Tag: Album

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Soul’s best kept Secret Alice Clark

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.

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My life long Lovestory with

Dusty in Memphis

Dusty Springfields finest recording

 

Dusty Springfield was one of the first British female superstars the prototype of every future singer who would emerge from Britain. Of course she is well known for her Super hit “You don`t have to say you love me” among other greats from that period. During her prime she had many memorably moments.

 

 

The look of Love title song from the Bond Parody Casino Royal (1967)

And yet another highlight from many highlights is


By 1968 Dusty released 4 full length albums in 4 years between Pop, Soul and Ballads. Her Song Spooky which was recorded on January 24th in 1968 and released on September the 4th in 1970 was her first step towards Dusty in Memphis.

In 1968, Dusty entered into a contract with Atlantic Records for the United States, which meant that she had a different record label for each side of the Atlantic (previously she had been signed to Philips both in the UK and the USA). Dusty’s new contract allowed Philips in the UK to release American recordings and Atlantic in the USA to release British recordings.

Jerry Wexlers (producer) describes how Dusty in Memphis came to life

Jerry Wexler with Dusty Springfield, 1969

It was arranged for Dusty to come to New York to begin preparing for the session. I began an intense hunt for songs that I could believe in and that prayed would please her. With the help of my assistants, Jerry Greenberg and Mark Myerson, we spent several months amassing a cornucopia of lead sheets, lyrics sheets, and acetate demos. In my zeal to provide her with the widest possible choice of material, we wound up with seventy or eighty songs.

I thought it would be comfortable for her to come out to Great Neck, where we could work without the distractions of a frantic record office. Dusty showed up at my door, and we went into my living room. We soon found ourselves ass-deep in acetates on tables, chairs, shelves, the floor. As I played her song after song, I was hoping for a response-would she like this one? If not, how about the next one?

Most of the day, and well into the night, I became first fatigued, and then spastic, as I moved from floor to player, then back to the shelves, the chair, and the tables, in what turned eventually into a ballet of dispair.

After going through my entire inventory, the box score was Wexler 80, Springfield 0. Out of my meticulously assembled treasure trove, the fair lady liked none.****

Dusty recalls this slightly different. In the early days of choosing material, she was sent a tape by Jerry Greenberg containing about 20 songs and from that tape she picked “Son of a Preacher Man” and “Just a little lovin'”

When doing research for the article I talked to Jerry Greenberg. He,stated clear that the song selection and presentation to Dusty was Jerry Wexler`s Job.

The Studio

The Muscle Shoals Studio Session which was booked  needed to be cancelt due to the delay of selection for the songs. Therefore Chips Moman’s American Sound Studio was booked. Her follow up band should be the Memphis Boys aka the Memphis Cats.Gene Chrisman (drums), Tommy Cogbill and Mike Leech (bass), Reggie Young (guitars), and keyboardists Bobby Emmons and Bobby Wood. The Sweet Inspirations the group on Dusty in Memphis were booked by Jerry Wexler himself.

Dusty in New York?

While Jerry Wexler often states that Dusty did not sing in Memphis, this is also confirmed in the Paul Sexton BBC Radio 2 documentary about the album:

We would have arranger make the charts on all the songs, but they were simple, almost simplistic. Because instead of regulation chord symbols they went by numbers, 1 to 7. My practice was to start the session at 1 o’clock in the afternoon and the musicians were ready with all of the songs on their music stands with the very simple chord sequences. That`s all there were; there were not arrangements, there were just chord sequences. This was the Southern way of recording that I had learned in Memphis and Muscle Shoals: to build the song organically what you did, you had the musicians start to play these chords, and just playing the cords, and just playing the chords the guitarist or keyboard man would come up with a lick or an idea, and after a while – it never took to long- a rhythm pattern would be established that would really be the basis of the song. And when the rhythm track was almost finished, in the penultimate moment, that`s where I would have the singer come n and start to sing so that he or she could modify what they were doing to particularly suit and accommodate the singers`s phrasing. Only one problem: Dusty wouldn`t sing. So we had to image it.

As Producer Arif Mardin recalls and as also the musicians confirm, Dusty did in fact sing in Memphis, but only enough to give the instrumentals an idea of what she might do, so that they could then “imagine it” and build their parts accordingly.

Also, as the musicians remember Dusty did in fact sing in Memphis:

 

Cover Art:

The Cover (US – Version) was done by Haig Adishian  one of Nesuhi Ertegun`s ( was a Turkish-American record producer and executive of Atlantic Records and WEA International)stable of graphic Artists.

https://www.discogs.com/artist/1717324-Haig-Adishian

Dusty about her different style of singing on the record in 1977:
“..that was never my real voice. It was a strain for that effect, all the
time a strain. I shouted and screamed because I believed with all my
naivete that that was the way to sing with soul.”
“And then, one day, I realised that I was crazy, putting myself and the
audience through this madness and risking my voice, so I took it down a key and I guess that the Memphis album showed me that there was no need to sing in a style other than my natural one.”

 

Just a Little Lovin’

From the Songs Dusty did chose were Son of a preacher man and Just a little lovin a while and mann song.

Just a little lovin’
Early in the mornin’
Beats a cup of coffee
For starting off the day

Was this one wasted as a B-Side? Dusty obviously liked this one as this the next to “Son of the Preacher Man” the most performed song from the Dusty in Memphis Album.

In my opinion this one is a perfect fit to be on a B-Side as Son of a Preacher Man which was initially rejected by Aretha Franklin.

From todays point of view I can`t say if this song as an a side might have been a hit. We’ll never know.

Barry Mann said about Dusty’s version of the song: “To me Dusty Springfield is one of the great female singers of all time. She has a voice like silk that can make your heart melt. Her interpretation of my song ‘Just a little Lovin’ is as good as it can get (and maybe even more).”*

  • “Just a Little Lovin'”, a 1968 song by Dusty Springfield from Dusty in Memphis, covered by several performers
  • Just a Little Lovin’, an 1970 album by Carmen McRae

 

List of released Version from this Song

https://secondhandsongs.com/work/22722/all

List of Dusty`s live performances:

Decidedly Dusty [show 2] BBC1 (edited from the show when aired)
The Andy Williams Show (NBC) 7 February 1970
The Dick Cavett Show (ABC) February 1970
The Dave Cash Show (BBC Radio 1) 4 October 1970
Live at the Roxal Albert Hall (not televised) recorded 3 December 1979

Released:

First US Release: Atlantic single #2580 (b-side of “Son of a preacher Man”)

US Release Date:  9 November 1968 as Single and 18 Januar 1969 on (album)

UK Release Date: 29 November 1968 (single) 18 April 1969 (Album)

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Linda Clifford Runaway Love

Linda Clifford rannte nicht weg vor uns und freute sich sehr darüber das Soultrainonline über sie berichten möchte. Die ehemalige Miss New York, die am 14. Juni 1948 ebenfalls in New York geboren wurde und heute zu einer der bekanntesten Stimmen der Disco und House Szene der 70er und 80er zählt hatte bereits mit 4 Jahren ihren ersten Auftritt vor Publikum.
„Als ich sieben Jahre war hatte ich sogar eine eigene wöchentliche TV Show in New York. „Ich habe Musik immer geliebt und fast immer gesungen. Ob ich in der Schule, bei Aufführungen oder zu Hause vor der Familie war“.

Ihre Professionelle Karriere begann mit Auftritten in kleineren Clubs und für die NAACP (National Association for the Advancement of Colored People), eine Organisation die sich der Förderung von afroamerikanischen Menschen in Amerika verschrieben hat.
Auf ihre Wahl zur Miss New York im Jahr 1966 blickt Linda nachdenklich zurück. „Die Menschen in den USA waren einfach noch nicht bereit für eine schwarze Miss New York. Wir haben sehr viel Hass-Post bekommen und mussten unser Haus verlassen“ Am Ende wurde der Titel angeblich wegen einer falschen Zählung aberkannt.

Ende der 60er Jahre spielte Linda in einigen Blockbustern mit, ihre Co-Stars waren unter anderem Clint Eastwood und Henry Fonda. Auf die Frage warum sie sich nicht entschieden hat eine Schauspiel Karriere weiter zu betreiben sagt sie einfach: „Vor einem Publikum zu stehen und zu singen macht mich glücklich, die Schauspielerei nicht.“
Ihre wohl erste wirklich professionelle Aufnahme stammt aus dem Jahr 1973 (It’s Gonna Be) A Long, Long Winter. Der Song stieg auch in die R&B Charts ein. Für Linda war es etwas ganz besonderes und ein unvergesslicher Moment ihren Namen in den Charts zu sehen. „Ich denke das erste Mal ist immer etwas Besonderes, oder?“
Um 1977 entschied sich Linda dafür, dass ihr ihre Auftritte in Nachtclubs nicht mehr reichen. Sie wollte eine weitere Stufe in Ihrer Laufbahn erklimmen. „Ich kannte nur ein Label in Chicago und das war Curtom Records.“ Das Label des legendären Curtis Mayfield, der nicht nur wegen seines Soundtracks zu Superfly jedem ein Begriff sein wird. „Ich stelle mich in deren Büro vor und schlug ihnen vor, dass sie sich meinem Auftritt im Playboy Club anhören sollten. Ein paar Tage später kam Curtis in den Club und eine Woche später hatte ich meinen Vertrag“
Wie war es mit Curtis zu arbeiten? Wenn du mit einem Profi wie ihm arbeitest, dann ist die Arbeit wie ein Spaziergang im Park. Curtis war sehr entspannt, so wie man es von jemandem erwarten kann, der so viele großartige Songs geschrieben und produziert hat.
Ihre erste Single „From Now On“ aus dem Album Linda war ein Achtungserfolg in den Clubs und bedeutete auch ihren musikalischen wandeln zur Disco Musik. Ich liebe die Songs auf dem Album einfach.

1978 war es soweit und sie toppte die Billboard Disco Charts 5 Wochen mit If my friends could see me now. Ich wollte diesen Song zuerst nicht aufnehmen, es hat einfach nicht klick gemacht. Dann hörte ich die Demo und verliebte mich sofort in den Song. Zum Glück war ich damit nicht allein.

Gerade zu dieser Zeit ereilte sie ein schwerer Schicksalsschlag, ein enges Familienmitglied starb und Linda dachte sie würde sich von diesem Verlust nicht mehr erholen. Es war ihr Mann Nick der sie darin bestärkte weiter zu machen. Diese Dankbarkeit drückte sie auch auf dem Cover der LP Here`s my Love aus. Dort dankt sie ihm mit den Worten „This album is dedicated to Nick for giving me the courage to continue “.

Eine neue Dekade deutet sich Ende der 70er Jahre schon an, Disco sollte langsam dem Pop weichen und viele Stars der Disco Szene sollten den Sprung in die 1980er nicht schaffen. Linda gelang das sehr gut, 1980 landete sie ihre zweite Nummer eins Hit mit „Red Light“. Red Light befand sich nicht nur auf ihrer Lp I`m yours sondern auch auf einem der erfolgreichsten Soundtracks unserer Zeit, Fame.

Disco-Musik wird von einigen belächelt, als nicht ernstzunehmend und ein kurzlebiges Phänomen. Linda liebt Disco Musik und sagt, es wäre Musik, die Menschen glücklich macht und sie zum Tanzen bewegt.

Capitol Records sollte 1981 ihre nächste Station werden und es entstand eine weitere Nummer eins Single, “Don’t Come Crying To Me”. Leider stammt Lindas letztes Album aus dem Jahr 1985.

Wenn sie auf ihre Karriere zurückblickt, gibt es viele Momente an die sie sich gerne erinnert. Sie empfindet es als eine große Ehre von anderen aus dem Musik-Business wahrgenommen zu werden. Vor kurzem hat sie die Billboard Dance Club Song List getoppt, sie war in dieser Liste gleich mit 4 Songs vertreten. Das war eine große Sache für sie. Des Weiteren hat sie vor kurzem einen Lifetime Achievement Award der Chicago Music Awards bekommen und ist bei den American Music Awards nominiert. Nicht schlecht nach 40 Jahren im Business sagt sie.

Auf die Frage wer ihr größter musikalischer Einfluss war sagt sie: Die „Queen“ Aretha Franklin, ich liebe aber auch Ella Fitzgerald und Gladys Knight. Ich könnte jetzt noch einige nennen.
Heute lebt Linda in Illinois, sie tritt immer noch auf und begeistert ihre Fans nach wie vor mit ihrer unverwechselbaren Stimme.

Welcher ist ihr Lieblings Song, den sie selber aufgenommen hat? Da muss sie nicht lange überlegen, es ist ‚Only the Angels Know‘, wenn man aufmerksam zuhört dann kann man Luther Vandross im Backround hören. „War er nicht ein großartiges Talent und Geschenk an die Welt?“, sagt Linda.

Auf die Frage wann wir mit neuem Material von ihr rechnen können sagt sie das sie noch auf das richtige Material und den richtigen Produzenten wartet.
Linda ist geteilter Meinung was das heutige Musik-Business angeht, es geht stark zu den Musikrichtungen der 70er und 80er zurück. Auf der einen Seite gibt es Künstler wie John Legend, und Alicia Keys, die Musik weiterentwickeln und auf der anderen Seite gibt es Musiker die schlicht kopieren.

Sie würde sehr gerne wieder nach Deutschland kommen, ihr letzter Besuch liegt schon lange zurück und sie hatte immer viel Spaß bei ihren Besuchen hier.
Abschließend bedank sich Linda bei ihren Fans, sagt das sie die gute Musik am Leben erhalten. Dafür das ihre Musik immer noch gespielt wird und für die viele Liebe die ihr die Fans entgegen bringen.

Für weitere Informationen besucht Lindas Webseite http://thelindaclifford.com 

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The Three Degrees (Album) A Masterpiece


[google-translator]
The Three Degrees

are an American female vocal group, formed in 1963 in Philadelphia, Pennsylvania. Although a total of 15 women have been a member over the years, the group has always been a trio.

Current Members:

Valerie Holiday, Freddie Pool and Helen Scott the Current Line Up

Helen Scott (1963-66, 1976-present)
Valerie Holiday (1967-present)
Freddie Pool (2011-present)

Past members:

Fayette Pinkney (1963-1976)
Linda Turner (1963)
Shirley Porter (1963)
Janet Harmon (1963-1967)
Sheila Ferguson (1966-1986)
Sundray Tucker (1967)
Sonia Goring (1967)
Miquel Brown (1986)
Vera Brown (1986-1987)
Rhea Harris (1987-1988)
Victoria Wallace (1988-1989)
Cynthia Garrison (1989-2010)

The current line-up consists of Valerie Holiday, Helen Scott and Freddie Pool. Holiday has been a member since she first joined in 1967, while Scott has been a permanent member since 1976, having previously been in the group from 1963-1966. The group has been most successful in the UK, were they achieved 15 top 60 hit singles between 1974 and 1998.

The original members were Fayette Pinkney, Shirley Porter and Linda Turner. Porter and Turner were soon replaced by Janet Harmon and Helen Scott. From 1967-1976, the line-up was Pinkney, Valerie Holiday and Sheila Ferguson, who would go on to sing lead on most of the groups biggest hits. This line-up was responsible for recording the first three (of seven) UK top 20 hits, including the 1974 single “When Will I See You Again”, which was a huge international hit, peaking at #2 in the US and topping the UK Singles Chart. When Pinkney left the group in 1976, she was replaced by a returning Helen Scott. This line-up had four more UK top twenty hits, including “Woman in Love”, which reached #3 in 1979. Ferguson left for a solo career in 1986.

The groups most stable line-up was from 1989-2010, with Cynthia Garrison joining Holiday and Scott. This trio gave the group their final UK chart entry, reaching #54 in 1998 with a dance cover of “Last Christmas”. Garrison was forced to leave the band at the end of 2010 for health reasons and was replaced by Freddie Pool in 2011.

They released 12 Studio Albums and three Live Albums.  I will review their second album, the self titled album “The Three Degree”. It was released in 1973 by their then new label Philadelphia International Records and it was produced by Kenny Gamble and Leon Huff.

1. “Dirty Ol’ Man” Kenneth Gamble, Leon Huff 4:33

2. “Can’t You See What You’re Doing to Me” Joseph B. Jefferson, Bruce Hawes 2:31

3. “A Woman Needs a Good Man” Bunny Sigler, Mikki Farrow, Marvin E. Jackson 4:19

4. “When Will I See You Again” Kenneth Gamble, Leon Huff 2:58

5. “I Didn’t Know” Bunny Sigler, Jean Lang 2:50

6. “I Like Being a Woman” Joseph B. Jefferson, Bruce Hawes 3:56

7. “If and When” Joseph B. Jefferson, Bunny Sigler 7:07

8. “Year of Decision” Kenneth Gamble, Leon Huff 2:42

Lineup on this Album:

The Album included three hit singles,  “Dirty Ol’ Man”, a #1 hit single in the Netherlands,”Year Of Decision” and the UK #1, “When Will I See You Again”. 

The album charted at #11 on the UK album chart.

The album was re-issued on CD in 2010, for the first time in the UK, by Big Break Records. This re-issue includes three bonus tracks including a 1977 remix of “Dirty Ol’ Man” by Tom Moulton.

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