusic Records (SMR) has released this 17-track set in association with Preston’s Platinum Garage Recordings. In this interview with David Nathan, he shares about the project’s creation and some of the artists involved including SoulMusic Hall of Fame inductees Freda Payne and Gerald Alston as well as the UK Top 5 soul charted single, “In The Meantime” by Willie Bradley…

Click here for the CDBaby page on “Preston Glass Presents Love & Compassion” to hear clips and to download tracks






Motown Spotlight - December 2017

Motown Spotlight – December 2017

Two months ago I mentioned Diana Ross was launching her own brand of perfume, Diamond Diana. Well, it arrived in a blaze of publicity on 5 December, marketed as a fragrance that is true to the balance of beauty, femininity and confidence, emanating the inherent essence of one of the most recognisable women in the world. Phew! Not my words, I hasten to add – and not sure what it all means either. Anyway, to take advantage of the Christmas market, this fragrance is luxuriously packaged in a glistening glass-diamond bottle designed by Diana: a 100ml design with sixty facets forming a pointed cap with an internal Diamond Diana monogram. Presented in a black velvet jewellery box, and decorated with a silk black and Bordeaux ribbon, it’s embossed with 24k glittery gold dust. Again, not my words, but sounds rather exotically expensive. And, finally, included in each box is a message from Diana which I assume is as follows – “This personal fragrance is inspired by the powerful connection between music and sensual memories. Sensual scene vibrations are carried from heart to heart like music. Everyone should have a diamond.” That I agree with because as Marilyn Monroe once said, “diamonds are a girl’s best friend.” However, I’m afraid you won’t be able to buy Diana’s perfume in the high street, but only via the Home Shopping Network (HSN), one of the leading entertainment and lifestyle retailers, where the price is approximately £71. The perfume coincides nicely with the CD release of “Diamond Diana: The Legacy Collection”, the 15-song hit collection with a new dance mix of “Ain’t No Mountain High Enough”, which I’ve now discovered can be purchased from HSN with the perfume and a special bonus Seasonal CD featuring tracks like “Let It Snow”, “Silent Night” and “Winter Wonderland”. In case you’re wondering, I won’t be asking Father Christmas for this as I’m strictly a Chanel No 5 gal, which I fear is more expensive. Let’s move on….


Last month we lost one of the pivotal members of The Miracles, Mr Warren “Pete” Moore from diabetes complications; sadly Pete died on his birthday, 19th November. As mentioned last time, I’d like to take time out to remember this guy who Berry Gordy remembered as, “a gentleman, loving husband, devoted father and loyal friend.”

So, here’s an overview of Pete Moore, the guy who Smokey Robinson had known since he was thirteen years old and who was in the first line-up of the future Miracles. Known as The Five Chimes and singing their versions of doo-wop material first recorded by groups like The Moonglows, Pete and Smokey were joined by Clarence Dawson, James Grice and Donald Wicker; the latter soon to be replaced by Ronnie White. When Clarence departed, his place was taken by Emerson Rogers. Then James quit, to be replaced by Bobby Rogers. “It was an amazing time”, Pete Moore told Michael Sangiacomo. “We were just kids and there was music everywhere in Detroit.” Renaming themselves The Matadors – Smokey, Pete, Ronnie, Emerson and Bobby – they began rehearsing seriously for their future career in the music business. However, in 1957, before they could audition for Jackie Wilson’s manager – who was searching for new bands to represent – Emerson was drafted into the Army, whereupon his sister, now Smokey’s girlfriend, Claudette Rogers took his place. (In later years, Berry Gordy gave Claudette the official title of the “First Lady Of Motown” because she was the first female artist to be signed to a Motown-affiliated label Tamla). The group failed the audition: “They didn’t like us” said Pete Moore. “They said we were too much like The Platters, but there was another guy in the room who caught up with us and said he liked us a lot. His name was Berry Gordy.” As composer of some of Jackie Wilson’s singles, it was natural that Berry should be in attendance – and wasn’t it fate that he was! One thing led to another, which has been well documented over the years, the group renamed themselves The Miracles and teamed up with Berry Gordy to open the Tamla label, the first in a series which would later balloon to become the mighty Motown Records. It’s probably true to say here that without Smokey and his group, there would be no Motown, because Berry Gordy needed encouragement, support and dedication to put into reality his dream of owning his own record company. Going it alone was an awesome prospect but with the guys behind him, much of the pressure was taken off.

After a shaky start with “The Feeling Is So Fine” and “Way Over There”, The Miracles’ “Shop Around” was the first release in the early sixties to zoom to the top of the US R&B listing, where it spent a staggering eight weeks. Said to be the group’s and Motown’s first million selling title, it naturally attracted, among other things, an answer record “Don’t Let Him Shop Around” by Debbie Dean (who, of course, went on to record one of my all-time loves “Why Am I Loving You”). And as a soloist, Smokey later recorded the sequel “It’s Time To Stop Shopping Around” on his 1987 album “One Heartbeat”. Pete Moore mentioned their single in a WVUD-FM interview, saying, “The record came out on 17 December. Everybody was shopping. When they heard ‘Shop Around’ on the radio, that’s what they were doing. Buying dresses and toys for the kids, and that record exploded!” That explosion launched The Miracles with big selling – “You’ve Really Got A Hold On Me”, “Mickey’s Monkey”, “Ooo Baby Baby”, to name a few. It also introduced Pete Moore as a prolific songwriter, mostly working with Smokey. However, we’ll stay with “Ooo Baby Baby” for a second, a song that Pete said was their national anthem. “That song is responsible for a lot of babies! We had to play that every time we performed (because) everybody loved it.” The song was the result of a concert in Charleston, South Carolina. “After our finale, we were still singing, and Smokey starting singing just the ‘ooos’ and ‘baby baby’. We fell in love with the harmony, and the crowd went crazy. We went back to our (dressing room) and said we got to write a song to go with that”. And so, their signature track was born.

Another time, when they desperately needed new material and inspiration was failing them, Smokey hit upon an idea, picturing in his mind a guy who had cried so much that, he said, “it looked like tears had walked over his face – the tracks of my tears.” While Pete recollected the song was born from a guitar riff played by Marv Tarplin, “It coincided with a desire to write a song inspired by the tragic Italian opera ‘Pagliacci’ (written by Ruggero Leoncavallo), whose central character is a sad clown. So we wrote a song about a guy who appeared to be happy on the outside but always sad on the inside.” This happened on a Friday, so the group worked on the demo track over the weekend to be sure it was ready for Motown’s weekly meeting of producers and writers with Berry Gordy in the chair. Once they had heard it, Berry shouted, “You got a hit!” He wasn’t wrong either. “Tracks Of My Tears”, first issued during 1965, has lasted several lifetimes and revered as a milestone in soul and Motown’s history. “I can recall doing shows like Dick Clark and ‘Hullabaloo” and every time we sang that song people in the audience would cry” recalled Pete. As an aside, Smokey re-visited “Pagliacci” in 1970 with “The Tears Of A Clown”, a UK/US chart topper and international high earner.

Pete Moore’s composing credits are seen on many record labels, including “It’s Growing”, “Since I Lost My Baby”, “Ain’t That Peculiar”, “I’ll Be Doggone”, “Going To A Go-Go” and “My Girl Has Gone”, but alongside his professional achievements Smokey remembers him as a friend, “We called (him) ‘Pee Wee’ because he was short and stocky. Pete idolised the gamers – the pimps and pool sharks – but he wasn’t like that. He had a good heart, and excelled at sports. He’d play us at pool with one hand and kick our ass. He was also a walking sports almanac. He had his women but he wasn’t as girl aggressive as me and Ronnie.” And when Smokey married Claudette Rogers at the Warren Avenue Baptist Church, Pete was his best man, but that didn’t go exactly to plan, as the (then) groom remembered, “We’re in the Hawk, a block away from the church, when he realises he forgot the ring. I U-turn on a dime, tyres screeching, rubber burning, race home, grab the gold and speed back to the church.” By all accounts, thoughts of being stood up at the alter had crossed his bride’s mind.

As you know, Smokey eventually decided he needed to spend more time with his family, so intended to give up touring and concentrate on his position as Motown’s vice president. The move took a few years to materialise, but towards the end of his tenure as a performing Miracle, his relationship with Pete Moore had disintegrated. Despite being inseparable since youngsters, the rot set in when Pete married. It appears he was goaded by his wife to question the money he was earning as Smokey’s cut was more. “…I resented the fact that he let his wife poison his mind…I was shocked. He’d known his wife briefly, but we’d been friends since childhood. Male friendships are sacred to me.” Smokey confronted Pete but the damage was deep rooted. There was also some animosity between the membership when the name change occurred – Smokey’s name was put upfront the group name on record labels. This was, of course, Berry Gordy’s decision and had nothing to do with Smokey, but it did add fuel to his decision to leave them. This was in 1969. However, it took until 1972 to put on his walking shoes due to unexpected situations like “The Tears Of A Clown” busting through the global charts, and subsequent touring commitments on the back of that release, and the following singles. “We had twelve farewell engagements playing it sold out houses,” Pete once noted. “It was amazing!”

Billy Griffin stepped into the vacant spot to enjoy a career that wouldn’t match that of the Smokey-led group, but which would celebrate one of the biggest selling singles of 1975 – “Love Machine”. Penned by Pete Moore and Berry Gordy, and taken from their “City Of Angels” album, the single shot to the top of the American chart; top three in Britain, with runaway success across the world. The song grew legs and was used in films like “Chicken Run”, “Monsters, Inc” and “Planes”, while Thelma Houston recorded the first cover version in 1979. Popular with US club jocks and hitting the top spot in Japan, Thelma’s “Love Machine” prompted the release of her “Ride To The Rainbow” over there via the Japanese P-Vine label. Also, the song was featured on Wham’s first album “Fantastic” in 1983, replacing George Michael’s “Careless Whisper” which the duo decided to hold over for their second one. This meant that, as Pete Moore and Billy Griffin held the rights to the single via their publishing company, Grimora Music, they (reputedly) earned a cool $15 million.

During 1986 Pete decided it was time to leave, mostly because he grew weary of all the travelling. “My wife said I was getting older and that I should take it easy. I didn’t need the money because I had my own publishing company. I thought it was time.” The remaining Miracles continued, with Bobby Rogers recruiting new members until 2014 or thereabouts when he retired through ill health.

In 2006 Pete was reunited with Smokey and Bobby Rogers for an interview on the Motown DVD “Smokey Robinson and The Miracles: The Definitive Performances”, where, among other things, Pete revealed he was the group’s uncredited vocal arranger. A year later he joined Bobby, Smokey and Claudette on stage to celebrate the group’s 50th anniversary, and during 2009 The Miracles were given their own star on the Hollywood Walk Of Fame (where Claudette laid flowers following Pete’s death). Three years later, Pete and the other Miracles were inducted into the Rock & Roll Hall of Fame, overturning a decision in 1987 to only induct Smokey. “It was long overdue” said Pete, when the decision was finally made to include the entire membership. “…We were there before Motown. We set the pace for all the other artists to come after us….They looked up to us. How could we not be in there?” Then, during 2015, as a founding member of The Miracles, Pete was inducted into the R&B Music Hall Of Fame in his hometown of Detroit. I’m sure there are many other accreditations I’ve omitted, so please forgive me.

Pete Moore is survived by his wife Tina of forty-plus years, his twin daughters Monette and Monique, and his sister Winifred. Of course, his passing also means that there are only two surviving members of the original Miracles – Smokey and Claudette, who said, “Pete was a prolific and award-winning writer, singer and friend…he will be missed by myself and many others.” (Some of the quotes are taken from Smokey Robinson’s autobiography “Inside My Life” and an interview with Michael Sangiacomo, while others aren’t credited)…and finally..

Playing softly in the background as I wrote this was the “More Christmas Classics” CD containing all the well known titles relevant to this time of year. Kicking off with Diana Ross and The Supremes’ “Santa Claus Is Coming To Town”, there’s a trio of Miracles’ tracks – “Christmas Every Day”, “Noel”, “It’s Christmas Time” – and contributions from The Temptations, Stevie Wonder plus Michael Jackson with the Jackson 5. Mmm, interesting name change there. Anyway, as “Silent Night” is gently filling the office, all that’s left is for me to wish you, one and all, a very Happy, Safe, Healthy and Peaceful Christmas and New Year. The thought that we will be starting 2018 together thrills me, but I do need you to take good care wherever you go because I’d like you with me for always.

PRESTON GLASS Presents "LOVE & COMPASSION" (SoulMusic Records/Platinum Garage Records)

PRESTON GLASS Presents “LOVE & COMPASSION” (SoulMusic Records/Platinum Garage Records)

Track listing:

1. “LOVE ALWAYS WINS” – EUGENE COLE
2. “HOOKUP AT THE HEART” – TONY LINDSAY
3. “IN THE MEANTIME” – WILLIE BRADLEY feat. GERALD ALSTON
4. “PEACE IS MORE” – CLIF PAYNE
5. “WITHOUT A DOUBT” – VOICES OF GLORY
6. “WELCOME TO THE HUMAN RACE” – FREDA PAYNE
7. “GHETTO CHILD” – BRANDON WATTZ
8 . “WEAPONS OF LOVE – JACNIQUE NINA
9. “LOVE WILL GET US THROUGH THE TIMES” – LaTOYA LONDON
10. “LIKE FAMILY” – RAGS MOODY III
11. “FROM ONE EXTREME TO ANOTHER” – BISHOP WAYNE
12. “EMPOWERED” – DAVID NATHAN
13. “GIVE EACH OTHER LOVE” – DOMONIQUE BROWN & THE FAM
14. “AMEN TO THAT” – STEPHANIE ANGELIN
15. “SOMEDAY IS NOW” – AIYANA LEE
16. “LOVE IS” – AMY KEYS
17. “THE PATH OF COMPASSION” – CHUBBY TAVARES

SoulMusic Records (SMR) in association with Platinum Garage Recordings is proud to release PRESTON GLASS Presents LOVE & COMPASSION, songs to feed your soul in these everchanging times. There is a void in the world’s landscape today, of what used to be “basic human ingredients of love and compassion…..The need for these qualities is what sparked the inspiration for award-winning producer and songwriter Preston Glass to put together (along with some dear friends with great musical gifts) this collection of amazing, moving and heart-tugging songs. With stellar contributions by both established artists and newcomers in the soul music realm, SOUL MUSIC RECORDS/PLATINUM GARAGE RECORDINGS is proud to bring these songs of ‘Love’ and ‘Compassion’ to music lovers the world over.

“Love & Compassion” includes the 2017 UK soul music-charted single, “In The Meantime” by Willie Bradley featuring Gerald Alston (of The Manhattans) and original recordings by the legendary Freda Payne (of “Band Of Gold” fame),Chubby Tavares (of legendary group Tavares), Clif Payne, LaToya London, David Nathan and Amy Keys.

Other artists featured are Eugene Cole (of the Nat King Cole/Natalie Cole family) and Domonique Brown & The Fam (with members of Marvin Gaye’s family). Other new recording artists include Tony Lindsay, Voices Of Glory, Brandon Wattz, Jacnique Nina, Rags Moody III, Bishop Wayne, Stephanie Angelini and Aiyana Lee (granddaughter of Motown legend Jimmy Ruffin).

Executive-produced by award-winning producer and songwriter Preston Glass (who wrote/co-wrote all but one of the tracks, a cover of The Spinners’ “Ghetto Child”) and SoulMusic Records’ founder and artist-in-his-own-right David Nathan, this superb collection of songs with a universal message includes a number of guest players including producer/artist Reggie Calloway, Temptations’ vocalist Ron Tyson and renowned saxophonist Kirk Whalum.

Click here to hear ALL clips and to download NOW on CDBaby!

David Nathan's '60s Uptown Soul Favourites

David Nathan’s ’60s Uptown Soul Favourites

SoulMusic.com founder David Nathan has been a working professional in the world of soul music since 1966. Celebrating over 50 years, David reflects on some of his all-time favourites from the decade when he first began listening to and loving soul music!

Some obvious artist choices… Aretha, Dionne, Nina, Esther Phillips, Doris Troy…and then some of the leading lights in the world of ’60s soul….Lorraine Ellison, Irma Thomas, Judy Clay, Garnet Mimms, Jimmy Radcliffe, Maxine Brown, Chuck Jackson and many more….

December 2017: Reissue Reviews

December 2017: Reissue Reviews

PHYLLIS HYMAN: DELIVER THE LOVE: THE ANTHOLOGY (SoulMusic Records)

Following on from a trio of her re-issued albums on SoulMusic Records, here’s the next, focusing on the Pittsburgh-born Ms Hyman’s Buddah and Arista Records era, a rich period in her recording career, lovingly encompassing two CDs. It’s a totally biased review this time because there’s very little not to like here from a lady who was taken from us far too early, yet whose voice and music continues to make her presence felt in our lives, and through compilations like this, new audiences will be attracted to rejoice in her sophisticated vocal styling that elevated her well above others.

From the opening track “Baby (I’m Gonna Love You)”, you realise you’re in for a very special musical journey.  The title track from her third album, “You Know How To Love Me”, a dancer with a Quiet Storm feel, was one of her several hits, likewise her version of Exile’s “Kiss You All Over” – a cheeky little number from a sensual woman with love in her voice. A song I never tire of listening to since its original outing, having the wow! factor tenfold.  The same feeling envelopes the epic “Loving You, Losing You” featured here in its full 12” single format.  Another that’s never far from my turntable – yup, still playing the vinyl when I can – and, of course, the dynamic,  commanding “Riding The Tiger”, with the final track on the compilation, a take on The Spinners’ “I Don’t Want To Lose You” which is pure magic to these ears.

Alongside the solo hits, there’s a selection of stunning duets and pairings, like the awesome “Can’t We Fall In Love Again” and “We Both Need Each Other” with Michael Henderson;  the utterly irrepressible “Betcha By Golly Wow” with Norman Connors, and their often overlooked “Just Imagine”.  From the Broadway musical “Duke Ellington’s Sophisticated Ladies”, the standard “In A Sentimental Mood” which earned Phyllis a Tony nomination during 1981, stands tall next to the dance hits.  What more can I say?  Pure perfection from start to finish.

Rating: 10

RUBY TURNER: LIVIN’ A LIFE OF LOVE – THE JIVE ANTHOLOGY 1986-1991  (SOULMUSIC RECORDS)

Released alongside Phyllis Hyman’s magnificent “Deliver The Love:The Anthology” comes this compilation from Ruby Turner, one of the UK’s most celebrated of soul stylists. Focusing on her stay with Jive Records, where her debut album, “Women Hold Up Half The Sky” in 1986, here’s the sultry, smooth duet with Jonathan Butler, a take on the Staples’ “If You’re Ready (Come Go With Me)”, her first UK top thirty entrant.  Among the three extracted singles from this album was her amazing interpretation of “I’d Rather Go Blind”, a resounding highlight in her live performances.  Both are included here, likewise six tracks from her second album from 1988, “The Motown Songbook” which, upon its original release, I treated quite warily yet grew to enjoy. A brave move by anyone, but recruiting the help of the Four Tops on “Baby I Need Your Loving” was a stroke of genius.  Their warm support voices just naturally melted with the lady’s soulful delivery.  Then the blissful unions of The Temptations with her on “Just My Imagination”, and Jimmy Ruffin for “What Becomes Of The Brokenhearted”, were inspiring.  This latter title and Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours)” both dented the chart, while the mother album shot into the top thirty, once again re-affirming Ruby’s selling power as an A-line artist. Born in Montego Bay, as a child she moved with her family to Birmingham during 1967. Raised on music, she secured her Jive recording contract after a stint as a backing vocalist for Culture Club – and never looked back.  Her third album, “Paradise” launched in 1989, is also represented here via seven tracks including the stylish “It’s Gonna Be Alright” which, incidentally, hit the top of the American R&B listing, making her one of the few British acts to do so.  Four other titles followed, with the album’s title from the “Dancin’ Thru The Dark” movie, being one.  And finally, half a dozen songs have been liberated from Ruby’s last Jive album “The Other Side” to round off this extremely compelling compilation.  On a personal note, more so than usual,  I absolutely love her version of “Only Women Bleed” – the song itself is awesome, thought provoking, and, oh my,  those lyrics….

As well as singing, Ruby’s unique talents have been recognised on television and in films, like “Hotel Babylon” and “Love Actually” respectively.  She’s also trod the boards in London’s West End, being nominated for a Laurence Olivier Award for her role in “Simply Heaven”.  Musically speaking though, she’s found the perfect niche by working with Jools Holland and his Rhythm & Blues Orchestra – a job for life I’d have thought.  Having said that, I’ve a feeling this Anthology may surprise some folks who, perhaps only associate Ruby with Mr Holland, not realising she has per own catalogue behind her.  My, aren’t they in for a satisfying, exciting musical adventure!

Rating: 9

DUSTY SPRINGFIELD: A BRAND NEW ME:THE COMPLETE PHILADELPHIA SESSIONS  (REAL GONE MUSIC)

A very late review here as somehow the CD got lost in the pile of paperwork on my desk.  But, hey, better late than never, as they say: whoever ‘they’ are. Knowing the bulk of the songs inside out from listening to the original versions back in the day on vinyl release, one now wonders why tamper with perfection?  Anyway, when I first played “ A Brand New Me” , one track always skipped over was the album’s actual title because I loathed it, and even Dusty couldn’t change my mind.  So how sad is that.  However,  the remaining lazy paced material, with her warm, soulful vocals easily followed her groundbreaking “Dusty In Memphis”. Not to out do it, of course, as that was an impossibility, but rather to show that teaming up with Kenneth Gamble, Leon Huff and Thom Bell, who would later mastermind the Sound of Philadelphia, was a brilliant move.  The first ten tracks here epitomise the best of that coupling, while the seven extra titles, destined for a second album which Dusty couldn’t fulfil due to other commitments, appeared to have been abandoned at birth until the CD era began in earnest. From “Never Love Again” and “Bad Case Of The Blues” we’re transported back to the day when Dusty was at her very finest, as she effortlessly and emotionally sang her way through sweeping, sympathetic melodies, leaving a slight change of tempo to take over with the upbeat “Lost” and its compelling chorus. With “Joe” she meanders into a mellowness that is almost poignant to listen to, leaving “Let’s Get Together Soon” – which originally closed side one of the vinyl release and included Dusty coughing (and in tune) – to show a buoyant singer, despite her feeling ‘she could have done better’.

Tracks not featured on the 1970 release, are confusing.  “I Wanna Be A Free Girl”, where Thom Bell partnered Linda Creed for the first time to write, the mood changes to a more biting sound against positive lyrics of being free to see the world. The complex “Something For Nothing” would worry any singer, but Dusty did it, against a backdrop of swirling orchestra, later lending itself as an instrumental for MFSB.  It’s clear why Dusty intended to re-cut her vocals on “Summer Love” but perhaps even that wouldn’t have saved this mundane track, likewise “Cherished” and “The Richest Girl Alive”. The former being rather jumpy with chord changes and, of course, high notes don’t become her, while the latter skips along and is far too twee for the likes of this fan.  The closing track here, the previously unreleased “Sweet Charlie” is softly presented, haunting even, lacking that midas touch associated with the recording sessions for “A Brand New Me”.  I’m sure Dusty would have preferred it to remain unissued. Anyhow, as the song was never finished, it appears the backing track was later utilised on Jackie Moore’s version.

Although not of the same high calibre as “Dusty In Memphis” from a song viewpoint, “A Brand New Me” easily stands on its own merit, showing as it does, her ability, albeit initially rather shakily, to be ranked alongside others in the exclusive soul market. A position she always felt she didn’t deserve. Thom Bell remembered her as “…a very sensitive girl…an angel”.  Kenny Gamble agreed, adding, ”I’m so proud that I was able to work with her…I loved her.”   They should know!

Rating: 8

RAY PARKER JR AND RAYDIO: FOR THOSE WHO LIKE TO GROOVE  (BIG BREAK RECORDS)

Apart from being one of the grooviest guys on this planet, I can’t believe Ray Parker Jr is celebrating 40 years in the business.  My, it seems only like yesterday….

Before enjoying the public spotlight as an artist, Ray was an in-demand guitarist, and was mentored by Stevie Wonder, who invited him to join his band on The Rolling Stones 1972 American tour. (And still the live album hasn’t been commercially released) Writing for Rufus and Chaka Khan, later Barry White, led to Clive Davis offering Ray a contract with Arista Records to record in his own right. He  formed the group Raydio, whereupon  “Jack And Jill” was the first single, followed by “Is This A Love Thing” and “You Can’t Change That” – a trio of gold plated sounds, with dynamic harmonies, solid driving grooves, all wrapped up in a full sophisticated production. Didn’t get much better than this, but, of course, it did when, with a name change to Ray Parker Jr with Raydio during 1980, the hits intensified with “Two Places At The Same Time”, and the R&B chart topper “A Woman Needs Love (Just Like You Do)”, among the titles.

Two years after forming Raydio, Ray took the solo trail to release one of the best selling pop singles ever – “Ghostbusters” from the movie of the same name, and debuting here in the rare 12” “Searchin’ For The Spirit” remix.  The song was instantly catchy, memorable and carried a chugging hypnotic beat that wouldn’t let up, elevating Mr Parker Jr into the stratosphere. Even today, once the opening bars are heard, people sing out loud and dance the silly steps; what incredible staying power!  However, soul fans knew there was more to the man than ‘spiritual’ gimmicks because they basked in the soulful glory of his catalogue and his last hits under the Arista umbrella –  “Jamie” and the endearing “Girls Are More Fun”.  Switching to  Geffen, the hits continued, first with “I Don’t Think That Man Should Sleep Alone” in 1987 (a top twenty UK hit), followed by his duet with Natalie Cole “Over You”.  As this CD’s title indicates, this is the essential collection for any fan. Covering 35 tracks and an interview with the man himself, the many aspects of Ray’s talent spanning dance, soul and funk, have been given a new lease of life.  And what a joy it is!

Rating: 9

JACKIE MOORE: I’M ON MY WAY  (BBR)

Produced by Philly main man Bobby Eli, this debut set by Southern Soul songstress Jackie Moore, for Columbia Records kicks off with the top fifty 1979 UK hit “This Time Baby”.  Sadly, it was her only one, but the driving dance floor favourite is crammed with hit ingredients and for a time introduced Jackie to the British mainstream record market.  The album, also issued during 1979, also housed another couple of memorable disco titles, “How’s Your Love Life Baby” and “Wrapped Up In Your Lovin’”. The former pulsates a strong dance delivery, while the latter adds some cheeky funk into the mix, with each holding a catchy chorus.  The only version of “Joe” I’ve heard is Dusty Springfield’s poignant take, but here’s the original with a different, more plush feel. However, both hold that certain magic. Upon its first release, this album charted in the R&B top fifty, and as such would surely qualify for a worthy re-issue as it stood. But no, the BBR guys have gone the extra mile to include six bonus tracks including a 12” remix, single version and instrumental of “This Time Baby” to attract buyers.  It has to be said that Jackie’s warm, soulful voice is so very easy to listen to, adapting as it does effortlessly through disco and ballad – the harder edged tracks and the smooth stylings – which, of course, makes it all the more annoying that her British success was so limited.

Rating: 8

VARIOUS ARTISTS: NORTHERN SOUL’S CLASSIEST RARITIES:VOLUME 6 (KENT)

It’s incredible to believe that songs adopted by a particular market are still relevant today some forty-plus years later. And this record label is a forerunner in the field, dedicated to keeping the sound alive, delivering as it does now a mix of beat and ballad. It’s nearly three years since the last volume in this series, so this 24 track package will, undoubtedly, be welcomed by Northern Soul fans. Kicking in with Peggy Woods’ “Love Is Gonna Get You” (being, I’m told, the correct brass-filled version),  into “You Won’t Say Nothing” from Tamala Lewis, co-penned by George Clinton, and also recorded by The Parlettes, the mood is set.  There’s also a few previously unissued items here, like, the Gene Page arranged “I Only Cry Once A Day Now” from The Fidels, and an alternate version of Maxine Brown’s “One In A Million”. I won’t go into too much detail about the tracks here as this is excellently covered in Ady Croasdell’s accompanying notes.  Although some of the time I’m out of my depth, not having heard of the artists (shame on me) so it’s quite a relief to hear early tracks from later established names like The Detroit Emeralds, J.J. Barnes and, of course, Carla Thomas, who closes the set with “Little Boy” which she remembered was her third single – but was canned.  These compilations are an education for me and, although I may not like all I hear, it’s musical history and as such should be respected.  Or, as Ady noted – “it’s a collection of treasures”.

Rating: 8

JAMES CARR: THE BEST OF JAMES CARR  (GOLDWAX RECORDS – ACE RECORDS)

This twenty tracked CD houses all James’ charting singles, with one in particular at the top of the pile.  His original version of “The Dark End Of The Street”, recorded during 1966,  and later much covered, introduces this collection of songs.  Often revered as one of the greatest vocalists the Southern Soul scene produced, James Carr struggled to enjoy the success of his contemporaries like Otis Redding, yet his limited material recorded for Goldwax is considered to be the musical blue print for the label. Son of a Baptist preacher, James was born in Mississippi, then moved with his family to Memphis.  As a six year old, he sang solos in church, and three years later became a member of the gospel group, The Harmony Echoes.  From here, he branched out as a solo artist, later hooking up with Goldwax Records in 1965.  “You’ve Got My Mind Messed Up” was his debut R&B hit, followed by “Love Attack” and “Pouring Water On A Drowning Man”.  However, it’s said James was difficult to work with due to health issues which reflected on his complacent attitude towards his career, perhaps sabotaging his rise to stardom. Another thing, this year marks the 50th anniversary of the release of the somewhat iconic “The Dark End Of The Street”, so what better way to celebrate than with this selection from the underrated, yet pivotal, soul man in the development of Southern Soul.

Rating: 7

Johnny Britt 2017 SoulMusic.com Interview

Johnny Britt 2017 SoulMusic.com Interview

Multi-faceted music man Johnny Britt first established himself with modern-day soul music lovers as the founder and one-half of the group Impromp2 in the mid-90s, signed to Motown’s MoJazz label and creating a following on both sides of the Atlantic. Subsequently, Johnny’s worked with The Temptations, launched his own solo career and in addition to his solo work, is the newest (and youngest!) member of the legendary group, Little Anthony & The Imperials. In London in November for a sold-out show at The Hideaway and promoting his latest project, “Marvin Meets Miles,” he sat down with David Nathan (who wrote the first Impromp2 bio back in 1995) for a catch up…

Motown Spotlight - November 2017

Motown Spotlight – November 2017

While typing this month’s MS thought I’d re-visit Scherrie Payne’s “Vintage Scherrie” CD which I haven’t played for awhile but which is always close at hand. As you know a couple of tracks were extracted for single release – “Remember Who You Are” and “Crumbs Off The Table” – both exceptional in different ways. The first is warmly soulful, sheer beauty, while the second is rather hard edged and decisive, you don’t mess with this gal. Both stylings are handled with total ease of course. However, it’s “Hope” that I get drawn to every time plus her take on “Ain’t No Mountain High Enough”. Aw, well, will just let it play through in its entirety until I’m done here. And talking of mountains….

I suppose it was to be expected that, following Diana Ross receiving the Lifetime Achievement Award at the recent American Music Awards, an album would be released to coincide with the event. Well, I say ‘album’ but what I really mean is a digital 15 track release under the title “Diamond Diana: The Legacy Collection”, a selection of her biggest titles like “The Boss”, “It’s My House”, “I’m Coming Out”, “Love Hangover” and “Endless Love” with Lionel Richie. However, the carrot that’s being dangled here for stalwart fans is a new dance club, the Anmhe remix of “Ain’t No Mountain High Enough”. It’s alright I suppose, but the whole essence of the Ashford & Simpson composition was the merging of melody and lyrics. A love song of considerable emotion which should, perhaps stay as was intended, and as much as I love the drama attached to Diana’s epic six minutes-plus version on her debut solo album, the 1967 original, produced by Harvey Fuqua and Johnny Bristol, and recorded by Marvin Gaye and Tammi Terrell just can’t be matched. Let’s stay with the song for a moment. Composed by Ashford & Simpson prior to their joining Motown, Dusty Springfield longed to record it, as Valerie recalled, “We played (her) that song but wouldn’t give it to her, we wanted to hold that back because we felt it could be our entry to Motown. Nick called it the ‘golden egg’. Dusty, recorded a similar verse melody in ‘I’m Gonna Leave You’”. Undeterred, the British singer, faithful to the original arrangement, included the song in her stage act usually as part of a soul medley, and actually performed it twice on television as a duet, with Engelbert Humperdink during 1970, and with Michael Ball in 1995.

In the wonderful book “The Real Tammi Terrell: My Sister Tommie” penned by Ludie Montgomery and Vickie Wright (published by Bank House Books 2005), they tell of a nervous, slightly intimidated twenty-two-year-old Tammi recording her vocals for the song on 6 January 1967, leaving Marvin to dub in his vocals later in that month. Valerie felt the song was the perfect vehicle for the two singers although it wasn’t conceived as a duet, as Nick said, “..it turned into (one). Everything kind of fell into place. They saw what was necessary and we were there to change up anything they needed and we all worked together. Marvin would tell me that Tammi was his favourite to sing with. She would cuddle up to him like she belonged to him. It was just beautiful what they had.” Johnny Bristol took this one step further when he was quoted about their mystical blending because Marvin felt her deeply when he sang to her pre-recorded track – which was, apparently, the norm on several of their duets. “Their respect and love for each other …transcended the presence and they both didn’t have to be there to capture the feeling. (The song) really sticks out in my mind because they blended so well on that recording. Nick and Valerie were great writers so they made it a spiritual connection for everyone.“ Incidentally, the Four Tops’ Duke Fakir was one of the backing vocalists on the song, “I remember sitting around during the time Marvin and Tammi were recording it and Marvin says, ‘hey man, come in here and help me sing the song because I can’t make it alone.’”

In one of my interviews with Nickolas Ashford, I wondered why he never recorded the song with Valerie, believing as I did, they were the perfect mouthpieces for their compositions. “I don’t think we even thought about it. When you have an artist like Marvin Gaye, who was just a phenomenal singer, it’s just a dream. We were real writers then and we had this voice that we could do something with, and that was all the glory we needed.”

So, returning to Diana Ross’ 1970 album version for just a second, and then we’ll move on, it seems Berry Gordy wasn’t happy with the song, hating the spoken word passage. He wanted the climactic chorus/bridge to start the song rather than be a feature within it. However, he backed down when Ashford & Simpson persuaded him to release an edited three-minute single to combat radio stations editing their own versions. By cutting the playing time, the fullness of the song was hampered of course, allowing listeners to enjoy a mere musical snapshot of the classical string element from the Detroit Symphony Orchestra, the Andantes’ warm vocals supported by Johnny Bristol, Brenda Evans and Billie Calvin (from The Undisputed Truth), Jo Armstead and Ashford & Simpson themselves. Nonetheless, the edited “Ain’t No Mountain High Enough” earned Diana her first number one single, and a Grammy nomination for Best Female Pop Vocal Performance. The full glorious version was, of course, included on her album: good marketing ploy that. Good Lord, how one thing leads to another when all I intended to do was mention her new digital album! Let’s move on….

One of the songs I regularly play on my Saturday evening soul programme is the Northern Soul Survivors’ charity single, a cover of Frank Wilson’s “Do I Love You (Indeed I Do)”. Featuring Tommy Hunt, Chris Clark, Dean Parrish, Pat Lewis, Sidney Barnes, Johnny Boy and The Signatures, and, last but by no means least, Paul Stuart Davies, who masterminded the whole thing. Released on vinyl and as a download single, it was, as you know, recorded to raise funds for Jon Bates, a Wigan DJ who is wheelchair bound and in need of money to pay for an operation that could see him walk again. “As someone who listens to soul music daily, recording this song has been like being part of soul music history” Paul explained. “I’m very lucky and I loved every minute making the record.” So, let’s spend some time with the young man behind the single. Born in Manchester in 1982, Paul Stuart Davies began professionally performing as a teenager, and following an introduction to a local agent, was soon performing in clubs and pubs across Lancashire. From here, he attended music college which lead to a career as a vocal coach, and as co-creator of the Darwen School Of Music. However, it was his love of Motown that prompted him to front The Soul Train, a 9-piece group, where their popularity grew following performances in Blackpool and Blackburn clubs.

During 2015, and following an endorsement from Marvin Gaye’s second wife Janis, he took to the solo spotlight where he performed alongside Kim Weston, Brenda Holloway, The Velvelettes and The Contours at The World’s Biggest Northern Soul Weekender staged at Butlins in Skegness. Event organiser, Russ Winstanley, was so impressed with the young man’s enthusiastic talent that he invited him to regularly perform at his events, often alongside Motown and Northern Soul legends, many of whom he befriended. “Like the majority of soul fans, I just love Paul’s incredible voice” said Russ. “The quality and purity left me staggered.” Paul’s career escalated when, in May this year, he flew to Detroit to record “Tomorrow’s Love” (based around a 1965 instrumental by Billy Butler) at the renowned United Sound Systems studio. “I haven’t touched the original instrumental” he explained. “What I wanted to achieve was authenticity. This is a Northern Soul record recorded in 2017. I’m not sure when the last original Northern Soul record was recorded in Detroit but it would have been many years ago.” With him in the studio were Kim Weston, Pat Lewes, Tobi Legend, and Rosalind and Betty, the original Vandellas. “When I told them I was going to Detroit to record (it) they all said ‘we’ll be there’. It was just a wonderful experience. I’m lucky enough to be able to call these great artists friends as I have got to know them over the past few years, both from performing with them and also by speaking to them regularly.”

Then during the last two weeks, Paul contacted me saying he’d returned to that Detroit studio to cut the follow-up to “Tomorrow’s Love”, titled “Baby, It’s Yours” with The Fantastic Four providing support vocals. The song is an absolute delight; upbeat, energetic with the catchiest hook I’ve heard in a long while. By the way, it’s flipside “That’s The Truth” was recorded at the same time. Available now on download and, thank goodness, both titles will be available on vinyl by visiting www.paulstuartdavies.co.uk/shop as, of course, was his first single.

Somewhere in between these trips to Detroit, Paul recorded a live performance at the Darwen Library Theatre and issued some of it as an extended play single/CD (not sure what to call it) titled “Northern Soul Reimagined”. Here he was joined by his friends covering tracks like “Long After Tonight Is All Over” and “Because Of You”, together with studio versions of “Wherever I Lay My Hat (That’s My Home)” about which the Vandellas said, “It was 53 years ago when we first recorded (the song) with Marvin Gaye at Hitsville USA. What a thrill to once again provide backing vocals on the same song with Paul…with his smooth, clear voice, offering a wonderful, fresh vocal treatment to this truly sentimental song.”

By way of an early Christmas present for Motown fans, Paul has even more recently recorded “Lovin’ Me Stronger”, a realistic reminder of the company’s early work. Having played it a few times, I can honestly say it certainly is a grower and one that gets the fingers tapping. Yes, like this a lot. And check this out – he’s offering it free of charge on his website – so what are you waiting for? Go get and enjoy.

I’ll let Chris Clark have the last word here because she believes Paul is an amazing singer. “I’d heard about him, looked him up and called to ask if he’d duet with me. We had a great time and he’s a steller talent who’s going to be on the scene a very long time.” My grateful thanks to all who contributed to this article, allowing me to join them in my admiration for a young man who is determined to keep our music alive.

Unfortunately, I have to end on a very sad note with the passing of Miracle Warren “Pete” Moore who died on his 78th birthday last week. “(He was) a fine human being and valued member of the Motown family” said Berry Gordy upon hearing the news. “He was a quiet spirit with a wonderful bass voice behind Smokey Robinson’s soft, distinctive lead vocals, and was co-writer on several of the Miracles’ hits. A gentleman, loving husband, devoted father and loyal friend. We all loved him and will miss him.” More about Pete, and his contribution to Motown’s success, next month, but, meantime, on behalf of us all at soulmusic.com, my sincere condolences go out to his family, friends and, of course, his fans. “Pete was my brother since I was eleven years old” Smokey posted on twitter. “ I’m really going to miss him.”

Ruby Turner 2017 SoulMusic.com Interview

Ruby Turner 2017 SoulMusic.com Interview

On the occasion of her recent much-deserved induction into The SoulMusic Hall of Fame by public vote and the new release of the sumptuous SoulMusic Records’ 2-CD anthology, “Livin’ A Life Of Love” (compiled by Justin Kantor), UK black music pioneer Ruby Turner spoke with David Nathan just before embarking on a UK tour with Jools Holland and his Orchestra…

Click here for full details and to hear clips from the new anthology!

Book Review: FLORIDA SOUL: From Ray Charles To KC and The Sunshine Band by JOHN CAPOUYA

Book Review: FLORIDA SOUL: From Ray Charles To KC and The Sunshine Band by JOHN CAPOUYA

While a number of US cities have long been associated with soul music – think Memphis, Detroit, Philadelphia, Chicago, New York, New Orleans and Los Angeles – Miami isn’t an automatic add to that list. Not that the city hasn’t produced its fair share of hitmakers: for most soul music lovers, Miami and other cities in the ‘sunshine’ state of Florida figure in there somewhere – but likely no one major label was based there in the ‘60s and ‘70s (other than Henry Stone’s T.K. Records and its subsidiaries and imprints) in quite the same way that Memphis was home to Stax, Detroit to Motown and Chicago to Chess and Brunswick.

John Capouya’s recent tome, “Florida Soul” begins to set the record straight in regards Florida’s place as the birthplace of a number of key performers (think Ray Charles, Sam Moore among others) as well as site for some of the greatest recordings ever cut in the world of soul music. Think any number of Betty Wright recordings, classics by James & Bobby Purify (“I’m Your Puppet”), Timmy Thomas (“Why Can’t We Live Together”), Jackie Moore (“Precious, Precious”), Latimore (“Let’s Straighten It Out”) and a string of international hits by K.C. & The Sunshine Band.
There are naturally chapters devoted to Charles and Sam Moore but perhaps of more interest to keen followers of R&B and soul music, the likes of Jackie Moore, blue-eyed songstress Linda Lyndell, Willie Clarke, Helene Smith and others who never achieved consistent mainstream success have the opportunity to have their stories thoroughly documented and in particular, make fascinating reading for soul connoisseurs.

Henry Stone and the TK family of artists are given a couple of chapters that are essential to the history of soul music in the state which – via Miami’s Criteria Studios and producers like Dave Crawford and Brad Shapiro – became a hive of activity in the late ‘60s and early ‘70s, hosting sessions for the likes of Aretha Franklin, Brook Benton, Esther Phillips, Dee Dee Warwick and many others. As a historical account of the importance of Florida in the history of soul music, John Capouya’s book is essential reading.

David Nathan
Founder, www.soulmusic.com

TWO BEATS, ONE SOUL - SoulMusic.com 2017 Interview with Vivian Scott Chew

TWO BEATS, ONE SOUL – SoulMusic.com 2017 Interview with Vivian Scott Chew

A wonderful fusion of music from two cultures, “Two Beats, One Soul” is the brainchild of music industry veteran Vivian Scott Chew (known in particular for her work in introducing the music of Jamaica to mainstream US audiences, garnering multi-platinum selling dancehall records):  the thirteen-track album (executive-produced by Vivian and renowned musician/producer and ‘Dancing With The Stars’ musical director,  husband Ray Chew along with along with their partners Mark and Kathy Grier)  features music from producers including Ray Chew, Louie Vega, Sergio George and Cuba’s own, Manolito Simonet. Simonet also joins fellow Cuban artists Ruben and Gabriel Rodriguez,Xiomara Laugart and Milagros Hodelin.  Representing the US are R&B/Soul mainstaysEric Benét, Jon B. and Josh Milan. Rounding out the project is Latin/Pop/Latin Soul artists Jean Rodriguez and Anané.

In this interview with David Nathan, Vivian talks of the genesis of the project and the experience of recording in Cuba…