In the realm of soul music, there are artists whose talents shine brightly but fade all too quickly, leaving behind a legacy that lingers in the hearts of true music lovers. Alice Clark, a soul singer whose career spanned from 1968 to 1972, is one of them.
Born in 1947, in the vibrant neighborhood of Bedford-Stuyvesant in Brooklyn, New York, Alice Clark was immersed in music from a young age. Raised in a deeply religious family, she found her voice in the church choir, where she honed her vocal abilities and developed her signature style.
In 1964, when Bob Shad launched Mainstream Records, his primary objective was to record the music he personally enjoyed. Having previously worked under the constraints of Mercury and EmArcy in the 1950s, Shad seized the opportunity at Mainstream to create a catalog that showcased remarkable diversity. From Johnny Mandel’s evocative Harper soundtrack to the groundbreaking debut album of Big Brother & the Holding Company. Among the artists who captured Shad’s attention and compelled him to record was the talented singer Alice Clark.
Between 1968 and 1972, Alice Clark embarked on a relatively short recording journey in New York for a subsidiary of Jubilee. However, during this period, Clark’s personal circumstances were far from ideal. Dean Rudland mentions in his liner notes for Alice Clark: The Complete Studio Recordings 1968-1972, it was evident that Alice was facing challenges in her life. Billy Vera, the writer and producer of her initial recordings, shared insights, stating,”I got the impression her life wasn’t that great. She… had kids and belonged to a religious order that forbade either bathing or washing hair, I don’t recall exactly which…”
The Singles she released between 1968 and 1971 were:
You Got A Deal / Say You’ll Never (Never Leave Me) currently on Discogs for around $30
You Hit Me (Right Where It Hurt Me) / Heaven’s Will (Must Be Obeyed) currently on Sale on Discogs for $1.300
In 1972, Alice Clark signed with Mainstream Records and released her self-titled debut album, “Alice Clark.” In every aspect, this rare soul album exudes tastefulness. The arrangements and conductor duties were skillfully handled by Ernie Wilkins, while the production was expertly overseen by Bob Shad.
The album features a compelling selection of songs, including Jimmy Webb’s “I Keep It Hid,” John Bromley and Petula Clark’s “Looking at Life,” Leonard Caston’s “Don’t Wonder Why,” John Kander and Fred Ebb’s “Maybe This Time” (from the motion picture “Cabaret”), Juanita Fleming’s “Never Did I Stop Loving You,” Bobby Hebb’s “Charms of the Arms of Love” and “Don’t You Care,” Leon Carr’s “It Takes Too Long to Learn to Live Alone,” Bobby Hebb’s “Hard Hard Promises,” and Earl DeRouren’s “Hey Girl.” Each song brings its own unique flavor to the album, ensuring a diverse and captivating musical experience.
This remarkable collection of songs showcased her extraordinary vocal range, passionate delivery, and innate ability to connect with listeners on a profound emotional level. Combining elements of soul, jazz, and gospel, the album was a testament to Clark’s versatility and musical depth.
“I Keep It Hid” was selected as the lead single, accompanied by “Don’t Wonder Why” on the B-Side. However, despite its release, “I Keep It Hid” failed to make a significant impact and faded into obscurity. Unfortunately, the disappointing outcome extended to the release of Alice Clark’s self-titled album, which struggled to find the receptive audience it truly deserved. Regrettably, only a minimal number of copies of Alice Clark were sold.
Despite Bob Shad’s expertise in producing exceptional albums, the shifting dynamics of the market in the early 1970s posed a challenge. Black FM radio sought album singles that would stand out during “drive time” programming, typically favoring hook-driven songs. Unfortunately, the songs on this particular album possessed a sublime and poetic quality that didn’t align with those requirements.
Instead, commercial triumph eluded Alice Clark, leading her to turn her back on music in 1972. From that point on, very little has been heard about her. A veil of mystery envelops Alice Clark’s life after her departure from the music scene. She seems to have nearly vanished into thin air.
Now you want a copy?
Over the passing years, some copies of the album found their way into dollar bins.
Since then, Alice Clark’s album has transformed into a true rarity. Those seeking an original 1972 copy of Alice Clark on Mainstream Records must embark on an arduous quest. If they manage to find a copy, it will demand a hefty price tag of at least $500.
Reiusses are widely available, for example the 2019 RSD release of this album.
SoulDisco had to chance to talk to Otis Williams about the upcoming Tour in germany.
2. You are looking back on 60 years of successful stage presence. At what point were you aware that you essentially shaped the style of soul music?
3. Which special moments of your career do you remember the most?
One special moment that still stands out was when we learned we had a national hit with our single, “The Way You Do The Things You Do” which was written by Smokey Robinson and Bobby Rogers. That was a big moment. We had just come back to Detroit from one of tour stints in cities around Michigan. When we got to Motown, we were told the song had hit the charts at #76. By the time we had released “The Way You Do The Things You Do,” we had recorded seven or eight records including “I Want a Love I Can See,” which we thought was going to be a hit. When we saw the music trades with our song on the chart, we just sat there in the Motown lobby and cried like little boys about to get their butts whipped. The song took off in Chicago, Philly, New York and around the country and climbed the national Pop chart to # 11. That was 1964 and we’ve been rolling ever since.
Another huge moment came in 1965, when “My Girl,” became a #1 Pop chart hit. That hit was a game changer for The Temptations. We were performing at the Apollo Theater in Harlem when we received telegrams from Berry Gordy, The Supremes, The Beatles and others, congratulating us on our #1 success. It was The Temptations’ first #1 charted record and sold multi-millions of copies. “My Girl” was inducted into The Grammy Hall of Fame in 1998 and in 2018 it was entered into the National Recording Registry by the Library of Congress. It has become a standard now. “My Girl” opened the door to global attention for the group and we continued to produce a string of chart hits in the decades to follow.
Another memorable time was (during our Classic Five period) doing five shows in one day at The Apollo Theater in New York City. The line of fans outside the Theater wrapped around several blocks and avenues. We opened the show with the song “Hello Young Lovers,” rather than opening with an R&B tune. That was a bold move to make at the Apollo. The curtain would be closed and when our famous four-headed microphone was placed on the stage in front of the closed curtain, the audience would go wild. The curtain would go up and we’d start with that song and fans would rush to the front of the stage. Also memorable were our appearances at the famous Copacabana supper club in New York, and our 13 appearances on The Ed Sullivan television show, and so many others national TV programs. We knew back then that our music had become iconic in the global entertainment world.
I’ll always remember in 1968, and 1969, Diana Ross and the Supremes and The Temptations starred in primetime network television specials “TCB (Taking Care of Business)” and “G.I.T. (Getting It Together) on Broadway.” Never before had two contemporary African American groups headlined their own #1 nationally rated television specials, both produced by Motown, an African American owned company. The “TCB” special was named the #1 rated variety show in 1968 and received an Emmy® nomination. The original cast soundtrack album, TCB, reached #1 on Billboard’s Top 200 Albums chart.
Other big moments included when The Temptations delivered Motown’s and our first-ever, GRAMMY® at the 11th Annual Grammy® Awards in 1969 for Best Rhythm & Blues Performance by a Duo or Group, Vocal or Instrumental, for our song, “Cloud Nine.” We have also been awarded five Grammy® Awards, including the Recording Academy’s Lifetime Achievement Grammy® Award.
Earlier this year, it was incredible delivering our 60th anniversary album, TEMPTATIONS 60. Being back in the studio this time reminded me of how long and rewarding a journey it has been. I get emotional when I think about it, because we poured every ounce of our heart and soul into making the new album very special, and I can proudly say it showcases brand new songs that reflect the best of what’s vintage, and modern, in our music. This new album represents generations of unique melodies, lyrics and songs, distinctly our own. Some of the new songs echo our original ballads and love songs, while others capture current, topical vibes of the 21st Century. It also includes new songs that reflect the times we are living in now. It brings together again several great producers we have worked with in the past, including Smokey Robinson, Narada Michael Walden, Dennis Nelson and Thomas “TC” Campbell. Now, as divine grace would have it, we got another chance to collaborate again.”
The Temptations first performed with The Four Tops on the Motortown Revue Tours in the 60s. We really enjoyed being on the road together. Back in the day, back in Detroit we considered them competition. They had a sophisticated style and some fantastic moves on stage. Duke Fakir, a founding member of The Tops, and I go back as far as those very early days of Motown. I even remember seeing the Tops perform in Detroit back in fifties and I thought they were greatest, and still do.
One of most memorable experiences with The Tops was back in 1983 when we did the Motown 25 television special together. That network television special had to be one of the biggest events that year. Motown brought together many of its famous artists for the special, including The Supremes, The Temptations, The Four Tops, Marvin Gaye, Stevie Wonder, The Jacksons, Martha Reeves, and many others. Someone came up with the idea to have The Temptations and The Four Tops do a little singing battle during the show.
