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TEQUILA SUNRISE RECORDS RARITIES FOR SALE PART 5
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HARVEY SISTERS PLAYMATES 7INCH ARTIST: the harvey sisters TITLE: playmates b/w kiss of love LABEL: newtime, usa CAT#: 512 YEAR: 197? CONDITION: cover: VG++ stock company sleeve/record: VG++ NOTES: rare white label single by the harvey sisters, arranged and conducted by bobby martin on the newtime label (run out of harold b. robinsons automobile dealership on north broad street in philadelphia). The sounds of not only jazz but country & western were in the bag of textures Bobby Martin utilized in developing the popular Philly soul sound. While not as well-known as producers Kenny Gamble and Leon Huff or arranger Thom Bell, Martin in the '70s became even more in demand among a roster of artists that included Fred Taveres, Harold Melvin & the Blue Notes, the O'Jays and Patti LaBelle & the Bluebelles. Various critics have weighed in on Martin's innovations, while the man himself has eloquently expressed his own point of view in the liner notes to various reissue collections of Philly soul material. His jazz background was of utmost importance, no great shock considering to what extent swinging music has influenced so many performers to come out of the Liberty Bell state. Jazz can be heard from the top to the bottom in Martin's gorgeous concoctions. His jazz chops went into his writing for horn sections and in addition, the choice of musicians in an extremely effective house band also played a big part. On the subject of these session musicians it is worth noting, if only to avoid confusion, that the Bobby Martin who plays French horn on Philly soul sessions from the '60s and '70s is not the same man as the arranger under discussion here, even though one indeed worked for the other. The French horn man, also proficient on keyboards, reeds and several other brass instruments, later went on to work for Frank Zappa and change his name to Robert Martin. While the presence of instruments such as French horn certainly added to the lushness factor, one of the players held most responsible for the genre's stylistic integrity was drummer Earl Young. It has been said that this percussionist's style was more influenced by the giants of bebop such as Max Roach and Art Blakey than either the typical Motown sound or the hard backbeat associated with drummer Al Jackson, among others. This point of view tends to anger jazz purists who hold disco in contempt -- considering the sway Philly soul had on the entire disco scene, even this type of second-hand influence might amount to a form of blasphemy. Similar controversy shrouds the impact of country & western and country pop on the soul music of this period, with some artists simply thinking it is the Lionel Richie sound being imitated, not realizing how much interest that artist had in the Nashville hit machine. Martin was a triple threat, active as a producer and songwriter as well as arranger. He also tended to have additional input with some of the performers he worked with, above and beyond giving advice of a purely musical nature. One of the best examples of this is his involvement with a singer originally named Patti Holt. First Martin came up with the idea of naming her quartet after the Philadelphia record label Bluebell. Next, he suggested Holt change her own surname to match, resulting in the legendary Patti LaBelle & the Bluebelles. Some accounts trace Martin's career back to a recording studio that was located in the basement of a car dealership owned by Harold B. Robinson. When the Dreamlovers cut the song entitled "When We Get Married" in the early '60s, all the participants in the session had to first clamber around rows of DeSotos and Plymouths and dodge lurking salesmen in order to access the basement door and the two-track recording kingdom that lay beneath. By the end of the decade the action had switched to the larger Sigma Sound Studios. This was where a house band operating under the co-operative name of MFSB convened; the acronym stood for "Mother Father Sister Brother." In late 1973, television host Don Cornelius contacted Gamble with the idea of coming up with a theme for a new national dance show, the immortal Soul Train. Martin did the arrangements for these sessions which also involved a vocal group, the Three Degrees. A year later, the theme had become so popular that it was released on its own as a single, "T.S.O.P. (The Sound of Philadelphia)," hitting the top of both pop and R&B charts and winning a Grammy. Martin's career continued at Columbia with the Manhattans featuring singer Winfred "Blue" Lovett. This vocalist has mentioned in interviews that he felt the hit power of sides such as "Kiss and Say Goodbye" originated partially from the modern country influences Martin brought into the music. For a 1977 project with the label, Martin returned directly to his jazz roots, producing the Killer Joe (1977) album featuring saxophonist and composer Benny Golson. Bobby Martin remains active in music, producing albums for Michelle Martin and Pharez Whitted and producing and arranging the Jimmy Coe Big Band. He is also active with Martin Ministries. ~ Eugene Chadbourne, All Music Guide |
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THE EMBERS BURNING UP THE AIRWAYS 7INCH ARTIST: the embers TITLE: burning up the airways (feat. george terror narr) b/w alexandria (feat. joe mack lackey) LABEL: newtime, usa CAT#: 513 YEAR: 197? CONDITION: cover: VG++ stock company sleeve/record: VG++ NOTES: rare white label single by the embers on the newtime label (run out of harold b. robinsons automobile dealership on north broad street in philadelphia). The sounds of not only jazz but country & western were in the bag of textures Bobby Martin utilized in developing the popular Philly soul sound. While not as well-known as producers Kenny Gamble and Leon Huff or arranger Thom Bell, Martin in the '70s became even more in demand among a roster of artists that included Fred Taveres, Harold Melvin & the Blue Notes, the O'Jays and Patti LaBelle & the Bluebelles. Various critics have weighed in on Martin's innovations, while the man himself has eloquently expressed his own point of view in the liner notes to various reissue collections of Philly soul material. His jazz background was of utmost importance, no great shock considering to what extent swinging music has influenced so many performers to come out of the Liberty Bell state. Jazz can be heard from the top to the bottom in Martin's gorgeous concoctions. His jazz chops went into his writing for horn sections and in addition, the choice of musicians in an extremely effective house band also played a big part. On the subject of these session musicians it is worth noting, if only to avoid confusion, that the Bobby Martin who plays French horn on Philly soul sessions from the '60s and '70s is not the same man as the arranger under discussion here, even though one indeed worked for the other. The French horn man, also proficient on keyboards, reeds and several other brass instruments, later went on to work for Frank Zappa and change his name to Robert Martin. While the presence of instruments such as French horn certainly added to the lushness factor, one of the players held most responsible for the genre's stylistic integrity was drummer Earl Young. It has been said that this percussionist's style was more influenced by the giants of bebop such as Max Roach and Art Blakey than either the typical Motown sound or the hard backbeat associated with drummer Al Jackson, among others. This point of view tends to anger jazz purists who hold disco in contempt -- considering the sway Philly soul had on the entire disco scene, even this type of second-hand influence might amount to a form of blasphemy. Similar controversy shrouds the impact of country & western and country pop on the soul music of this period, with some artists simply thinking it is the Lionel Richie sound being imitated, not realizing how much interest that artist had in the Nashville hit machine. Martin was a triple threat, active as a producer and songwriter as well as arranger. He also tended to have additional input with some of the performers he worked with, above and beyond giving advice of a purely musical nature. One of the best examples of this is his involvement with a singer originally named Patti Holt. First Martin came up with the idea of naming her quartet after the Philadelphia record label Bluebell. Next, he suggested Holt change her own surname to match, resulting in the legendary Patti LaBelle & the Bluebelles. Some accounts trace Martin's career back to a recording studio that was located in the basement of a car dealership owned by Harold B. Robinson. When the Dreamlovers cut the song entitled "When We Get Married" in the early '60s, all the participants in the session had to first clamber around rows of DeSotos and Plymouths and dodge lurking salesmen in order to access the basement door and the two-track recording kingdom that lay beneath. By the end of the decade the action had switched to the larger Sigma Sound Studios. This was where a house band operating under the co-operative name of MFSB convened; the acronym stood for "Mother Father Sister Brother." In late 1973, television host Don Cornelius contacted Gamble with the idea of coming up with a theme for a new national dance show, the immortal Soul Train. Martin did the arrangements for these sessions which also involved a vocal group, the Three Degrees. A year later, the theme had become so popular that it was released on its own as a single, "T.S.O.P. (The Sound of Philadelphia)," hitting the top of both pop and R&B charts and winning a Grammy. Martin's career continued at Columbia with the Manhattans featuring singer Winfred "Blue" Lovett. This vocalist has mentioned in interviews that he felt the hit power of sides such as "Kiss and Say Goodbye" originated partially from the modern country influences Martin brought into the music. For a 1977 project with the label, Martin returned directly to his jazz roots, producing the Killer Joe (1977) album featuring saxophonist and composer Benny Golson. Bobby Martin remains active in music, producing albums for Michelle Martin and Pharez Whitted and producing and arranging the Jimmy Coe Big Band. He is also active with Martin Ministries. ~ Eugene Chadbourne, All Music Guide |
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PATTIE LABELLE LOVE ME JUST A LITTLE 7INCH ARTIST: pattie la belle TITLE: love me just a little b/w the jokes on you LABEL: newtime, usa CAT#: 510 YEAR: 197? CONDITION: cover: VG++ stock PAPER sleeve/record: VG++ NOTES: rare single by pattie la belle, written, arranged and conducted by bobby martin on the newtime label (run out of harold b. robinsons automobile dealership on north broad street in philadelphia). The sounds of not only jazz but country & western were in the bag of textures Bobby Martin utilized in developing the popular Philly soul sound. While not as well-known as producers Kenny Gamble and Leon Huff or arranger Thom Bell, Martin in the '70s became even more in demand among a roster of artists that included Fred Taveres, Harold Melvin & the Blue Notes, the O'Jays and Patti LaBelle & the Bluebelles. Various critics have weighed in on Martin's innovations, while the man himself has eloquently expressed his own point of view in the liner notes to various reissue collections of Philly soul material. His jazz background was of utmost importance, no great shock considering to what extent swinging music has influenced so many performers to come out of the Liberty Bell state. Jazz can be heard from the top to the bottom in Martin's gorgeous concoctions. His jazz chops went into his writing for horn sections and in addition, the choice of musicians in an extremely effective house band also played a big part. On the subject of these session musicians it is worth noting, if only to avoid confusion, that the Bobby Martin who plays French horn on Philly soul sessions from the '60s and '70s is not the same man as the arranger under discussion here, even though one indeed worked for the other. The French horn man, also proficient on keyboards, reeds and several other brass instruments, later went on to work for Frank Zappa and change his name to Robert Martin. While the presence of instruments such as French horn certainly added to the lushness factor, one of the players held most responsible for the genre's stylistic integrity was drummer Earl Young. It has been said that this percussionist's style was more influenced by the giants of bebop such as Max Roach and Art Blakey than either the typical Motown sound or the hard backbeat associated with drummer Al Jackson, among others. This point of view tends to anger jazz purists who hold disco in contempt -- considering the sway Philly soul had on the entire disco scene, even this type of second-hand influence might amount to a form of blasphemy. Similar controversy shrouds the impact of country & western and country pop on the soul music of this period, with some artists simply thinking it is the Lionel Richie sound being imitated, not realizing how much interest that artist had in the Nashville hit machine. Martin was a triple threat, active as a producer and songwriter as well as arranger. He also tended to have additional input with some of the performers he worked with, above and beyond giving advice of a purely musical nature. One of the best examples of this is his involvement with a singer originally named Patti Holt. First Martin came up with the idea of naming her quartet after the Philadelphia record label Bluebell. Next, he suggested Holt change her own surname to match, resulting in the legendary Patti LaBelle & the Bluebelles. Some accounts trace Martin's career back to a recording studio that was located in the basement of a car dealership owned by Harold B. Robinson. When the Dreamlovers cut the song entitled "When We Get Married" in the early '60s, all the participants in the session had to first clamber around rows of DeSotos and Plymouths and dodge lurking salesmen in order to access the basement door and the two-track recording kingdom that lay beneath. By the end of the decade the action had switched to the larger Sigma Sound Studios. This was where a house band operating under the co-operative name of MFSB convened; the acronym stood for "Mother Father Sister Brother." In late 1973, television host Don Cornelius contacted Gamble with the idea of coming up with a theme for a new national dance show, the immortal Soul Train. Martin did the arrangements for these sessions which also involved a vocal group, the Three Degrees. A year later, the theme had become so popular that it was released on its own as a single, "T.S.O.P. (The Sound of Philadelphia)," hitting the top of both pop and R&B charts and winning a Grammy. Martin's career continued at Columbia with the Manhattans featuring singer Winfred "Blue" Lovett. This vocalist has mentioned in interviews that he felt the hit power of sides such as "Kiss and Say Goodbye" originated partially from the modern country influences Martin brought into the music. For a 1977 project with the label, Martin returned directly to his jazz roots, producing the Killer Joe (1977) album featuring saxophonist and composer Benny Golson. Bobby Martin remains active in music, producing albums for Michelle Martin and Pharez Whitted and producing and arranging the Jimmy Coe Big Band. He is also active with Martin Ministries. ~ Eugene Chadbourne, All Music Guide |
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BEWITCHED BRAIN ERASER LP ARTIST: Bewitched TITLE: Brain Eraser LABEL: No. 6 Records/Rough Trade, Germany CAT#: 157-1199-1 YEAR: 1990 CONDITION: cover: vg++/record: m- NOTES: bob berts other band (bob was sorta the drummer to the stars in around hoboken/nyc circa 80-90s... just check yr sonic youth, pussy galore or boss hogg cassettes... ah cassettes) Neon Angel Sky Skag Mold U-Turn I Dunno What To Do Crank Call Chuck's Got A Big One Skunk Hole Town Drain 2 Shots |
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JOHN GAVANTI JOHN GAVANTI LP ARTIST: John Gavanti TITLE: John Gavanti LABEL: Hyrax Records CAT#: HY 101 YEAR: 1980 CONDITION: cover: vg++/record: m- NOTES: Sumner Crane's No Wave Grotesque Opera co-written by members of Mars and DNA, inspired by Mozart's "Don Giovanni". Recorded at Sears Sound N.Y.C. Arlindo & Dantas Lind are the (semi-) anagrammed names of Arto Lindsay and his brother Duncan. Overture (2:32) I Awake (3:43) Down To The Ocean (0:07) On Board Ship (2:55) Gavanti Samba (4:02) Lo! La! (0:20) Oh Ancient Ocean (1:41) New York Blues (2:25) Higher And Higher (2:14) Africa (2:15) Mirror Mirror (2:40) Venice/Locus Solus (3:01) Gavanti's Lament (2:48) Homeward Bound (1:18) |
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