WENDY RENE - AFTER LAUGHTER

(originally posted 7/07)

No matter how many times I've heard this record, its undeniable spook factor still scares the heck out of me- something about the performance here sounds like something a tad bit too personal; something we're not SUPPOSED to hear, as if listening in on an audio diary.

Born Mary Cross in Memphis and given the stage name Wendy Rene by none other than Otis Redding, "Wendy" was also supposed to be on the tour in which Otis tragically died. Wendy had just had a baby and (thankfully) decided to stay home.

Unfortunately she only released a handful of singles. The backing (by Booker T & The MG's) also features some of my favorite playing by those amazing cats. I love how the organ takes such prominent lead in the mix, a common theme heard on most of her sides.

from 1964...

WENDY RENE - AFTER LAUGHTER

THE CAKE - BABY THAT'S ME

Turns out that the last Spectorian-masterpiece girl group record wasn't, in fact, cut by Phil Spector. This record is a smouldering pot of greatness that may have been seen as slightly out of step at the time, but certainly incorporated a psychedelic air that was very much of the times. L.A based management team discovered the three young ladies who made up The Cake while they were harmonizing together in a New York club, and immediately got to work on getting them a record deal. A deal with Decca Records came about quickly, and the ladies (Jeanette Jacobs, Barbara Morillo and Eleanor Barooshian) were off to L.A to record with Green And Stone as producers, as well as Dr. John collaborator Harold Battiste. In fact, it's essentially Dr. John and band that play on this record.

Dangerous Minds presented an exhaustive chronicle of the group here, but for the sake of brevity I'll just say that this record (their debut 45) did not do as well commercially as expected, and their two albums (the second completed after the group has disbanded) also failed to slice their way to the top.

from 1967...

THE CAKE - BABY THAT'S ME


 

BARBARA MASON - YOU BETTER STOP IT

(originally posted 12/07)

This was Barbara Mason's final single for the brilliant Arctic label, and probably the most emotional performance of her career; quite a mean feat, as her vocal performances are typically oozing with emotion. As is true with many of her other greatest sides (including the unbelievably amazing hit single "Yes, I'm Ready") Barbara wrote the track as well.

Hard to believe that, at the time of this records' release, Barbara Mason was only 20 years old and already had three years of recordings under her belt.

from 1968...

BARBARA MASON - YOU BETTER STOP IT

CLIFFORD CURRY - AIN'T NO DANGER

Often times a chart position only tells part of the story when it comes to a records impact; case in point, Clifford Curry's "She Shot A Hole In My Soul". While that record only reached the lower end of the Top 100, its impact was felt deeply on the Beach Music scene of the south eastern seaboard, and Clifford Curry has been a popular live attraction of that scene (and beyond) since the release of the record in 1967.

Clifford Curry's roots stretch back even further, as he began in doo wop groups while still in high school in Tennessee in the early 1950's, making his recorded debut in 1953.

As for today's entry, "Ain't No Danger" is a stomper of the highest order, matches Clifford's rich baritone with some unbelievably cool backing vocals and a groove that cuts SO DEEP it's practically underground.

from 1968...

CLIFFORD CURRY - AIN'T NO DANGER

AL WAPLES - MOVING ON

Al Waples made his mark as a black radio DJ in his home base of St Louis, and eventually moved on to Philadelphia and Los Angeles. During his time in L.A he cut this one record, and also worked as the voice over announcer for the Jackson 5ive TV show.

The song is a very cool piece of pop-soul, written by the great L.A songwriter Jimmy Webb, and has the typical melancholy-yet-sunny feel of his greatest songs. The Incredibles, who back him here vocally, had several releases of their own on the Audio Arts label.

from 1968...

AL WAPLES - MOVING ON

AL REED - SORRY ABOUT THAT

(originally posted 1/08)

New Orleans singer Al Reed began releasing records in the mid-50's, but he wasn't very prolific- it looks as though he had only eight 45's released between 1955-1968 (including one as Diablo, and two as part of a duo, Ruth And Al). I would imagine that Al was one of the many performers making a living in the clubs in and out of NOLA, who had the occasional opportunity to cut a record (this time arranged by NOLA legend Wardell Quezergue).

This record has been a favorite of mine for many years, and the superb lyrics are delivered with a whole lot of believability by Al on the record. We've all either said or WANTED to say what Al lays out here, and he says it in a way that means BUSINESS.

from 1967...

AL REED - SORRY ABOUT THAT

THE EIGHT MINUTES - TIME FOR A CHANGE

Phew- this SLAMMING, intense workout (released at the height of social unrest, in 1968) tackles some heavy subjects, made all the more relevant as The Eight Minutes were young kids. VERY talented young kids.

Made up of the teenage/ preteen siblings of the Goggins (Ricky, Hank & Ronald) and Sudduth (Hedda, David, Wendell) families plus friends Juwanna Glover and Carl Monroe, Chicago's Eight Minutes waxed what is perhaps my favorite so-called "kiddie soul" track after being discovered by their neighbor Doris Jones.

The group played all of the instruments on the records they cut for Jay Pee Records between 68-69. This type of thing seems unfathomable today, especially when one takes into account that a few of their records did well in Chicago.

The group was eventually signed to Perception Records, who released an LP and a few more singles from the group; however, they were replaced with studio musicians for the recordings. A pity, as a major part of the charm of this record is the performance.

from 1968...

THE EIGHT MINUTES - TIME FOR A CHANGE