Philly sound

HOW PHILLY BECAME THE EPICENTER OF BLACK MUSIC The passionate team behind the highly acclaimed Northern Soul magazine There’s That Beat!, presents here in over 690 lavishly designed pages, their in-depth investigation of how Philadelphia became the hottest city in the American pop music industry, not only once, but twice!

This meticulously researched book tells the remarkable story of the music entrepreneurs, record labels, recording studios all of which contributed to what became known to the world as The Philly Sound, all beautifully presented in full, sumptuous, coloured detail including a multitude of rare Soul/R&B discs and loads of vintage photographs and memorabilia.

A quality point of reference and a magnificent book for any serious Soul music fanatics as well as a must for every true Northern Soul record collector!

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The There’s That Beat! Guide to

THE PHILLY SOUND Philadelphia Soul Music and its R&B Roots: From Gospel & Bandstand to TSOP

Dave Moore • Jason Thornton

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C H APT E R T W O

Under The Street Lamps

The Street Corner Quartets • Doo Wop • Gotham Records • Lee Andrews and The Hearts • The Revels • Chitlin’ Circuit • Doc Bagby • Jamie Records Alongside the emerging Rhythm and Blues sound which incorporated the big band explosion so popular in the 30s and 40s, a simpler, more basic sound of black America was about to spill onto the recording scene of most major US cities. Philadelphia however, some would say could rightly lay claim to the spiritual home of this music. Based on sparse arrangements, limited instrumentation and a strong vocal element, the sound of the barbershop quartets merged with black tin pan alley creating a sound based on exquisite harmonies, that would caress American’s still segregated radio airwaves like no previous black music really had. The age of Doo Wop had arrived.

Usually consisting of four part close harmonies, often sang acapella, the Doo Wop age can be traced as far back as the 1940s with groups like The Ravens and The Ink Spots using bass and tenor voices in support of each other, but it really began to influence the musical landscape in the early fifties, just before Rock N Roll began to dominate the US airwaves. Groups with romantic sounding names like The Ink Spots, The Moonglows, The Heartbeats, The Valentines, Little Anthony and The Imperials and The Solitaires created a whole new genre of US music that would capture the charts and the record buying public. Many US cities lay claim to the invention of the style and Philadelphia’s claim is as strong as any other with groups like Lee Andrews and The Hearts, The Castelles, Turbans and The Starlighters (featuring an, as yet unknown, Van McCoy), enjoying differing amounts of success in the area and beyond.

Across many cities of the US, groups of young teenagers could be found in the evenings singing on street corners and in local community buildings developing their voices in harmony. This harmonising became the bedrock of the sound and acapella groups were in such abundance that competitions were held in order to ascertain who was the best vocally. This in turn led to more groups being formed and the genre rolled along like a semi truck until every teenager in the neighbourhood, if he wanted to ‘be’ somebody at least, simply had to be in a singing group.

Many of the soul stars of tomorrow, from New York in the East to Los Angeles in the West and all points between, would start their careers in groups with these humble beginnings beneath the neighbourhood streetlamps.

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Philadelphia’s Doo Wop heritage runs deep. The genre is steeped in acts that recorded records that have become very much sought after items. As far back as 1954 records like The Capris – “God Only Knows b/w That’s What You’re Doing To Me” – Gotham 7304 would combine the lyrics of a Gospel song with sparse harmonies and create a unique, if rather depressing sound. These Capris shouldn’t be confused with the Californian group of the same name. The Gotham Record company would, in addition to releasing many of the city’s Gospel outings, release many of the early Philadelphia doo wop group records including records by The Gazelles, The Whispers, The Kings and of course Lee Andrews and The Hearts. Guyden was another label that released many of today’s most sought after doo wop records. The Sundials – “Chapel Of Love b/w Whether To Resist” – Guyden 2065, released in 1962 is a great example of how doo wop had maintained its following, as record collectors were still hypnotized by the sweet harmonizing and sparse instrumentation and the record is still in demand 50 years later! The Arlen record company would later release a few soul dancers in the late 60s, but their pedigree as a doo wop label was secured by their earlier releases including The Companions – It’s Too Late b/w These Foolish Things – Arlen 722, which also received a release on Gina with the same catalogue number #722. The transition of many artists through the genres would result in many acts having their recordings sought after by differing groups of collectors.

Here we take a look at a few of Philadelphia’s sons and daughters who started out in this harmonizing vein and would go on to gain acclaim as soul stars too, thus bridging the gap between the styles and in some cases almost enjoying two separate careers because of it. Many local groups like The Revels which featured a young Billy Jackson, and Herb Johnson of The Impacts, would hone their craft as singer/songwriters that would, less than a decade later see them write, record and produce quality soul records, not just for their own releases but also for a myriad of other acts. The Revels were recording as early as 1955 with “You Lied To Me” which got them a release on Sound Records and the group also enjoyed success with a couple of doo wop novelty smash hits in 1959 with “Dead Mans Stroll b/w Talking To My Heart” – Norgolde

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103 and “Foo Man Choo b/w Tweedley Dee” – Norgolde 104. The Norgolde label was owned by Harold Nussbaum who went by the name Hal Norton and Bill Goldstein which led to the logo Norgolde Records. The Revels line-up included a certain young man named Billy Jackson who, a decade later would write, record and produce some of the seminal 60s soul sides to eminate from his home town. Another future Philadelphia soul star who’s doo wop pedigree would provide his musical apprenticeship was Herb Johnson. Herb Johnson would release his early doo wop influenced records on many luminary Philly labels. His records on V-Tone, Len and Swan for instance are very much sought after by doo wop collectors whilst fans of soul music hunt his 45 outings on Toxsan, Arctic and Brunswick amongst others. Rather than tell the stories of Messrs Jackson and Ward here, there will be more on the lives of these two Philadelphia soul stalwarts in later chapters.

As the highly stylised genre evolved, it wasn’t only the traditionally male dominated, barber shop sound that enjoyed popularity.

Philadelphia’s female singers would also leave their mark on the charts during this specific era with groups like Patti Labelle and The Bluebelles, and The Sensations (featuring Yvonne Baker), riding high in the charts on a regular basis. One of Philadelphia’s more famous sons of this era would go on to release a couple of much sought after records amongst the soul fraternity: Little Joe Cook.

Joseph Cook was an only child born into a family with musical leanings, on 29 December 1922. His mother, Anna Bell was a local blues singer who appeared with Bessie Smith and Big Maybelle amongst others. Raised by his grandmother, a local preacher, the young Joseph was soon singing in church and as he started his teenage years he became, along with his cousins, a member of the Montgomery Gospel Singers. The group performed in the local and the wider area churches until a move to North Philadelphia in 1940. The group developed their Gospel sound and eventually adopted a new name: The Evening Stars. Like many of their generation, the rumble of World War Two would interrupt their musical aspirations but on completion of their service in this conflict, the family members reassembled

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C H APT E R T H R EE

Rock n Roll: Bandstand And The Birth Of A New Beat Origins of Rock n Roll • The First 45s • The Electric Guitar • Otis Blackwell • Big Joe Turner • Alan Freed • Dick Clark • American Bandstand • The Teenage Phenomenon • Teen Idols As discussed in the previous chapters, black music was under constant development and was integrated musically with certain aspects of white music as it evolved into what became known as Rhythm and Blues.

The Rock N Roll phenomenon enjoyed by millions of world-wide music fans didn’t just explode overnight with the likes of Bill Haley, Jerry Lee Lewis or Elvis Presley. It was an amalgamation of a number of aspects of American life, technological advancement, continued migration of the population and developing civil rights issues and all this provided a melting pot that would produce the epitome of US teenage music during the era. Rock n roll came of age during the birth of the teenage phenomenon but its origins were firmly rooted in the culture of black America.

As the second half of the 20th Century got underway, the great consolidation of black migrants from the Southern States had taken a firm hold on communities in all the Northern major cities, whilst the United States was simultaneously undergoing a boom period as an economic power.

Post World War Two America was changing at an unprecedented pace. The recent War had seen major industrial developments and inventions come to fruition that, even 20 years previously, would have been unimaginable. As the population settled down after the turmoil of fighting wars on two fronts, the population known as The Golden Generation was looking to enjoy this post war posterity in all its aspects.

Significantly, the role of women had also changed drastically, no longer the demure stay at home Moms they were in the 30s, the image of ‘Rosie The Riveter’ was still fresh in people’s minds and in 1948, President Harry Truman won a memorable victory to gain a second term of office with his ‘New Deal’ reforms. On completion of his tenure, as he handed over the reigns to the country and stepped down, the new President, WW2 hero, Ike Eisenhower took post and presided over a period of prosperity and stability that most citizens of the US would enjoy. There was however, still simmering discontent in many communities South of the Mason-Dixon Line.

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The ‘Black Codes’ or Jim Crow Laws ensured that many civil rights already legislated for, were in fact, either being ignored or trampled over by the governing bodies of many Southern States. [1] Many blacks found that they were still alienated from their rights to take part in the American Dream and voting, education, housing, welfare and health were all areas that still encapsulated the ethos of segregation-ism that had been abolished over half a century earlier. As Eisenhower started his second term in office, he instigated the first Civil Rights legislation relating to racial discrimination, having identified that the emerging Communist regimes were using the US’s poor record to attack the hypocrisy of America in propaganda terms. In 1954, The US Supreme Court ruled that segregation within schools was unconstitutional and was to cease. The ensuing refusal in 1957, by the Arkansas Board Of Education, to desegregate the Little Rock Central High School would lead to Eisenhower’s decision to deploy the Arkansas National Guard (101st Airborne Division) to enforce the admission of nine black students. This is seen as a landmark episode in the timeline of Civil Rights.

It was against this background of white stability and the resistance to black advancement that the next major musical influence on the world would take place. Rock N Roll.

The definitive origins of rock n roll depend on who you ask and what point of view you adopt. Most pundits would agree though, that the styles of music already mentioned within these pages, all contributed to the musical cauldron that would produce rock n roll and that it’s immediate predecessor was Rhythm and Blues, first developed by Southern musicians in States such as Tennessee, Louisiana and Georgia. Although in today’s parlance the phrase Rock N Roll is invariably tied to the music style first created in the 1950s, the first recorded connection to the phrase was 30 years earlier. Noted jazz performer Trixie Smith’s “My Baby Rocks Me With One Steady Roll” recorded in 1922 is generally acknowledged as containing the initial phrase, which was a metaphor used by black communities for sexual liaisons.

During the immediate post World War II era a couple of important events took place that would ignite a whole new industry in relation to American music. The first of these pivotal events was in 1946 when, the already strongly established King Records in Cincinnati, made the business decision to record the new sounding RnB songs, thus laying the foundations for others to follow. A year later, two fans of black musical styles in the forms of Ahmet Ertegun and Herb Abramson would establish what would probably be accepted as the biggest and most influential record label releasing black music in the history of the genre: Atlantic Records. In addition to King in Cincinnati and Atlantic in New York, Chicago brothers Leonard and Phil Chess would, in 1949 establish the third prong of the new black music triumvarite with Chess Records. And so, by 1950 the sound of black RnB artists could be found being recorded in quality built and operated studios around the country.

The second pivotal event would be undertaken by a company that was seen to be slow in developing its black A&R roster even though it was a prominent player in the musical industry. It did however contribute probably the most powerful technological invention to the emerging teenage market that would ensure a whole

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generation of young fans to take US music to its heart. In 1949, RCA Victor introduced the new format of a 45rpm vinyl record and to compliment this new invention, offered a cheap, well built record player to play the new format on. This new, cheaper 45rpm format replaced the larger, more delicate 78rpm, was manufactured from a much more robust material: vinyl, and allowed a generation of teenagers to not only harness its mass of buying power but also enabled them to take music with them to each others homes, parties and eventually record hops etc. The first 45rpm single ever released was RCA Victor’s new ‘vinylite’ record Eddy Arnold – “Texarkarna Baby b/w Bouquet Of Roses” – RCA 45-0001 which was also issued as a 78rpm. RCA opted to categorize its 45 releases with colored vinyl. These colored vinyl 45s denoted Country and Western – Green, Classical – Red, Popular – Black, Rhythm and Blues – Cerise, Popular classic – Midnight Blue and Children’s Records – Yellow.

During the early 1950s the sound of black RnB could be heard echo-ing from the black areas of towns all over the country. The first radio station to play music specifically aimed at a black audience was WDIA in Memphis in 1948. Most of the presenters on the station were black but the station was owned and managed by a white company. In 1949, the first black owned radio station hit the airwaves of Atlanta when Jesse Blayton, a successful black businessman, bought a failing white owned station (WERD) and installed his son Jesse Jr as manager.

The venture was a huge success although only pumping out 1000 watts over only 14 counties the WERD station turned an $18,000 yearly loss into a profit in its first 6 months.[2] Radio stations were now looking to employ black DJs in order to exploit this emerging market and famous innovators like Jack “The Rapper” Gibson (WERD, Atlanta), Douglas Wendell-Henderson Jr (WBAL, Baltimore), Herb Kent (WGRY, Gary, Indiana), Georgie Woods (WDAS, Philadelphia) to name just a few, started to become influential as Rhythm and Blues music became more popular.

The airwaves in the early 50s would be filled with exciting new music from street quarter quartets reminiscent of the barber shop style to the newer rough edged dance style and everything in between. But it was the uptempo, black dance orientated songs that captured America’s ear. Music from originators like Clyde MacPhatter, Big Joe Turner, The 5 Royales, The Orioles, Ruth Brown, Johnny Ace, Fats Domino, Five Keys and The Clovers start to hit the newly formed Billboard RnB charts and although only accounting for 5% of all records sold in 1953, record companies identify that RnB is here to stay and that it’s also being appreciated by white audiences.

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C H APT E R F I VE

Cameo-Parkway: The Rise And Fall Of A Philadelphian Empire

Ascendancy of Philly • Bernie Lowe, Kal Mann, Dave Appell • Dance Crazes • Chubby Checker • Joe Tarsia • Dee Dee Sharp • The Tymes • Eddie Holman • Bunny Sigler The story of Philadelphia’s rise in the world of music is intrinsically linked to many record companies. It wouldn’t be challenged by any Philly fans to state that in fact the city enjoyed two distinctly separate periods of success, one during the initial rock n roll era and later with its development of disco music of the early 70s. But there is one company whose name constantly weaves in and out of the story, the one company that emerged from the pack and became the city’s Mecca for aspiring writers, producers, singers and musicians. The company would dominate, not just the Philly musical landscape but would also become iconic in America’s pop music development. From the early rock n roll hits, the Italian crooner successes, the dance craze fever that gripped the US, there was one company that sat right at the heart of it. Eventually expanding to produce one of the most eclectic catalogues of any single record company, it would lead to many rarities being sought out by soul collectors on both sides of the Atlantic. From novelty songs to deep soul ballads, the company recorded just about every genre of music available. Many of its early employees who worked behind the scenes, would also hone their skills there, before blossoming within their own projects and companies. At its peak, the company would eventually enjoy the status of being the largest independent record company in America. It was started by two white, aspiring middle aged songwriters in 1956 and after operating from a basement for a short time, originally had an office and studio facilities housed on the sixth floor of 1405 Locust Street: At this chosen location for its recording sessions, two studios were created and engineers hired. With a studio in place, the originally selected chosen name for the company was… Cameo.

“They built two studios which were state of the art at the time. The large studio A, which was at the rear, had floating floors and extremely thick walls. It was reminiscent of Bell Sound in New York” – Bobby Eli Comprising two main labels Cameo and Parkway, the first label, Cameo, was originally founded by Bernie Lowe and operated from his basement at Tulpehocken Street in the Mount Airy section of the city, where he was soon joined by Kal Mann in December 1956. The pair were soon joined by an ex US Naval Bandleader, Dave Appell and the trio were soon amongst the most prolific record producers in the city. Although started in order to capitalize on the rock n roll explosion taking place country wide, the labels would eventually see a depth of soul releases probably unrivalled, in terms of quantity at least, by any other label in the city until Gamble and Huff’s ascendancy at Philadelphia International Records. The roots of Gamble and Huff’s PIR empire, reach back to a number of companies and individuals and in the case of Cameo-Parkway, they reach deep.

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Bernard Lowenthal was born 22 Nov 1917 in Philadelphia. His parents were of Lithuanian/Jewish descent and he had three siblings, all sisters. The young Bernie, as he was known, was trained to play piano, a skill that would stand him in good stead later in life. His parents saw through the depression, working wherever and however they could and eventually, landed in Virginia where, during World War II, in 1943 Lowe married his wife Rosalind and subsequently headed back to Philadelphia looking for employment.

His first foray into the musical world of Philadelphia came when, thanks to his formal musical training, he was offered the job of Musical Director/Bandleader on The Paul Whiteman TV Teen Club show. [1] It was whilst at this position he met and befriended an up and coming DJ/Announcer at the TV station, (WFIL), where the show was produced, a young Dick Clark.

Lowe started a record company and secured the services of his first artists, Freddie Bell and The Bellboys, in 1955. Whilst working with this group he asked the leader of the group, Ferdinando Dominick Bello (Freddie), to take a look at reworking the Willie Mae ‘Big Mama Thornton’s lyrics of the song ‘Hound Dog’. Replacing some of the more risqué double entendres with what, at first glance, appear to be squeaky clean lyrics, the song was released as the first on Lowe’s new label as Freddie Bell and The Bell Boys – ”Hound Dog b/w Move Me Baby” – Teen 101. The release was a semi hit locally and secured the group a twenty two date tour of the Midwestern States, which in turn resulted in a booking from Jack Entratter at his Sands Hotel in Las Vegas. Legend has it that whilst Elvis was playing the nearby New Frontier Hotel he’d heard about the group’s dynamic show and stopped by to catch their performance. On meeting the guys, he congratulated them on their show, was particularly enthralled by their version of Hound Dog and asked if they’d mind if he recorded his own version of the song.

The rest as they say…is history. Freddie and The Bellboys went on to record for Mercury Records among others and toured extensively around the world during the rock n roll boom and the group would go on to appear in the film Rock Around The Clock with Bill Haley, the first feature length rock n roll film.

Frankie Brent, a member of the group eventually settled in New Orleans, continued performing and then subsequently operating Frankie Brent’s Club in the French Quarter and was once voted King Of The Mardi Gras, a much vaunted honour. Lowe sold the Teen label shortly after the success with Freddie and The Bellboys.

Lowe was an ambitious songwriter and he, along with a friend, used their GI Bill entitlement and set up a music school, teaching piano. It was at this venture that Lowe would meet fellow West Philadelphian, Kalman Cohen the man who was set to become his long time songwriting and business partner.

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Kalman Cohen was born 6 May 1917, also in Philadelphia and whilst Lowe was making his living on the Paul Whiteman show, Cohen was earning his daily crust as a comedy writer. He’d furnished material for comedians of the day like Danny Tomas, Red Buttons and Jimmy Durante. It was through his writing that he figured if he could write comedy, he could write song lyrics. This thought process led him to search out a music school at which to learn the other 50% of skills required to write songs. That school was of course operated by Bernie Lowe. The pair became friends and with Lowe’s musical technical ability and Cohen’s emerging talent as a lyricist, the pair formed a songwriting partnership.

With a name change to Mann, Lowenstein and Cohen became Lowe and Mann. A pair of names that would grace Philadelphia record labels, teenage record collections and thousands of jukeboxes for the next two decades.

The first success the pair enjoyed was in 1955 when they scored with Nat King Cole – “Take Me Back to Toyland b/w I’m Gonna Laugh You Out Of My Life” – Capitol 3305. The song is almost a too naïve, sugary Christmas season lullaby, that anyone bar Nat King Cole probably wouldn’t even have attempted but it gave the fledgeling Lowe-Mann partnership a great start, as it debuted in the pop chart on New Year’s Eve 1955 and stayed in the Top 100 for seven weeks peaking at #47. The success that would bring national acclaim was yet another Elvis Presley connection. Elvis Presley – “Teddy Bear b/w Loving You” – RCA Victor 47-7000, was a Lowe – Mann collaboration that was published by Elvis’ own publishing company Gladys Music (named after his mother) and saw a Lowe-Mann composition sit atop the country’s charts in every genre, RnB, country and pop. It became a worldwide smash hit and sold in the millions. Both men wrote most songs under their own names but also wrote under other ‘Nome de Plumes’. Appell’s work can be found as John Sheldon and Lowe’s as Harry Land.

Dave Appell would take on many roles at Cameo-Parkway records, including songwriter, arranger, musician and bandleader and would go on to play a large part in the success of the company. He was an experienced musician and recording artist in his own right, having recorded with his own group The Dave Appell Four for Decca, before changing the group’s name to The Applejacks and returning to Philadelphia. He was regularly to be found as musical director around projects within the city and was the musical director for the Ernie Kovacs TV shows and a number of radio shows. Both Appell and The Applejacks were hired by Cameo to play backing vocals on a number of early Cameo sessions including Charlie Gracie’s early successes and Bernie Lowe also employed Dave Appell on a fifty dollar a week retainer as an arranger for the labels output. Appell learned fast and was soon, also picking up the duties of engineer, producer, backing singer arranger and eventually took on an A&R role.

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CH APT E R ELEVE N

Message In The Music: The Sound Of Philadelphia International

Kenny Gamble, Leon Huff and Thom Bell: Mighty Three Music • Excel Records • Huff Puff Records • The Intruders • Gamble Records • ‘The Sound Of Philadelphia’ • The O’Jays • Neptune Records • Harold Melvin and The Blue Notes • Jerry Butler • MFSB • Philadelphia International Records When the all encompassing and luxurious string arrangement slides you into the accompanying handclapping and hi hat intro of McFadden and Whitehead’s million selling “Ain’t No Stopping Us Now” or the rolling lilt of Leon Huff’s hypnotic piano, prior to the 4 sec break that occurs before the bongo and strings introduction of those immortal staccato words, “What They Do?” on the The O’Jays “Back Stabbers”, you know that something special is in the air. Or when Ronnie Baker’s exquisite bass enters the fray on Harold Melvin and The Blue Notes’ “The Love I Lost” or when that pinnacle of gossamer like percussion that eases an equally deft accompanying violin on Lou Rawls “You’ll Never Find Another Love Like Mine”. There’s a straight forward explanation why these records sold millions of copies. They are, quite simply, tremendous soul records. Viewed from any perspective, records that capture a generations imagination, as well as a fair chunk of their disposable income like the ones mentioned did, deserve their place in history and, alongside Motown’s catalogue, it’s a credible claim that Philadelphia International Records ranks at the very peak of black music’s contribution to the legacy that is American music. With music that would still be played, revered and collected 40 years after its creation and, having garnered fans of the music that came out of Sigma Sound and 309 S. Broad St in the late 60s early seventies, from all over the world, it’s time to acknowledge how that music developed as it did. We know how it got its start, who the creators were and how they all contributed to its early development. The previous chapters have recorded the innumerable contribution to the city’s vibrant popular music culture via gospel, blues, rock n roll, RnB and eventually arriving at the rise in popularity of soul music itself. With a series of chance meetings, a network of mentors, an existing musical base to build on, a determination and drive to succeed and the spark of a musical imagination that would eventually light up the city, Philadelphia International Records was the zenith of what was a myriad of intertwined lives, a potpourri of both black and white contributions, both musically and technically and all these pieces of the musical jigsaw arrived at the culmination that would create what became those revered words. Words that would eventually grace a label themselves: The Sound of Philadelphia.

The foundation of Gamble and Huff’s musical house were laid when Kenny Gamble and Leon Huff first met against the backdrop of late fifties big city America. Born into a country that had racial glass ceilings and in some cases, medieval portcullis style obstacles to success, the pair would reach the very pinnacle of the music industry and rival Berry Gordy as black America’s most successful business. Grammy’s, AMA Awards and accolades from just about every musical organization of influence would come their way. Their musical success transcended most

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people’s dreams and would be measured in gold and platinum terms by RIAA as well as achieving head spinning financial success. And it all started in a small row house in Camden, New Jersey, across the Delaware River from where their greatest triumphs would come to fruition.

Leon Huff entered the world on 8 April 1942 in Camden, New Jersey as America steeled itself during World War Two. His father was a local blues guitar playing, local barber and his mother played gospel piano. Raised in the Centerville section of the city, Huff’s earliest musical experiences were centred round his home and school.

His mother played the piano at 19th Street Baptist Church Choir and the young Leon was practicing on that instrument only 5 years old. As Elementary school gave way to High School it was the drums that enticed Huff and he mastered that kit as well. With lessons from school and a few private lessons but without any real formal musical schooling, he had managed to become a competent piano player and, still in his pre teens, had held his own in a number of neighbourhood groups. Listening to the radio and hearing the rock n roll of the day inspired Huff to join a group called The Dynaflows and the group played around the Camden area winning a slew of talent shows. Leon related to Tony Cummings that when he was a young teenager “there was a teenager in Camden called Sugar Cane Robinson, who played a thing called the boogie woogie. He played The Earl Theater”. Whenever Robinson played there the young Huff would sit in the audience, mesmerised by Robinson. At the same time the erstwhile young musician became a member of his high school marching band at Camden High School situated at 1700 Park Boulevard. Developing all the rudimentary skills of music via his school activities, live shows, radio and playing records of the day, the future musical guru was laying the foundations for a life in music. [1] On graduating High School, Leon Huff began work in a neighbourhood clothiers. With his passion for music starting to burn even more intense he began writing songs, practicing the piano and looked for an avenue to display his talents. Alongside Huff at his clothes store job was Dickie Burch. Burch worked with few local groups and was using Huff as a piano accompanist. Leon was also now playing with a group called The Lavenders and was appearing regularly at venues in the area with them.

One of Huff’s earliest recordings happened with The Lavenders in 1961, which they managed to get released. The Lavenders – “Angel b/w The Slide” – CR 103 was an early Jerry Ross production of a song written by his partner Murray Wecht. It wasn’t long before Huff crossed the river looking for an initial opening in the recording industry as a pianist.

That search led him to the Shubert Building on Philadelphia’s 205 N Broad Street where he met a number of people who would use his talents and provide an initial apprenticeship as a session musician. Weldon A McDougal III was coming off a decent hit with his group The Larks and offered Huff initial sessions which the aspiring musician accepted. John Madara who also ran his operation from the Shubert Building utilised Huff’s piano skills and eventually signed him to his company as a songwriter.

In order to make enough money at his new profession, Huff would arrive at the door of that other building that so many songwriters and aspiring musicians inevitably gravitated to, The Brill Building in New York. Initially New York proved more of a fertile ground for the pianist and he enjoyed a number of successful sessions that resulted in chart entries whilst there. Phil Spector hired him to play on The Ronettes – “Baby, I Love You b/w Miss Joan And Mr Sam” – Philles 118, a gig that led to him also contributing to Spector’s legendary “A Christmas Album For You” – Philles LP (# 4005). It was an experience that Huff would later recall thus, “I became friendly with the engineer, Brooks Arthur; he would let me come into the studio. A lot of musicians weren’t allowed inside the control room. So I used to go into the studio and watch Phil work. Phil Spector was amazing, he was coming up with that Wall of Sound music that was tearing the music charts up at that time.”

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Commuting between Philadelphia and New York would enable Huff to work with musical movers and shakers in both cities. It was through his association with John Madara and David White’s Shubert Building operation that he met Jeff Barry and Ellie Greenwhich, Jerry Leiber and Mike Stoller and ended up playing on such successful hits as The Ad Libs – “The Boy From New York City b/w Kicked Around” – Blue Cat 102.

Meanwhile back in Philadelphia his reputation was also growing.

Not least from the success of his work for Frank Bendinelli and Leroy Lovett on Patty And The Emblems – “Mixed-Up, Shook-Up, Girl b/w Ordinary Guy” – Herald 590, a disc that had given Huff his first ever chart placing despite being omitted on the writing credits when it slid into the Top 40 at #37. Encouraged by John Madara (who had signed Huff to a 50% joint copyright deal of all songs Huff wrote), Huff wasn’t just developing his songwriting style but also sucking up all the techniques of record production he could. As he established himself as a songwriter and musician, Leon Huff immersed himself in music. One aspect of this was his constant look out for opportunities to better his knowledge and broaden his skills. There was a buzz around the New Jersey area about a band that were creating great live music although they hadn’t had a hit record and Huff set out to take a look/listen.

Loretta’s High Hat night club on East Evesham Road in Camden was part of an area of black entertainment clubs that swayed to the rhythms of black music in the sixties. It had already reverberated to the jazz, blues and rock n roll genres and on warm summer evenings, would attract people from nearby Philadelphia and even as far as New York with its clubs and entertainment centres that included swimming pools, picnic areas and amusement park and hotels. It was at Loretta’s High Hat that the two future musical movers that would be responsible for 22 Gold (8 Platinum), albums and 15 Gold singles would first set eyes on each other. The Romeos, a group that two aspiring singers had originally established in 1959 comprised Roland Chamber (guitar), his brother Karl (drums), Winnie Winford (bass), Tommy Bell (keyboards) and a lead singer called Kenny Gamble. That night would change both men’s lives. Gamble, fronting his mohair suit draped band that was chock full of quality creativeness blew Huff away. Playing hit songs of the day, the band would stamp their own uniqueness on the songs and the audience, especially the females amongst the crowd, responded to Gambles’ impassioned lead vocals with gusto. Huff wanted in. Jerry Ross, who was conducting his Jerry Ross Associates from the sixth floor of the Shubert Building, also offered Leon session work as he was starting to hit it off with a local songwriter that Huff had already heard about via his group The Romeos, called …Kenny Gamble.

The two young, black, aspiring record producers were now working in the same building. Huff pestered Gamble to get him into the group whilst he was playing with a group called The Strangers and developing his songwriting and producing techniques under the guiding hand of Madara/White. Gamble was doing the exact same thing alongside Ross and the DynoDynamic team. When Tommy Bell left the group to take up a position managing Chubby Checker’s band, a position for a pianist with The Romeos opened up and Huff was onboard.

Kenny Gamble’s life began just over a year after his future compatriot when he was born in the impoverished area of South Philadelphia on 11 August 1943, the middle sibling of Ruby Gamble’s three sons. [2] The young Kenny, along with brothers, Carl (younger) and Charles (older) were born and spent their early years in a row house at Christian Street in South Phildelphia and although they were raised without their father, were normal average neighbourhood kids. In 1956 the Gamble family moved across the Schuylkill River to West Philadelphia and although there were pockets of integrated housing the city was still mainly separated along racial lines. A local barber shop known as the Ideal Barber Shop, owned by Carlton Lewis, became a focal point for the youngsters of the district and it was here that the neighbourhood kids hung around together.

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Mid 1967 saw Joe Renzetti once again employed on another back to back 45 comprising a couple of Gamble and Huff penned songs that they also went on to produce. The Intruders – “Baby I’m Lonely b/w A Love That’s Real – Gamble 209 combined two love songs of real quality. The top side delivers an opening that to my ears could have been lifted straight from that Four Tops classic, “Ask The Lonely”, but once past the first few bars the group turn on the vocal charm in such a way that all similarities fade with them as the group led by Little Sonny’s impeccable talent show exactly where their pedigree lie. Group harmonies are rarely bettered that The Intruders and this particular song perches at the very top of anything they ever recorded. The flip is equally as good and is a great demonstration of how the simple and often referring to child-like references in the lyrical content that Gamble and Huff were so fond of, when matched with the floating, mid tempo melodies that Huff managed to create, worked so well. With the song based on star struck lovers including Jack and Jill and Romeo and Juliet there’s always a danger out and out love songs becoming too syrupy but in the case of The Intruders and their song writers abilities they always managed to avoid that pitfall. This 45 gave the group its first Top 30 showing, albeit on the RnB chart when it peaked at #28.

The group had by now become one of the main projects for the label and had enjoyed a reasonable amount of airplay and the resultant sales that that often guaranteed. Their next release The Intruders – Cowboys To Girls b/w Turn The Hands Of Time – Gamble 214 saw their efforts rewarded with their highest ever chart position when they topped the RnB chart at #1 in May 1968 and hit the #6 spot on National Pop chart, having gained sales of a million units which also saw the group earn a R.I.A.A. Gold Record. This time is what the Philly stalwart Bobby Martin who was drafted in to sprinkle his magical arranging dust on the two songs and work his magic he certainly did. The A side relays the turbulence of passing through adolescent, exchanging the innocence of playing games and taking up the challenge of the opposite sex. Once again it’s the melody and the group’s harmonic skill that allow the song to flourish without becoming too sugary and the success the team gained with it solidified the reputations of all involved a little more. It was shortly after this release however that Little Sonny would leave the group in order to spend more time with his family and that gap was filled by Bobby Ferguson (Bobby Starr). Sam ‘Little Sonny’ Brown would rejoin the group a little later though in 1973.

Stepping back slightly to mid 1967, the fledgling company had released seven 45s – four from The Intruders but also three from other acts as they sought to establish themselves. The Knights And Arthur –“Do You b/w So Sweet So Fine” – Gamble 202 I have to confess isn’t one of my favourite outings on the label but it’s certainly interesting nevertheless. Both sides were co-written by Kenny Gamble and Ben Krause. Mr Krause was actually none other than the same

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Mr Krass of The Krass Brothers clothiers, a store on South Street, who loaned the two aspiring record moguls the original $700 to get their initial Excel/Gamble enterprise off the ground. Ben Krass was a white, affluent businessman and doo wop fan who must have fancied himself as something of a singer/songwriter. Whether part of the loan deal was to allow him to contribute is just guesswork but he certainly appears on a number of other releases too. [6] For a diminutive white guy he pulls of quite a decent dancer with “Do You” and it has received some attention from soul DJs in the past. There’ll be more about Mr Krass´ outings later.

A great outing on the early Gamble logo that had already seen a local release and the B side of which would also be done by Lou Rawls, Billy Paul as well as Nancy Wilson whilst all were using Gamble and Huff as producers is Gail Anderson – “Let’s Fall In Love All Over b/w Be Proud (You’re In Love)” – Gamble 206. This is the first femme soul outing on the label and is a re-release of a great side mentioned in the previous chapter that Bobby Martin wrote and produced a little earlier and saw a release on the small Philadelphia independent Salvador imprint. The Gamble promo however only carries “Lets Fall In Love All Over” so collectors looking for both sides may need to source a stock copy although I’m not sure there is one! I’ve never seen a stocker of this 45, but that of course is no definitive. I’m also not 100% sure but I think this is the same Gail Anderson that recorded for Early Bird Records but my assumption is only based on my ears and not documentary evidence. There are certainly distinct vocal similarities between the Salvador/Gamble 45 and Gail Anderson – “My Turn Now b/w Its Easy To Say” – Early Bird 49662.

Local singing group The Cruisers had already recorded in Philly and had had a couple of releases on Bobby Caldwell’s V-Tone logo in the very early 60s. The line-up of Eugene Williams, Randy Hamilton, Paul Long and McKinley Anthony were originally a doo wop quartet whose first recording in 1960, written by group member Gene Williams, The Cruisers – “If I Knew b/w Miss Fine” – V-Tone 207 was something of a local hit in the Philadelphia and Baltimore areas, although it only bubbled under the National chart at #102. The second release from the group a year later, The Cruisers – “Crying Over You b/w Don’t Tease Me” – V-Tone 213 was also later picked up for release on the city’s Guyden label (# 2069) but neither of these issues made a dent in any chart.

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Gamble’s offer of a contract as a soloist and in the mid eighties released a handful of sides for Philadelphia International Records including the sublime ballad penned by Bunny Sigler, Shirley Jones – “Do You Get Enough Love b/w We Can Work It Out”– PIR 50034 . In 1992 the girls reformed for a final album on which Keni Burke and Shirley’s compositions were included but unfortunately the story of the Jones Girls is tinged with sadness as in 2001 Valerie passed away whilst still in her 40s. Her passing is recorded as being from natural causes but some close to the songstress attributed it to an alcoholic related depression. Needless to say her untimely passing shattered her family and put an end to any further performances from The Jones Girls as they were during their most productive time period.

Although much has been written already in a number of books recording the later stages of Philadelphia International Records, for continuity of our story and a fuller picture, it’s worth relating here a number of other artists that the company worked with in the late 70s and 80s.

Sarah Jean Perkins was born on 15 March 1947 in Columbus, Muscogee County, Georgia and was raised in Atlanta fifty miles north where her parents encouraged her to learn piano and sing in their local church.

She attended the city’s Booker T. Washington High School and upon graduating was awarded a scholarship to attend the local Morris Brown College, where she studied all aspects of music from opera to musical theater. Choosing marriage over a plan to attend Juilliard School Of Music, she became a member of her new husband, Doug Carn’s (a jazz pianist) group and the pair based themselves in Los Angeles where they released a trio of albums on the city’s Black Jazz imprint. Such was the quality of her jazz infused voice that she appeared with Duke Ellington just before his death. Jean Carn’s versatility over a five octave range soon gained her a fan base of jazz fans amongst who was an up and coming band, known as Earth Wind And Fire. Ms Carn’s vocal skills were used on the group’s first two albums and in 1976, she came to the attention of Gamble and Huff. Once signed to their Philadelphia International Records label, the two producers wasted no time in recording their new songbird and released her first outing using their material, Jean Carne – “Free Love b/w Where Did You Ever Go” – PIR 3614, an upbeat soulful disco dancer featuring all the signature Philly International components of lush strings, a prominent high hat and of course the Sweethearts on background. The song delivered a position of #23 on the RnB chart which bade well for the first release from the collaborators. The following release, fared even better when Jean Carn – “If You Wanna Go Back b/w You Are All I Need” – PIR3628, another soulful dancer that encompasses the sound of the company during this specific era hit #18 on the Disco chart.

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A third outing that is also worth tracking down and obtaining of you’re a fan of Philly’s late 70s laid back soulful disco sound is Jean Carn – “Was That All It Was b/w My Love Don’t Come Easy” – PIR 3732, which saw both sides chart in their own right. The A side, co-penned by Jerry Butler is an out and out disco dancer of legendary status on the underground club scene in the US that features a somewhat irritating ‘ping’ which was a feature of the style in the late 70s but Jean’s vocal holds it all together whilst the flip is a wonderful, sultry performance on a laid back dancer ably introduced by Grover Washington’s hugely atmospheric sax solo.

Ms Carn would spend almost five years with Philadelphia International, releasing a series of fantastic records during 1976 – 1981, all of which would achieve RnB chart success without delivering that desired pop crossover hit. With the addition of her three albums on the label she delivered some of the best femme soulful disco music that the label put out. With regular appearances on Don Cornelius’ Soul Train and with regular black music chart placings, she was a highly respected singer and musician.

On leaving Philadelphia International and with the ‘e’ now added to her surname of the advice of a numerologist, she would have a couple of releases with the Motown company, the first one having been lifted from her only album for the label, “Trust Me” (Motown 610, LP), it, being a version of a Philly classic backed up by none other than The Temptations, Jean Carne – “If You Don’t Know Me By Now b/w Completeness” – Motown 1620, on which Ms. Carne delivers what many believe to be the best version of the iconic Harold Melvin and The Blue Notes song. For readers who are not familiar with Jean Carne’s vocal ability, this is a great example of her range and her inherent ability to deliver powerful, yet completely pitch perfect, performances. Her other release for the company came with Bobby M Featuring Jean Carne – “Let’s Stay Together b/w Charlie’s Backbeat” – Gordy 1652, on which Jean undertakes a rather jazzy and sultry duet with the white jazz saxophonist. [40] In 1986 she joined the Atlantic distributed Omni Records and her first outing for the label, Jean Carne – “Closer Than Close b/w Lucky Charm” – Omni 99531, a jazzy ballad that was produced by her old Philly International collaborative partner Grover Washington who also features on saxophone, gave Jean Carne her first #1 in August 1986 when it peaked on the RnB charts and stayed there for two weeks until in a strange quirk of fate, it was toppled by Shirley Jones’ “Do You Get Enough Love” mentioned earlier. She became popular in Europe again when, in 2003, the UK’s Expansion label released a set of her collaborative releases from over the years.

Gamble and Huff struggled to make an impact with female soloists during the heyday of PIR. It certainly wasn’t due to the lack of talents of either the producers of their songstresses and it’s difficult to establish exactly why, even with the hindsight available. A great example of how talent is sometimes not enough is our

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C H APT ER T W E LVE A Nickel Shoe And A Soulful Fish Philly Groove Records • Phil-La Of Soul Records • Ronnie Baker, Norman Harris and Earl Young • Stan Watson • Thom Bell • Bobby Martin • Bobby Eli Of all the record labels that accompanied Philadelphia’s meteoric rise to soulful pinnacle, two of the more successful ones that managed to capture the record collectors sometimes hard to earn loyalty actually carried a Philadelphia reference in their titles. Philly Groove, with its distinctive dancin’ shoes logo and Phil La Of Soul’s cryptic fish skeleton graphic saw themselves become part of the folklore of Philadelphia soul’s legacy and both labels have developed a legion of fans over the years which has led to collectors scouring record shops, thrift stores, market stalls and anywhere else that vinyl can be found in an attempt to complete the labels’ output. Both labels were established specifically to market RnB music, one of them by a legendary Philadelphia company and the other by individuals who were synonymous with the city’s musical landscape. Both are as steeped in Philadelphia history as a Philly Cheese steak.

The seeds of the Phil La of Soul label were sown deep in the early fifties when Al Miller and his sons David and Paul established Universal Record Distributing Inc. Al Miller already owned Essex Records and two record manufacturing plants in the area, one in Eastwick in the South Western area of the city and one in West Philadelphia. Having enjoyed a successful hit in November 1952 by leasing in Don Howard – “Oh Happy Day b/w You Went Away” – Essex 311 and releasing a number of increasingly steady selling 45s on a future rock n roll phenomenon, including the #12 hit Bill Haley With Haley´s Comets – “Crazy Man, Crazy b/w Watcha Gonna Do” – Essex 321. It was David Miller who coined the name ‘The Comets’, as up until then the group were named, ‘The Saddlemen’. The Millers were in on the ground floor of Philly’s rock n roll launch. In 1955, Miller, along with Harold Finfer and Alan Sussell established Universal Record Distributing, Inc. Miller’s Essex Records also released a series of fantastic looking seven inch EPs featuring Bill Haley and His Comets, all with different coloured picture covers and all containing their 45 releases on the logo. These

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45s have now become collector’s items and, not surprisingly sixty years later, are quite hard to find in really good condition. Universal Distributing Inc. struck a deal early on that would help them establish themselves when they picked up the distribution rights for Disney’s new TV show The Mickey Mouse Club, a lucrative set up that got the company out of the starting blocks.

Although Essex Records couldn’t create the success that CameoParkway would soon enjoy, it generated enough business to encourage Miller to start another label, which resuted in the forming of Guyden Records in 1953, installing Bob Cordell as the general manager. It was originally established at 2250 at Bryn Mawr Avenue but by 1954 they had moved to 1314 S. Howard St, and then in June to 1334 LincolnLiberty Building, in Philadelphia. By 1959, it had been absorbed by Jamie Guyden and was based at their premises at 1330 West Girard. The label was named after Cordell’s son GUY DENnis and was adorned with a beautiful logo consisting of a torch with a flame encompassed by the G of Guyden text and four stars to the right of the label.

As was customary for the period, the 45s were released on a number of coloured variants of the logo and its distinctive purple over silver variant is one of the iconic record label graphics of the era. An early name on the label’s output that would later become a household name was Neil Sedaka who released a solitary single on the logo, Neil Sedaka – “Fly Don’t Fly On Me b/w Ring A Rockin’ “ – Guyden 2004 in 1958.

The very first Guyden release was a 45 featuring a female vocalist who would also ‘score’ a decent sized success 30 years later on the dancefloors of UK, when Carmen Taylor topped the 1954 Billboard DJs Poll: Most Promising RnB Singer. She had already experienced releases on the Mercury imprints, Tin Pan Alley and Atlantic Records in New York and was building a solid reputation as a blues shouter of some note. That same year saw her usher into being the Guyden label with Carmen Taylor – “Let Me Go Lover b/w No More, No Less” – Guyden 100, the flip delivering a souped-up, sassy, femme rock n roll song on which Carmen extols her lovemaking virtues which she’s garnered on her travels. But it would be a decade later in 1965 when she recorded an upbeat, raucus, soulful dancer on the then MGM distributed Kama Sutra label that she gained the most recognition. Carmen Taylor – “You’re Puttin’ Me On b/w My Son” – Kama Sutra 206 brings out the very best in Ms Taylors vocal style. Raw, sassy and competing alongside a full pelt crashing backing track she does what she does best and grabs the song by the metaphorical throat and leaves the listener in no doubt who’s actually in charge here! The 45 saw an overseas release in Australia too, this time with the publishing signature shown as Apollo Music. Ms. Taylor had earlier recorded for the Apollo label in 1956, after her Guyden 45, so that may well be the connection but I’ve not been able to establish a solid link so that’s just guesswork.

The early Guyden releases feature a plethora of musical styles but the stand out ones were the hybrid sounds that meshed authentic rock n roll with the emerging RnB sound that would prove popular for decades to come. One such 45 was the third release on the label Anita Tucker – “A Million Thanks b/w Ring-Aling-Aling (Let The Wedding Bells Ring)” – Guyden 602 (105 for the 78). [1] Annie Bell ‘Anita’ Tucker was cut from the

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same musical cloth as Carmen Taylor, born in Memphis, Tennessee in 1930. By her mid 20s she had secured a recording contract with LA based Capitol Records on which she released a number of up-tempo risqué rock n roll outings including Anita Tucker – Slow, Smooth And Easy b/w Lets Make Love (Welcome to My Heart) – Capitol 3277, a fantastic example of femme rock n roll/RnB that exemplifies the black roots of the genre. One listen to the rhythmic performance that encompass the solo twang guitar note, the burping saxophone breaks, and the ‘bop bop’ male backing singers and it’s quite clear where the likes of Bill Haley’s standard fare originated from. Another sultry RnB performance came on Anita Tucker – “I Need Love b/w”Heartaches And Tears” – 54 Records 5413 in 1959 where she once again delivered the archetypal female RnB/rock n roll vocal. She recorded throughout the sixties including outings on Hollywood based Vended logo but with only limited success. As well as her recording legacy, Anita Tucker would go on to enjoy a varied career which also included acting and she appeared as Katisha in The Black Mikado on the London stage in 1975 and alongside Gene Hackman and William Defoe in the classic civil rights movie Mississippi Burning. Ms Tucker passed away in her native Memphis on 12 March 2009. She was 79 years old.

By 1955, The Millers needed to concentrate on their other businesses and left Universal Distribution Inc. Philadelphia lawyer, Harold Lipsius, who had acquired a share of the company at the outset, recruited Alan Sussell, a client of his, who owned a mail order medical business, to take over the operation and he and Harold became partners. Shortly after this, the Guyden label was joined by another label named after the daughter of Allan Sussell: Jamie. It wasn’t long however, until the Lispius/Sussell partnership came to an end, the latter becoming involved in managing an Argentinian artist, resulting in Lipsius buying him out. Once the Jamie label was established, (a practice not uncommon amongst labels trying to get their wares onto radio DJ’s platters), the company was up and running with the name that would adorn the record shelves of collectors of all descriptions: Jamie/Guyden.

Whilst the two labels were merged in terms of corporation, they continued to concentrate on separate A&R rosters and catalogues with the company’s finance executive Paul Fein allotting new artists/releases to either the Jamie or Guyden logos and Harold Fifner, the company’s dynamic promo and salesman, weaving his sales magic. [2] Over the span of the next few years the Guyden strand of the company continued with its affiliation to mainly black blues shouters/rock n rollers whilst the Jamie half of the partnership saw it discover and then ride the coat-tails of guitarist Duane Eddy amongst its early successes. One of the first milestone soul 45s that saw a release on the Guyden label was The Clickettes – “Where Is He b/w The Lone Lover” – Guyden 2043 recorded in 1960. The Clickettes were a New Jersey-based girl group comprised of Barbara Jean English, Charlotte McCartney, Trudy McCartney and Sylvia Hammond who originally started their musical life as The Gospelettes in 1958, although it was in August of that year as the Rinky Dinks providing backing to Bobby Darin that they recorded their first release

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HOW PHILLY BECAME THE EPICENTER OF BLACK MUSIC The passionate team behind the highly acclaimed Northern Soul magazine There’s That Beat!, presents here in over 690 lavishly designed pages, their in-depth investigation of how Philadelphia became the hottest city in the American pop music industry, not only once, but twice!

This meticulously researched book tells the remarkable story of the music entrepreneurs, record labels, recording studios all of which contributed to what became known to the world as The Philly Sound, all beautifully presented in full, sumptuous, coloured detail including a multitude of rare Soul/R&B discs and loads of vintage photographs and memorabilia.

A quality point of reference and a magnificent book for any serious Soul music fanatics as well as a must for every true Northern Soul record collector!

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