Censational

 

Early last week Mrs Darce and I made an unscheduled visit to one of our favoured local hostelries, just for one you understand. We had never been aware of the establishment playing piped music, but maybe they do and we had not noticed it before because of the general hubbub. On this particular visit it was mid afternoon and within 15 minutes of walking in a busyish pub emptied as lunchgoers departed - I don’t think it was anything to do with our appearance! Soon we were just about the only people in the place. (An older couple – there are still some older than us! - did walk in at one point and struck up conversation with the barmaid: the gist was they lived just around the corner but hadn’t been in the pub for a few years due to Covid. Now there’s caution for you!). Anyway, we became aware of the piped music, and it was very good. Certainly right up my street.

I find it’s becoming increasingly common to hear great and obscure music in pubs and cafes, and a much richer variety. I guess it is to do with the ubiquity of streamed music nowadays allied to establishments wanting to a) differentiate themselves from the competition, and possibly b) offer their staff a better working environment by allowing them some choice of the music that is played.

This particular playlist was predominantly soul, and I think I can safely say I hadn’t heard any of the tracks played over piped music before, and some of them I had never heard before anywhere. I recognised quite a few of the singers but the songs they were singing were far from the obvious ones in their respective catalogues. I gave myself a pat on the back for identifying Irma Thomas, (Ike and) Tina Turner, Bettye Swann, and Eddie Kendricks; and forgave myself for not recognising Joey Gilmore. I wonder whose playlist this was? I should have asked of course, but I didn’t. The Canadian lady behind the bar, the chef now eating his own food, or a head office job (it is a Greene King pub)? Was it curated (I dislike that term), or was it a Spotify style artist “radio” mix (probably not as I was not aware of an artist being repeated)?

I also recognised Mike (“Bo”) Kirkland’s voice as Mike & The Censations Victim Of Circumstance was played. I have never heard that one played out in the wild before for sure! Hearing it reminded me I needed to flesh out my collection of Mike & The Censations singles. I had those they released on Revue, but none of their earlier Highland releases. So it was I jumped onto the interweb, I didn’t find Victim Of Circumstance at the right price and condition but I did find a couple of others, and a few days ago they duly dropped onto the doormat.

I am sold hook, line, and sinker on Don’t Sell Your Soul. Everything from Mike’s easy on the ear voice, the understated background harmonies, the almost stop go arrangement, and definitely those horns. Most definitely those horns! The only pity is it fades out so quickly. It’s one to put on repeat, but as my copy is styrene I may well wear it out and have to buy another one before the year’s out!

Mike & The Censations – Don’t Sell Your Soul 1968

Another promotion

 

Another album that I pulled from my collection recently with a view to releasing back into the wild was Gonna Take A Miracle, Lauro Nyro’s 1971 album with Labelle.

It was granted it’s final plea – i.e. one more play – and it’s plea was upheld. So once again, like the LTD album I featured last time, it has been promoted into Division One.

The instrumentation on this album is very restrained and the focus is very much on the vocal interplay between Laura and Labelle. Discogs actually lists it as in the Doo Wop style.

From the back sleeve:

Nights

     in New York

              street angels

                     running down steps

                              into the echoes of the train station

                                                                                   to sing...

My (now reactivated*) spreadsheet tells me I found this album in one of my favoured local charity shops back in 2022. It was something of a bargain. Sadly the shop has since closed down. I remember playing it a couple of times back then and not being completely sold on it. It may have had something to do with my mood at the time, I’m sure that plays a part, but I think it goes to prove that you have to give an album a few plays to properly appreciate what it has to offer.

Strictly speaking the track Monkey Time / Dancing In The Street is a medley and I’m generally not a fan of such things, but the rendition of each song is long enough, and separate enough, to not really come across as a medley. These are cover versions that really work too because the vocal approach properly differentiates them from the originals.

Everybody knows Dancing In The Street I’m sure. Monkey Time may not be so familiar, but I did feature Major Lance original (written by Curtis Mayfield) as part of my 2020 Feel It Advent-ure. You can (re)acquaint yourself with it here if you so desire, the mp3 link is still active.

Laura Nyro with Labelle – Monkey Time / Dancing In The Street 1971

* the comment makes sense if you read the referenced Major Lance The Monkey Time post.

Keepin' On, Gittin' Down

Today is this blog’s 20^th anniversary. It’s a stretch to say it has been active for all those years as, in recent times, there have been quite a few, shall we say, hibernations. But, in any event, I think it’s an anniversary worth noting.

I realise I’m noting this landmark with my first post of 2026 but let’s hope it kick starts me onto a few more posts this year. I have one half written, started as long ago as the first week of February. It would have been finished and posted back then but I then felt a bit meh for a few days and it stopped me in my tracks. Subsequently the words that were bouncing around inside my cranium did no more than that – the writer’s block kicked in again. As I say it’s half way there, although it was a bit of ramble. But with a bit of editing and a following wind I am hopeful it will manifest itself in another post soon.

I don’t do New Year’s resolution’s but at the start of the year I made a decision that amounted to one I suppose. I have over 6,000 records now, and that is too many. So I have embarked on something of a purge. Well, the intent is there at least, and I have hardly bought anything in the charity shops this year either. I have taken a methodical approach to this venture which has initially involved documenting my album collection (1,700 + albums) on Discogs so that our children might have a better idea of the records that are actually of real monetary value in the event they are suddenly left with this vinyl mountain. In ploughing through this task I have been pulling out albums that I think I could let go. I am giving them one last chance on the turntable to extend their life in my collection. I say one last chance, in truth I think some of these records were bought over the last 15 years or so and tucked away in the collection without ever being played! I am having some success in the weeding out, but I know I am not being ruthless enough, and I will need to have another lap of the process next winter (summer is not the time for such things).

I have made a few half hearted attempts at purges in the last 10 years or so. I find it almost impossible to purge records I bought back in the 70s as I find I have a strong emotional tie to them, even if they hardly ever get a play. I can picture them in the collection and that seems sufficient, and can preserve the memories.

One such album I felt sure would be purged this time was my copy of L.T.D’s Gittin’ Down.

I reckon I bought this in 1976. It might have been 1977 though as that was when they had some success with the single Back In Love Again, which may have been the reason I was attracted to this album. Anywaty, it has been in the collection for about 50 years now! It has a sticker on it that reminds me where I bought it – Disc ‘N’ Tape, on Bristol’s Gloucester Rd, sadly no longer there, it succumbed I think just before the vinyl comeback happened. I can still picture the second hand bins where I bought a fair few records (there were good bargains to be had), although the layout of the rest of the shop is very fuzzy. So the album scores high on the memories front but I think I have only ever played it a handful of times. Anyway, onto the turntable it went and I played it through, all of it …. and it’s a keeper!

L.T.D. (Love, Togetherness, & Devotion) were originally Sam & Dave’s backing band (a fact I have only just discovered) and had a run of 10 albums released between 1974 and 1983. Gittin’ Down was their debut album. Jeffrey Osborne was one of their main vocalists until he left the band in 1980 to go solo. In 1974, when this album was released, it was all the rage for band members to have their star signs shown on the album cover and so we learn L.T.D. contained three Libra, two Sagittarius, one Cancer, one Pisces, one Gemini, one Scorpio, and one Virgo.

I think after all these years I may have finally got around to properly listening to this album, and what strikes me is the overall upbeat feel. The interplay between the vocals and horns are great, and the sound has what I can only describe as an open and airy quality; it has a sort of joyous outdoorsy feel, “street” I suppose. Now I come to think of it that is a feel I associate with a number soul and funk albums from the early 70s. It’s very much of its time and has firmly hit my nostalgia button.

The sound I might describe as light and airy, the album art maybe a riot of bright colours on a white background, but this is one tough album. It’s now survived probably three purges in recent years. Back from the brink, and after some years ago being relegated to Division Two in my own quirky way of organising my collection it has now, proudly, properly taken it’s place in Division One.

L.T.D. – Groove For A Little While 1974

L.T.D. – Your Love Is The Answer  1974

PS. Happy Birthday Candi Staton!

The Feel It Advent-ure 2025: Door 24

So that’s it for another year. It seems to go quicker every year (a cliché, but true).

Compliments of the season to you all. Enjoy your holidays.

I have made a Spotify mix to represent this year’s Advent-ure. The doors have once again opened onto some very dusty corners of various abandoned wings of soul music’s vast mansion (you may well have some cobwebs in your hair!). It is therefore really no surprise that roughly 50% of the tracks featured I could not find amongst the 100 million or so that are available on Spotify, so think of this mix as something of an alternate take.

(Where possible the tracks featured on this Advent-ure are included in the mix. Where the tracks could not be found on Spotify related tracks are included. Some are simply another track from the same artist that was featured, others have some link that I’ll let you work out for yourself. The running order has been tweaked to help the flow).

The Feel It Advent-ure 2025: Door 23

 

Carol Anderson is yet another singer whose recording career started in the 60s and limped on into the Disco era. She had just eight singles released in that time. She is revered on the Northern Soul scene for two records roughly ten years apart in their release dates – Taking My Mind Off Love and Sad Girl - and it’s fair to say, I think, if those records hadn’t been “discovered” by the Northern Soulies Carol would barely make a footnote in soul music’s history. In saying that I don’t deny she made a few good records (especially her earlier ones), but it’s just that so many artists on the scene back then did too, and for every one who caught a break and got a deal with a major label there were plenty who didn’t and their 45s on local labels were destined to receive just a few plays on local radio stations before disappearing into the ether, and the dead stock warehouses. We should be grateful to the dedicated soul diggers who would eventually plunder those warehouses and shine a light on them.

Taking My Mind Off Love is a Northern Soul monster, and due to it’s rarity and its Northern appeal commands a four figure valuation. It was apparently released in 1968 on the obscure Detroit label Whip, although there is a comment on Discogs stating a 1964 recording date. It sounds more like 1968 to me though and the backing singers remind me of some of The Parliaments’ tracks recorded around that time, also a Detroit based group of course.

I’m banging on about this Whip single but of course I don’t own a copy, it being way out of my league value wise. But I have been attracted to one of Carol’s early 70s singles which I could afford. You Boy/Holding On was released in 1972 on Mid-Town which I believe was owned by Carol’s mum, Essie.

The winter of 1983/4 would prove to be a tragic time for the Anderson family, Essie passed away on Christmas Day 1983 (cancer is often quoted as the cause, but it was more likely diabetes?) and three months later Carol succumbed to cancer.

Carol Anderson – Holding On 1972 

The Feel It Advent-ure 2025: Door 22

 

Bo Kirkland only has one record to his name (this one). Of course he doesn’t, but he only has one 45 released under that name alone.

Expand your search to Bo (Kirkland) & Ruth (Davis) you will find a few more records, and one very well known hit if you are of a certain age – at least it was massive in the UK. I wrote some more about Bo & Ruth back in 2019.

Now expand your search to Michael Kirkland and you will find another 45, and to Mike James Kirkland and you find a few more 45s and albums.

We’re gradually going backwards in time now, and we’re not finished yet.

Plug in Mike & The Censations and you will find his 60s output – a string of eight cracking 45s released in second half of the 60s. I featured one of them in my 2014 Advent-ure, and I should really feature some more (next year).

Yes Bo Kirkland = Michael James Kirkland = Mike James Kirkland = Michael Kirkland.  Don’t get him confused with Robert (Bob) Kirkland though, that’s his brother, he was also a member of the Censations, as was his sister and her husband.

Sure Got A Thing For You is a lovely piece of slinky mid 70s midtempo soul. A "B" side again, and in my opinion much stronger than the funky A side Grandfather Clock.

Bo Kirkland– Sure Got A Thing For You 1975

The Feel It Advent-ure 2025: Door 21

 

Oscar Weathers has appeared here once before, just over ten years ago now. That song – You Wants To Play - was beautifully arranged and this one, which was Oscar’s next 45, is too. Quite why it has taken me so long to acquire it I’m not sure.

Soul for the connoisseur.

Oscar Weathers – When You Steal 1971

The Feel It Advent-ure 2025: Door 20

 

Moving along into the last few days of this year’s Advent-ure (already!) and it will be early 70s records all the way – and they all have red labels too! It’s just the way it’s turned out.

Put “Dale Dennard singer” into a Google search and the AI response is that Dale is male, and that is because the only search hit which says anything about this record, other than the bare facts on the label, says so.

As you will hear for yourself, Dale is female.

This is one obscure singer, and label. This is the only record released by Dale Dennard, and the New York based Coach label itself only has two, possibly three, known releases. I wonder if its is actually related to Gene Redd’s Redd / Red Coach label, it shares the same coach graphic as early Redd Coach releases, and in time sits neatly in between when the label name dropped the second 'd'. I can’t find anything that confirms this though.

The sound of this one is sinuous, sultry and sleazy.

Dale Dennard – If You Can Live With Yourself 1972

* This advert appeared in all the main music papers - Cash Box, Record World, and Billboard in April/May 1972.  

The Feel It Advent-ure 2025: Door 19

 

In my head Atlantic Starr are filed as a 70s band as that is when I first heard them. But in truth most of their output came in the 80s and they hit it big commercially in the mid 80s.

Three of their songs have lodged themselves permanently in my memory to the extent that I can replay them in my head at will. Those songs are When Love Calls, Circles, and this one, Silver Shadow.

.. Pause .. Hmm, have I featured one of these songs before here? … opens a tab to check … yes I have.

Way back in 2011. I featured a Youtube clip of Silver Shadow because, as I said at the time, I couldn’t believe I had never had a copy of it. Well I finally picked up a copy a few weeks ago, and I did so because I was spurred on by recently playing Circles a few times (you can’t play these songs just once, they are infectious), which was the other track I featured back then. That 2011 post was published on the 29^th October which, weirdly, was the birthday of one of my old flames – and she had the album that When Love Calls was on and I remember borrowing it at the time (I gave it back eventually) - and, somewhat weirdly, Mrs. Darce’s birthday is the 30^th October. I must be attracted to Scorpios.

Silver Shadow is a gorgeous track. It was released in 1985, but I had it fixed in my mind it was from earlier in the 80s. I think it must have sounded a bit out of time in 1985 when soul was becoming increasingly bright and shiny, and poppy. It has an ethereal feel to it and, from memory, there was only one other track on the album it came from – As the Band Turns – that really approached it’s feel. 

Atlantic Starr – Silver Shadow 1985

RIP Wayne Lewis, a founding member of Atlantic Starr who passed away earlier this year (June 5th), he was only 68.   

The Feel It Advent-ure 2025: Door 17

Here’s a bit of a curiosity. A funky record from 1977 celebrating Jimmy Carter making it to The White House.

The funk is tight, and the horns have some definite similarities with the horn arrangements that can be found on mid70s Parliament releases. No surprise at all as it happens – Walter Foster had links to the JBs, and Fred Wesley is credited as producer and arranger on this record. Walter had just a handful of 45s released over period of more than 20 years. This was his second release, some twelve years after his debut on Loma. That 45 was produced by James Brown, and I would think it is entirely possible Fred Wesley featured in the backing group.

Have a contemporary funk group ever made a record singing the praises of the orange one, I wonder? I don’t know of one and I suspect the odds are vanishingly small.

Walter Foster – The Peanut Man (We Got A Friend) 1977

The B side is a nice slower number too.

Walter Foster – It Makes You Wanna Cry 1977

Now, that’s a title that could grace a song about the orange one.

The Feel It Advent-ure 2025: Door 16

 The next three records in this year’s Advent-ure are all late entrants, they dropped through the mailbox only a few days ago.

Lou Johnson must have liked a bit of yomping – and the circus. In a short period of time in the 60s he had records released on Hilltop, Big Hill - and BigTop. All were distributed by Bell. These labels were all run by the music publishing company Hill & Range which was run out of the Brill Building in New York, home to more than a few significant songwriters such Bacharach & David, Leiber & Stoller, Goffin & King. And Jeff Barry & Ellie Greenwich. Importantly (for them), Hill & Range had control over the recording output of Elvis Presley in the 50s and 60s.

In fact Lou Johnson had the only documented 45 issued on Hilltop - It Ain’t No Use, arranged by Burt Bacharach, a truly great record which is actually worthy of it’s own label! I have a copy of it and I must give it it’s own post here sometime. It bears a catalog number (551) in the same 55* range as Big Hill. 45Cat actually conflates the two labels. There were a few labels named Hilltop in the US in the early 60s so I’m guessing they changed the label name to Big Hill to avoid any possible copyright challenges. Lou also had the only releases (three) on Big Hill before he moved over to Hill & Range’s main imprint – BigTop. Possibly they were planning to focus the different labels on different musical genres but then thought better of it.

My copy of this 45 sits in it’s nice original Bell sleeve, and is a promo as stated on the label. It was common for promos to have, as well, either a white background colour and/or a printed star on the label to denote the A side. No such thing here. Radio DJs, or distributors maybe, would often also mark the A side with a big felt tip pen star or some such mark. In the case of my copy there is just an A written on one side and B on the other in red felt tip, which makes it very hard to see and a bit pointless. The DJ would have needed to know what he was doing.

And what is in the grooves? This from the 3^rd April 1965 edition of the US music paper Record World; straightforward and on point, life was so simple then:

Lou Johnson– Please, Stop The Wedding 1965

The Feel It Advent-ure 2025: Door 15

 

Following on from yesterday’s post New Orleans gets another mention today. But, again, the music is not really New Orleans in style.

The Barons were a New Orleans group (this is the one only release of theirs that gave them two RRs), but although some of their releases had a funky edge I wouldn’t say they had the classic sound of that NOLA syncopation. This group were certainly active between 1967 and 1973/4, and were credited as backing vocalists on some singles that may have been released as early as 1964. Their currency as a group then pretty much mirrored the span of the soul’s “golden decade” ( roughly 1964-1974). Their discography shows a few singles released later in the 70s but I believe those were all recorded no later than 1974. 

There is no definitive statement that I can find about where this track was recorded. The group certainly recorded a number of their later tracks at the Malaco studio in Jackson, MS, and although Super Dome was a New Orleans label Malaco it is possibly where this one was laid down.

A pretty detailed account of their career can be found at the The Home Of The Groove. This was one of the soul/R&B/funk music related sites I used to visit a lot. Dan Phillips hasn't maintained the site for some years and I can’t believe The Barons article was written nearly twenty years ago now. It was important I think that such research and on line documentation of the music of the 60s was done back then, as now so many of the artists and people involved will no longer be with us and their history may otherwise have died with them.

The A side of this record – Some Kind Of Fool - is a great number with a funky feel, but it’s the other side that really does it for me (I do like my B sides). I’m So Lonely is sweet and deep, and a gem. I notice a rogue apostrophe crept into the title on the label, unless it is deliberate and is trying to convey the message of being “soooo” lonely?

The Barrons– I’m So Lonely  c.1973

The Feel It Advent-ure 2025: Door 14

 

I was alerted to this 45 during my deep dive last year into the history of Quinvy recording studio. This 45 was recorded there in the last days of the studio, probably in 1972. It is a fine slice of southern soul.

Jimmy Jules, whose real name was Charley C. Julien, was born in New Orleans. He had a total of six 45s released spanning a long period (1961-1977). Before that he was a member of bands going back into the 50s too I think. Under different group guises he also released three albums between 1977 and 1980. As well as singing I believe he also played saxophone, trumpet, and keyboards. He also wrote a number of songs that were recorded by other artists including a couple by a young Johnnie Taylor, and apparently backed artists such as Marvin Gaye and Otis Redding in the 60s. In the late 60s he also started his own label – Jim Gem. The first single on that label was written by Charley but the credited singer is a Charley Wynn. Sir Shambling doesn’t believe this singer could be Charley Julien, but I think it is a possibility. Although the Jim Gem label has a Colorado address the Charley Wynn 45 had a “Cosimo Code” which means it was likely recorded in New Orleans.

Just about as much information as I can find on Jimmy/Charley’s recording career can be found buried in part 11 of an exhaustive history ofNorala/Quinvy studios. This history was written some years ago. After some dedicated googling I have found that Charley passed away in September 2021. His obituary says that Charley was father to no less than thirteen children, some of which may well have been adopted.

All together it seems Charley led a very full life.

RIP Charley C. Julien aka Jimmy Jules

Jimmy Jules– Ten Carat Fool 1973

The Feel It Advent-ure 2025: Door 13

 

Behind Door 8 I shared some gospel soul. Here is some more. It is more overtly gospel, and the soul is definitely present in Alicia Myers voice; in the final analysis though it can be labelled a disco or, to be more precise, boogie banger.

I picked up a 12” of this a few years ago, but it was not in the best condition (one of, thankfully, only a handful of disappointing ebay experiences I’ve had). I was punching the air when I found this 45 in a local charity shop a few weeks ago. It was a branch of a local chain of charity shops and this particular branch mostly sells furniture, but it has quite a bit of vinyl too and I’m guessing it’s the branch they send the vinyl to when it hasn’t sold in their other shops. The final resting place, next stop the tip. Records are 20p each.

Alicia Myers was originally a member of One Way, a disco group who made some fine records in the late 70s and early 80s. She went solo in 1980. This track was written by Kevin McCord who was also a member of One Way so it was still something of a family affair. Originally released in 1982 in the US it was her biggest hit, although I wasn’t aware of it back then. It was reissued as a B side in 1984 in the US and the UK.

Alicia Myers – I Want To Thank You 1982

The Feel It Advent-ure 2025: Door 12

 

Most of the records in this year’s Advent-ure were doorstep finds, so to speak. This one, though, I found (along with a few other little ones with the big hole) in a record shop in Ludlow, of all places.

Syl Johnson could have been Al Green, that is to say the hit machine for Hi in the first half of the 70s. He had been invited down to Willie Mitchell’s Royal Studio before Willie signed Al, and he recorded some tracks with the Hi rhythm section, including the hit single Dresses Too Short. But Syl returned to Chicago – for the time being – and then Willie discovered Al Green. By the time Syl did join the Hi stable in 1971, after the Chicago Twinight label folded, the Al Green horse had already bolted into the charts. (Syl’s decision at the time wasn’t all bad because before he finally joined Hi he recorded and released the album Is It Because I’m Black – a stone cold classic in anybody’s book). At Hi Syl was forever in the shadow of Al Green (in fact all the singers – including Ann Peebles – were in that shadow, with the lion’s share of promotional push constantly going Al Green’s way).

Syl Johnson recorded four albums for Hi. The first three, issued between 1973 and 1975 are quality affairs and I’ve always had a real soft spot for them. In 1976 Syl had had enough of being in the shadows at Hi and effectively went on strike. This lasted until late in 1977 when this 45, and one other was issued. With That Wiggle Syl revisited two of his tracks that had been cut about a decade before – Different Strokes and Soul Strokes. The Disco boom was into it’s stride by then though and these 45s, not being in that bag, sunk without trace. Syl would leave Hi a couple of years later, his contract not renewed.

Syl Johnson– That Wiggle 1977

The information imparted here I gleaned form the booklet included in Numero’s Syl Johnson: Complete Mythology six album box set. Highly recommended.

Also recommended is a documentary on Syl that was released in 2017, I believe. You can find it here on Vimeo still for a very small rental cost.

The Feel It Advent-ure 2025: Door 11

 

The Metros were another short lived group, lasting little more than a year. They racked up three single releases in that time (a few tracks that were evidently left in the can – for decades - have subsequently appeared on a couple of 45s), and one album. That they managed an album release must have been due to the fact that, unusually for a new group coming out of seemingly nowhere, they had been signed to a major label – RCA. Their second 45 Since I Found My Baby, actually a B side, was massive on the Northern Soul scene having the perfect our to the floor beat, and you wouldn’t get much change out of £300 for a tip top copy. If you want that track on original 1967 vinyl then you can pick up a copy of the album, because it is included, at a more reasonable price. 

This was their debut 45, released in the fall of 1966. It sounds earlier to me, with a distinct doo-wop style backing, and an early 60s feel to the guitar. Great record, another B side, and very affordable compared to their NS monster.

The Metros– Time Changes Things 1966

The Feel It Advent-ure 2025: Door 10

 

Here is another singer where the usual Googling yields very little information. This 45 appears to be the only record Russ Lewis released as an artist. He hailed from St. Louis according to the usual go to sites. The short lived Sharp label was based in Chicago and was started by Bill “Bunky” Sheppard a mover and shaker on the Chicago doo-wop and soul scene in the 60s. So it is reasonable to assume this track was recorded in Chicago. Into the 70s it would appear Russ concentrated on writing and production as his name is credited on a number of obscure small label releases including the Gold Future label which was based in Sunset Hills, St. Louis County, MO and was, in fact, his own label. T Washington also appears as an arranger on more than one of these 45s and I believe this is Tom “Tom Tom 84” Washington, a respected arranger who also started out in Chicago and was a main arranger for Brunswick Records in the 60s. It’s possible they met up when Gene Chandler recorded Groovy Situation, a song that Russ wrote and Tom Tom arranged. Russ was also listed as president of a music publishing company called Best Bet Music, addressed in Kirkwood, MO and active in the 70s at least. According to Discogs he was dabbling in the music business whilst at the same time holding down a day job as a mail carrier in Kirkwood.

The accepted A side of this 45, Brand New Recipe, is a good up beat number with some cool organ fills, but again, it’s the moody, bluesy B side that I’m sold on. It features some nice horns too.

Russ Lewis– Love Made Me Blue 1969

The Feel It Advent-ure 2025: Door 9

 

A full on day today so no real time to craft many words around today’s post.

The Charmels had a brief run of four singles on Volt between 1966 and 1968, under the wing of Isaac Hayes. Some of the group had previously been members of The Dixiebelles, and then The Tonettes who had two of the earliest releases on Volt sandwiching Volt 102 which just happened to be Booker T & The MGs Green Onions. (I’ll take this opportunity to say RIP Steve Cropper).

The Charmels – I’ll Gladly Take You Back 1967

The Feel It Advent-ure 2025: Door 8

 

Bought the tree today (you know – that one), the deccys were going up in our local watering hole near the farm shop where the transaction took place, and the Christmas tunes were being played (you know the ones). It’s far enough into December now to be able to embrace the season and all its trappings.

So I’m feeling good and today’s song makes me feel even better.

I always remember The McCrarys for their 1982 song Love On A Summer Night, which I think Robbie Vincent was partial to playing on his radio show. That was a feel good record, and so is this one. Listening to it you can’t help but feel uplifted. The lyrics can be taken equally as a gospel song or a secular one - take your pick. The group were rooted in gospel and it’s no real surprise to discover they founded The McCrary Foundation in 2014, a non-profit organisation aimed at helping those in need through the healing powers of music.

The McCrarys – Looking Ahead 1978

The Feel it Advent-ure 2025: Door 7

 

I’m feeling mellow today or, maybe more accurately, jaded after a rather boozy night with Mrs Darce’s family. The recycling boxes are full and we sent our daughter home with more empties. A sign of an enjoyable – and long – evening. Consequently this post will be brief.

Let’s return to the sixties for a beautiful slice of soul from Fred Hughes hiding on the B side of his third 45, released in the summer of 1965. It was also the B side of his subsequent release.

Fred’s recording career followed the same pattern as so many soul singers who started out in the sixties: a string of singles (eleven in all in Fred’s case) released on a number of different labels (and also one album release which was a collection of his later singles with a few covers thrown in to get the running time up). His final single was released in early 1971 following which no more was heard from him, and nothing about his later life seems to be documented.

Fred Hughes– My Heart Cries Oh 1965