was, without a doubt, still getting mileage out of his 1958 hit
LONELY TEARDROPS…
And supporting his latest effort STOP DOGGIN’ ME AROUND…
Jackie was supported by Dion And The Belmonts who were (unsuccessfully) trying to hang in there with covers like
IN THE STILL OF THE NIGHT…
Dion and the Belmonts were blown off the stage with acts like:
Elmore James with his latest single TALK TO ME BABY……
AND even The Vibrations, usually an uptempo group, with their bluesy 1960 release SO BLUE…
This was a SHOW
in Chicago's Regal Theater
in 1960!!!
THE USE OF ANY COPYRIGHTED MATERIAL IS USED UNDER THE GUIDELINES OF "FAIR USE" IN TITLE 17 & 107 OF THE UNITED STATES CODE. SUCH MATERIAL REMAINS THE COPYRIGHT OF THE ORIGINAL HOLDER AND IS USED HERE FOR THE PURPOSES OF EDUCATION, COMPARISON, AND CRITICISM ONLY. NO INFRINGEMENT OF COPYRIGHT IS INTENDED
The Supremes saw love come and go and turned it into The Number One Record On the R&B Charts with “Love Is Here And Now You're Gone”
Also on the R&B Chart:
On that same date, Another group of Motown Sweethearts reminded us what it was like when “The Hunter Gets Captured By The Game” by The Marvelettes...
And, Aretha Franklin, yet another of Detroit’s own, scored with “I Never Loved A Man (the way I love you)”
They were diggin’ Sister ‘Reath in Stockholm, too!
We were also listening to Philly’s Brenda Payton’s group, Brenda & The Tabulations, doing “Dry Your Eyes”
And of course “Jimmy Mack” by MOTOWN’S Martha Reeves & The Vandellas was on the R&B chart, too!!!
Cannonball Adderly was on the charts with “Mercy Mercy Mercy”
“With This Ring” by The Platters was on the R&B Chart on March 11, 1967...
As was “Why Not Tonight” by Jimmy Hughes
Sam & Dave had their soulful, bluesy “When Something’s Wrong With My Baby” on the R&B Chart that week...
And more MOTOWN LOVE was ON the air too with “It Takes Two”
by Marvin Gaye & Kim Weston
And Washington D.C. was represented on the R&B Chart with “Let's Fall In Love” by Peaches & Herb...
MARCH 11, 1967: NOT A BAD DAY ON THE R&B CHARTS, NOT BAD AT ALL...
Thanks goes out to The National R&B Music Society Inc. for some of the research and, OF COURSE, to the featured artists for
ANOTHER GREAT DAY
on the R&B Music Scene!!!
THE USE OF ANY COPYRIGHTED MATERIAL IS USED UNDER THE GUIDELINES OF "FAIR USE" IN TITLE 17 & 107 OF THE UNITED STATES CODE. SUCH MATERIAL REMAINS THE COPYRIGHT OF THE ORIGINAL HOLDER AND IS USED HERE FOR THE PURPOSES OF EDUCATION, COMPARISON, AND CRITICISM ONLY. NO INFRINGEMENT OF COPYRIGHT IS INTENDED
It was 1961 when Gladys Horton gathered some of her high school friends into a singing group that became the Marvelettes, laying the groundwork for her to sing lead vocals on a number of hits, including ”Please Mr. Postman” which became Motown Records’ first No. 1 hit.
Gladys died on January 26, 2011 in Sherman Oaks, Calif.
Ms. Horton was in a high school glee club in Inkster, Mich., outside Detroit, when she recruited three of her classmates — Katherine Anderson (now Schaffner), Georgeanna Tillman and Juanita Cowart — as well as a friend who had recently graduated, Georgia Dobbins, and formed a quintet. They called themselves the Casinyets (“Can’t Sing Yets”)
The “Casinyets” auditioned for Motown executives, including Berry Gordy Jr., the label’s founder, who were impressed but said the girls needed to come up with original material.
Berry Gordy at Motown
A friend of Ms. Dobbins, William Garrett, had just written a blues song, and with his permission Ms. Dobbins rewrote the song, about a girl aching for mail from her far-away boyfriend, casting it in a pop vein, though she kept the title, “Please Mr. Postman.”
Prior to recording for Motown, Ms. Dobbins left the group because her mother was ill and her father wanted her at home.
She was replaced by Wanda Young, another graduate of the same high school in Inkster, leaving Gladys to sing the lead vocals, including the memorable line “De-liver de let-ter, de sooner de bet-ter.”
Gladys Horton stayed with the group until 1967, when she became pregnant with her first child. She sang on a number of hit recordings, including “Playboy”
“Beechwood 4-5789”
and this reviewer’s favorite, the ballad “Forever.” Check out this version done as a duet with Marvin Gaye…
The girls had hits with several of Smokey Robinson’s tunes:
“Don’t Mess With Bill”
“The Hunter Gets Captured by the Game”
The origin of the Marvelettes is variously recounted in music encyclopedias and other sources, and they usually describe Gladys as a co-founder of the group. But in a New York Times interview with Katherine Anderson Schaffner, one of the original Marvelettes, Gladys was given full credit as being the founder…
“We only started singing together because Gladys asked us. Usually we’d go to Georgeanna’s house and play canasta.”—Katherine Schaffner
January 16th, throughout the 1950s and 1960s, turned out to be a pretty great day in
The Evolution of Rock ‘n Roll.
For instance on January 16, 1956, The Cadillacs reached #17 on the charts with the classic “Speedo”
One year to the day later a new music venue opens its doors in Liverpool, England. The Cavern Club opened as a Jazz club and The Quarry Men first played there seven months later--Four years after, they would return as The Beatles...
On January 16, 1959, a young cat from Memphis--Bobby "Blue" Bland--hits #2 on the R&B chart with the Duke Records release "I'll Take Care of You."
On that same date, a few years later (1962), a group out of Philly--The Orlons--reached #4 with "Don't Hang Up".
And it was on January 16, 1965 that "Too Many Fish In the Sea" by the Marvelettes charted at #25.
JANUARY 16, NOT A BAD DAY IN THE EVOLUTION OF ROCK ‘N ROLL…
How’s a guy originally from Pittsburgh (me, for instance) know so much about Blues and Jazz and Rhythm & Blues and Soul and all that became just good old ROCK ‘N Roll?
How couldn’t I know ALL about this thing called Rock ‘n Roll—I’ve been in it all my life!!!
AND, with venues like Tarentum, PA’s TARENA Roller Rink, cum Tarena Dance Club; and with mentors such as Porky Chedwick, Bob Livorio, Bob Mack, Mad Mike Metrovich and Terry Lee, I couldn’t miss!!!
That’s why I’m gonna TRY to post a set or two—TARENA STYLE (circa 1963 ~ 1966) every so often to hip y’all (Sorry, I live in Texas now) to where I came from and to what a lotta y’all missed—AND, to remind a lotta y’all what ya didn’t!!! Damn, that’s a lotta y’alls, whatta ya think you guys???
First up. Bill Robinson (NOT SMOKEY) and The Quails with QUIT PUSHIN'...
Back it up with BO...
Close the set with Smokey Robinson and The Miracles and ya got a classic first set at the TARENA--The joint that taught me about Rock 'n Roll...
“Harlem Nocturne” has its roots in late 1930s’ jazz and the big band era. While on the road with the Ray Noble Orchestra, trombonist/composer Earle Hagen composed “Harlem Nocturne,” and the song became a jazz standard.
Initially, Hagen
Earle Hagan recieving one of his several Emmys
wrote the song as a tribute to saxophonist Johnny Hodges, known for his solo work with Duke Ellington’s band.
In 1945, Johnny Otis recorded Harlem Nocturne as an early single on the Savoy label; and not long after that came a raft of cover versions by virtually every sax player in the R & B business.
There may be as many as 500 versions, making it one of the most covered songs in history. Among the many artists who have covered the song are: Duke Ellington, Harry James, the Glenn Miller Orchestra, the Lounge Lizards,Earl Bostic,Quncy Jones, King Curtis,
Boots Randolph, guitarist Danny Gatton, the Ventures, and others. It’s been estimated that there are at least 500 covers of this tune in circulation!
But it was the Viscounts, a New Jersey band, that put the song on the musical map in a new way in the late 1950s and early 1960s, adding a new twist – an eerie guitar echo effect
The Viscounts’ “Harlem Nocturne” was recorded in 1958. By January 1959, “Harlem Nocturne” was climbing the pop charts and had risen to No.52--Not a "smash hit" for sure, but it became a classic anyway!!!
Music critic Dave Marsh includes the Viscounts’ version of “Harlem Nocturne” in his 1999 book, The Heart of Rock & Soul: the 1001 Greatest Singles Ever Made.
The Uptown Theater on Broad Street, Philadelphia, was a major venue on the "chitlin circuit" from 1951 to 1978. .
On Dec 02 1961 Jocko Henderson brought in groups out of Detroit, New Orleans, LA, and, of course, Philly
The Miracles, a young group on a young label, represented Motown with their hit tune “Shop Around”
L.A. was represented by The Vibrations, a group which initially began recording as The Jay Hawks, and had a hit in 1956 with "Stranded in the Jungle" (which hit #18 on the US Charts and became a huge hit by The Cadets the same year).
After a few lineup changes, the group hit again in 1961 with the song "The Watusi" (US #25);
concurrently, they had a hit under the name The Marathons with "Peanut Butter" which hit #20...
The Blue NotesWhile most people attribute the name Blue Notes to the 1970's group of Harold Melvin and Teddy Pendergrass, it was Roosevelt Brodie, Franklin Peaker, Bernard Williams, Jesse Gillis, and Sam Salley (or Sally) that first formed the group back in the mid 1950's and made some of its most memorable recordings.
and Joe Tex (and His X Classmates) coming in from New Orlean's ACE Label —This was WAY before the “Skinny Legs” Joe Tex
Another landmark concert in the EVOLUTION OF ROCK ‘N ROLL…
Nat Perrilliat and his sax gettin' props from Smiley Lewis!
Nat Perrilliat, an incredibly talented and sought after sideman was born November 29, 1936, in New Orleans, Louisiana.
Nat was one of the finest players in New Orleans in the 1950s.
Nat recorded with Jesse Hill,
Ernie K-Doe,
and Irma Thomas.
Perrilliat also recorded with the Nat Adderley Sextet,
Roy Brown,
Champion Jack Dupree,
Barbara George,
Clarence “Frogman” Henry,
and of course with Smiley Lewis,
Professor Longhair,
and the legendary Allen Toussaint, doing session work with the various acts produced by him....
Nathaniel Perrilliat didn’t begin playing the saxophone until he started attending Joseph S. Clark High School. He practiced constantly, always challenging himself to play tunes at “unbelievable tempos,” and honed his chops performing at talent shows at the Caffin Theater in downtown New Orleans.
Perrilliat got his first professional gig with the New Orleans legend, pianist Professor Longhair.
Nat also went on to tour with Roy Montrell
In the early 60s, Perrilliat joined the Ellis Marsalis Quartet, recording the seminal album, Monkey Puzzle.
Again Nat went on the road with Junior Parker,
Joe Tex
and Fats Domino.
In the late 60s he was injured in an automobile accident with other members of the Fats Domino Band. He ultimately died of injuries sustained in that crash.
R.I.P. NAT PERRILLIAT: LEGENDARY NEW ORLEANS SAX MAN
