Northern Soul Artists - October 2010

The Velvelettes

By John Smith: Aug 2010 & Photo courtesy of Paul Nixon

Motown only released 45’s by the Velvelettes over a short two year period but the group delivered top rated tracks during that time and got to enjoy 3 US Top 50 soul chart hits. They racked up their 1st massive US national hit, “Needle In A Haystack”, with their initial Motown release in September 1964. In October 1966, “These Things Will Keep Me Loving You” became their final US hit. By then they were also established as firm favorites in Britain and this culminated with “These Things Will Keep Me Loving You” becoming a pop chart hit here in the summer of 1971 (after they had actually split up !). Of course, their popularity with British fans doesn’t just stem from their chart hits; the likes of “Lonely, Lonely Girl Am I”, “The Boy From Crosstown”, "He's The One", "Let Love Live (A Little Bit Longer)" & “Twilight Time” have all become anthems for the ladies down the years and deservedly so.

The group’s origins go back to Western Michigan University, Kalamazoo. Here, in 1962, Bertha Barbee-McNeal and Mildred Gill Arbor were students. They decided to start a group and invited Norma Barbee-Fairhurst (Bertha’s cousin), Caldin Gill Street (Mildred’s younger sister) & Betty Kelley to join them. After rehearsing and playing minor shows around the campus, they entered & won a university talent contest. Following this, they auditioned for Motown and were signed to the label. However their 1st 45, “There He Goes” (May 63), was actually released on IPG Records. Produced in-house at Motown by Mickey Stevenson, this featured Stevie Wonder on harmonica and sold well regionally. Being young, they didn’t tour extensively, but on Saturday 29 February 1964 they were pitched against the Supremes on the prestigious ‘Battle of the Stars’ show. Later that year, Betty Kelly quit to join Martha & the Vandellas plus Millie and Norma would interchange so the group became just a threesome. With “Needle In A Haystack” (VIP) they finally got their initial Motown release & this was on the national charts within days of being issued. “He Was Really Saying Something” escaped later in 1964 with “Lonely, Lonely Girl Am I” & “A Bird In The Hand” following in 1965. These singles weren’t promoted that heavily (the company’s efforts going into Supremes’ releases) and so they didn’t make the national charts. By June 1965, only Cal remained with replacements filling in for live performances and the Andantes helping out on backing vocals in the studio. The last Velvelettes single, “These Things Will Keep Me Loving You”, again started out on the VIP label but by the time it made the charts the track had been shifted across onto the Soul label.

Always active in the studio, the group cut numerous tracks with some even being sung in French after Berry Gordy overheard Cal speaking fluently in the language. Despite “These Things Will Keep Me Loving You” being a big hit, it would prove to be their last Motown release. By 1969, when Cal married Richard Street, all the ladies were concentrating on home life and it would be 1984 before the group reformed. They went on to record for Ian Levine’s Motorcity label and also participated on the 2006 CD project ‘A Soulful Tale Of Two Cities'. In 2004, the ladies worked with Motown to bring out their definitive ‘Motown Anthology’ double CD which features 48 cuts including their IPG tracks, French language & live recordings.

So even though the group only originally existed for a period of around 5 years and secured just 6 single releases back then, they made a lasting impression on the worldwide music scene which ensures that they still get booked for high profile shows over 45 years after they initially got together.

Source - Velvelettes Official Website: April 2010

If the Velvelettes did not reach the same dizzy heights that female groups like the Marvelettes, Martha & the Vandellas or the Supremes achieved, they still fared better at Motown than many others. Every artist has their own unique place in music history, and the Velvelettes edged their way into many people's lives and made a lasting impact.
US readers may be surprised to hear that the group's biggest success was in the UK, hitting the top 40 with their final American 45, "These Things Will Keep Me Loving You" in 1971, some five years after its original release. Their first two songs on Motown's VIP label,"Needle In A Haystack" and "He Was Really Saying Something" had already introduced the Velvelettes to British Motown fans, even though their popularity was not matched by chartworthy record sales.

The gals' "Bird In The Hand" 45 was actually pulled by Motown from the release schedules, and it is generally felt that the practical reason was to concentrate the company's promotional efforts on the Supremes. Today, most people believe that the Velvelettes' song should really have been a monster hit, and judging by the work that was put into achieving just the right mix, my sympathies also lie with Motown's engineers and producer. It is perhaps relevant to recall that at the time, lead singer Cal was quite young (she still, is in my book!) and her parents would only allow her to work at weekends. Clearly with so much at stake, Motown took this into account when planning the company's promotional strategy.

Source - Wikipedia: June 2010

The group was founded in 1961 by Bertha Barbee McNeal and Mildred Gill Arbor, students at Western Michigan University. Mildred recruited her younger sister Carolyn (also known as Cal or Caldin), who was in 9th grade, and Cal's friend Betty Kelly, a junior in high school. Bertha recruited her cousin Norma Barbee, a freshman at Flint Junior College. Cal was chosen as the group's lead singer.
A classmate at Western Michigan University, Robert Bullock, was Berry Gordy's nephew, and he encouraged the group to audition for Motown Records. The group signed to Motown in late 1962 and started recording in January 1963. They recorded at the Hitsville USA studio and "There He Goes" and "That's The Reason Why" produced by William Stevenson was released as a single via the IPG label (Independent Producers Group). The recordings included a young Stevie Wonder playingharmonica. While the group awaited their chance at stardom, they recorded for many producers, some of which were re-recorded by other artists including fellow labelmates the Vandellas and the Supremes. The Velvelettes were not used to provide backing vocals since Motown already had its in-house backing group, the Andantes.
The Velvelettes got their break chartwise in the spring of 1964 thanks to young producer Norman Whitfield, who produced "Needle In A Haystack" as a single for the group, on Motown's VIP Records imprint. "Needle In A Haystack" peaked at number 45 on the Billboard Hot 100 in mid 1964. The group recorded its follow-up, "He Was Really Sayin' Somethin'", with Whitfield again producing, and spent time on various Motown-sponsored toursas a support act. In September 1964, after recording "Dancing In The Street" earlier in June, Betty Kelly officially left the group to join Martha and the Vandellas, and the quintet became a quartet.
The Velvelettes continued performing, with various members leaving and rejoining, as family matters dictated. By 1967, Millie, Norma and Bertha had decided to devote all of their time to raising their families. Cal recruited two new members for concert performances: former Vandella Sandra Tilley (who was introduced by her friend Abdul Fakir of The Four Tops), and Annette Rogers-McMillan.
With a song on the charts and a place on several concert tours, an album project was started using songs already recorded. However, with the growing success of another Motown group, The Supremes, Motown's attention was diverted and the project was left unfinished.
Motown released two additional singles, "Lonely Lonely Girl Am I" and "A Bird In The Hand" on their VIP imprint. Both singles did not reach the same chart levels as their predecessors. The Velvelettes continued to record new material until September 1967, with the Nick Ashford and Valerie Simpsonsong "Bring Back The Sunshine", which was retitled "Dark Side Of The World" when Diana Rosslater released a version of the song. The final Velvelettes single release was "These Things Will Keep Me Loving You", which dented the 1966 R&B charts.
Cal began dating lead singer of the Monitors,Richard Street. He dissuaded her from continuing with the Velvelettes preferring that his wife care for the home. She eventually decided to break up the group. Sandra Tilley joined Martha Reeves and the Vandellas, replacing Rosalind Ashford. Gill then married the future Temptation Richard Street in November 1969, and the Velvelettes disbanded.
In 1971, "These Things Will Keep Me Loving You" became a hit in the United Kingdom, peaking at number 34 on the UK Singles Chart. Despite the new success, the group did not reunite until 1984, following a rare concert appearance by the cousins and the sisters at the request of Bertha. Together the Gill sisters and Barbee cousins then went on to re-record their original hits and some new songs for the album One Door Closes for Motorcity Records. The group continues to tour today.
Three decades after the group left Motown, the company released a CD, The Very Best of the Velvelettes featuring 15 tracks, including four previously unreleased selections. A 19-track CDThe Velvelettes: The Best Of was released in the UK in 2001. The 2005 The Velvelettes: The Motown Anthology is a double album with 48 tracks.
In 2006, the Velvelettes contributed to the double CD Masters of Funk, Soul and Blues Present a Soulful Tale of Two Cities. Lamont Dozier, Freda Payne, George Clinton and Bobby Taylor recorded remakes of songs from Philadelphia International Records. The Velvelettes sang "One Of a Kind Love Affair", originally recorded by the Spinners. The other CD featured Jean Carne, Bunny Siglerand Jimmy Ellis.

Albums
• 1966: The Velvelettes (not completed)
• 1984: One Door Closes
• 1996: Best of the Velvelettes
• 1999: The Very Best of the Velvelettes
• 2001: The Velvelettes: The Best Of
• 2004: Motown Anthology
Singles
• 1963: "There He Goes"
• 1964: "Needle in a Haystack" (US #45)
• 1965: "He Was Really Sayin' Somethin'" (R&B #21, US #64)
• 1965: "Lonely Lonely Girl Am I"
• 1965: "A Bird in the Hand (Is Worth Two in the Bush)"
• 1966: "These Things Will Keep Me Loving You" (R&B #43, UK #34[1] )
• 1967: "Bring Back the Sunshine"

Photos courtesy of Paul Nixon: Hempsey Legends Of Motown Weekender

Tavares

by John Smith: June 2010

Tavares hit their commercial peak in 1975, though their first pop chart entry actually came two years earlier and the first incarnation of the group was formed as far back as 1964. Over the period between 1975 and 1978 they enjoyed 7 US pop hits, 13 US soul chart hits and 8 UK pop chart hits; so they were really on a roll. Not a bad achievement at all for a group from New Bedford, Massachusetts; an area without any local major record label presence. Their big hits came during the disco era, but the group is about much more than disco. Some of their other recordings demonstrate just what a versatile outfit they were (& still are), as they also excelled on straight soul dance cuts and intense soul ballads.
A family based group (the children of a musician); Antone 'Chubby' Tavares, Feliciano 'Butch' Tavares, Arthur 'Pooch' Tavares, Ralph Tavares & Perry Lee 'Tiny' Tavares started out in 1964 as the Del Rios. Before long they became known as Chubby and the Realities before another name swop to Chubby and the Turnpikes. They gained regular work across their home state and it was whilst using this name that they were signed to Capitol records (around the end of 1966). Their first 45 escaped in February 1967 when “I Didn’t Try c/w I Know The Inside Story” hit the shops. Produced by Marvin Holtzman (not much known for working with soul groups), these tracks were almost certainly recorded in a New York studio. Capitol Records certainly didn’t surround the group with light-weights as Chicago legend Sonny Sanders was brought on board to act as their arranger with Chess session man Gerald Sims and the Vibrations Carl Fisher supplying the songs they cut. Both sides of this 45 have stood up well to the test of time and interest from Northern Soulsters (amongst others) has ensured that copies of this single are still sought after. A second single (the tracks being cut at the same session as those utilized on their 1st 45) escaped in 1968 but also failed to sell in the required quantities and Capitol Records lost interest.
The group continued to perform on a regular basis and even undertook dates in Europe in 1969; this being the period when their last name change (adopting the family name) occurred. Things developed slowly for them though and, ironically, it was their old label that instigated a return to the recording studios that would prove to be their big break. Re-signed by Capitol, the group’s first actual outing under the Tavares name was “Check It Out” in August 1973. This cut (written by Jeffrey’s brother; Billy Osborne) proved to be a slow-burner. Entering the soul chart in mid August, it eventually climbed to peak in the #5 slot and remained on the chart for almost 5 months. An album was hastily put together and released early in 1974. This included input from Johnny Bristol who provided songs such as “That's The Sound That Lonely Makes” & “Strangers In Dark Corners”. Both of these cuts also escaped on 45 with the former becoming their next hit in January 1974 (making the soul Top 10).

The group was next teamed up with Dennis Lambert & Brian Potter, with the ‘Hard Core Poetry’ LP resulting. “Too Late” was selected for the initial single lifted from this album (May 74) and this again reached the Top 10 of the soul chart. A cover of Hall & Oates “She’s Gone” followed and this went all the way to No.1. "Remember What I Told You to Forget" had them back in the soul Top 10 in 1975 before "It Only Takes a Minute" shot them back to the top of the charts (this being their 1st US pop chart Top 10 hit). A cover of “Free Ride” followed (November 75) and this also came from the ‘In The City’ LP (another Lambert / Brian Potter production). In addition, ‘In The City’ featured its title track (written by F & L Tavares), “Fool’s Hall Of Fame” (written by George Clinton), “I Hope She Chooses Me” & “The Love I Never Had”. This later cut almost made the soul 45 chart Top 10 in March 1976 and marked the last real soul cut the group would hit with for two & a half years. Whereas “It Only Takes A Minute” had been disco flavored, “Heaven Must Be Missing An Angel” (a 45 in May 76) was pure disco through & through. The record (produced by Freddie Perren with Freddie + Keni St Lewis writing) made the US soul top 3, top 20 US pop chart and went on to become the group’s initial UK hit (reaching #4 in the pop chart here). From then, it was disco hit after disco hit (on both sides of the Atlantic); “Don’t Take Away The Music”, “Whodunit”, “Goodnight My Love” (US), “The Mighty Power Of Love” (UK), “One Step Away” (UK), “The Ghost Of Love”, “More Than A Woman”, ”Timber” (US) and “Slow Train To Paradise”(UK) took them on the crest of a wave right through to late 1978.
The group had enjoyed a great disco run with Freddie Perren but next up they were teamed with Philly’s Bobby Martin and this saw a major switch back to soul. The teaming’s first outing was “Never Had A Love Like This Before” in November 78. This proved to be their most successful chart entry since “Whodunit” 20 months earlier. The ‘Madam Butterfly’ album followed in 1979 and this featured a whole bevy of soul gems -- “I’m Back For More”, “Straight From Your Heart”, “Games, Games”, “Let Me Heal The Bruises” and “My Love Calls” (the last 3 being Sam Dees songs). “Straight From The Heart” became their next hit 45 (May 79) with “Bad Times” returning them to the soul top 10 (& the pop charts) early in 1980. “I Can’t Go On Living Without You” and “Love Uprising” also hit the singles chart for them in 1980. “Love Uprising” was the title track of their next album and this also featured “Only One I Need To Love”, “Do You Believe In Love” and “Life Time Of Love”. Another track from the LP, “Loneliness” became a hit in 1981. From the ‘Loveline’ LP (1981) came two further hit 45’s; “Turn Out The Nightlight” & its title track. This album featured songs by Kashif, Brenda Russell and Al Jarreau but it proved to be their last work for Capitol.

They jumped ship and signed a deal with RCA. This change witnessed a slight improvement in their fortunes as “A Penny For Your Thoughts” (the 1st RCA 45) returned them to the US soul top 20 and pop top 40 in the summer of 1982. A further 4 RCA 45’s escaped and 3 of these charted; “Got To Find My Way Back To You” (which was coupled with “I Hope You'll Be Very Unhappy Without Me”), “Deeper In Love” and lastly “Words & Music”. “Deeper In Love” was the most successful of these (soul top 10; September 1983) and was culled from the 'New Directions' album (1982 -- this also included “Maybe We'll Fall In Love Again”). ‘Words & Music’ became their second (& last) RCA LP in 1983 and its title track was the group’s final US hit at the end of the year. Back in the UK, EMI had Ben Liebrand remix some of their old 70’s cuts and when these were released “Heaven Must Be Missing An Angel” & “It Only Takes A Minute” returned the group to the singles chart (this being the first occasion that the group’s version of the later had made the UK charts as Jonathan King had put out a cover version back in 1976 which had stolen their thunder).
Their prolific recording period was now over but the group kept busy doing live work. In 1988 they even had a stab at the ‘high energy’ market with “She Freaks Out The Floor” which was issued in the US, Europe & Japan. In 1994 they recorded (in Montreal) & released the CD ‘The Best of Tavares Revisited’. On this they re-worked old numbers such as “Strangers In Dark Corners”, “Remember What I Told You To Forget”, “Check It Out”, “The Love I Never Had” and “Too Late” (along with songs such as “Just An Illusion”). Their back catalogue has been dipped into many times, with numerous old tracks being included on compilation CD’s. This continued interest in their recorded works reflects the impact that many of their anthems continue to make. A number of their live shows have been recorded, the results also escaping on CD.
Today the group consists of Chubby (Antone), Pooch (Arthur), Butch (Feliciano) & Tiny )Perry); this foursome still fully managing to capture that 70’s soul & disco magic. I’m sure that the Prestatyn Legends crowd will be blown away by the sheer professionalism of these wily old performers.

Dean Parrish

by John Smith: August 2010

Dean really took some tracking down when Northern Soul fans started looking for him. This was to be expected as Dean Parrish was just his stage name and (then) no Brit was sure of his real name. Born Philip Joseph Anastasi in 1942 in Brooklyn, he got into singing doo-wop while in school. From singing in street corner groups he progressed to playing clubs and cutting tracks in the studio, but it wasn’t long before he decided to try to make it as a solo singer. By 1964 he had managed to land a recording contract at Warner Brothers and was teamed with famed producer Teddy Vann. “Come On Down” soon followed but it was to be his only release for the label. 1965 saw him working with producer Stan Kahan and arranger Bert Keyes. The teaming came up with the brilliant “Bricks, Broken Bottles And Sticks” (Musicor) which has gone on to be one of Dean’s most favoured outings. He had great success playing live club gigs and in 1965 Dean toured with ‘Dick Clark's Caravan of Stars’.
Another label move followed with his next 45 escaping on the Boom label. ”Tell Her” (a version of the old Exciters 1963 hit “Tell Him”) was also to become his first UK 45 when it escaped here on Stateside in July 1966. His second Boom 45 again failed to break through but this could well have been because “Determination” hadn’t been pushed as the plug side. This 45 however again managed a UK release, the single hitting the shops in October. At the very end of 1966 Dean’s last Boom single, “Skate” was released but it proved to be a swansong for the label. With Dean being an Italian-American from the Bronx, it wasn’t surprising that he was signed by Laurie Records. Eliot Greenberg, the label’s owner, produced “I’m On My Way” on him in 1967. When this failed to deliver the breakthrough Dean deserved, he decided a career change was called for. He tried his luck with acting and also switched his musical focus to playing the guitar. He did some work with Herbie Mann and then hooked up with a group who recorded under the name Steeplechase (they included ex members of the Soul Survivors in their line-up). Signed by Polydor, Steeplechase (with Dean on lead vocals & guitar) had both a single and album issued but again these didn’t prove to be big sellers (though “Never Coming Back” still sounds good today).
However, over in the UK, Dean’s old solo recordings had begun to find favour. As “Determination” & “Tell Her” had been issued here these were the first of his tracks to be picked up on. “I’m On My Way” followed, thought it was initially a rare find on Laurie. By the time the Casino was at its height, the tune had reached anthemic status and was used to end the allnighter sessions. Its popularity resulted in Decca putting it out on the UK American label and then it was included on the big selling ‘three before eight’ 7” on Casino Classics. As time passed, “Bricks, Broken Bottles And Sticks” also became a big track on the Northern Soul scene. By then, soul fanatics were looking for Dean and he was finally tracked down in New York. Amazed to learn of his popularity, he made the trip across the pond to perform here. Still retaining much of his old vocal prowess, his live efforts were hailed as being exceptional. These performances led to him being asked to record “Left Right and Centre” (a Paul Weller song) here in conjunction with Lord Large plus “It’ll Never Be Over For Me” as a solo effort (both for Acid Jazz).
Now that Dean Parrish has finally discovered his status on the Northern Soul scene and is back singing again, it’s only fitting that he should be asked to perform at Prestatyn.

Dean Parrish

Source - Wikipedia: Aug 2010

Visit Dean's official website; click here

Dean Parrish (born Phil Anastasi or alternatively Phil Anastasia circa 1942) is an American soul singer from New York, best known for the song, "I'm On My Way", which became famous for being the last record that was played at the final Northern Soul all-nighter at the Wigan Casino.

Anastasi was born to Italian parents and was raised in Little Italy, New York. He lived by the train lines in Brooklyn. Anastasi sang second tenor in a street corner doo-wop group and attended the School of Industrial Arts. He was spotted by the same manager who looked after The Mystics and The Passions who tried to convince Anastasi to go from second tenor to lead/solo singer.
The Peppermint Lounge was New York's premier nightclub in the very early 1960s. Anastasi frequented the establishment and would eventually appeared on the bill. On the advice of The Ronettes lead singer Ronnie Spector, he changed his name to Dean Parrish, and began his own recording career in 1964.
He signed a recording contract with the Laurie record label. Between 1964 and 1967 Parrish recorded for four major U.S. labels Laurie, Warner Bros., Musicor Records and Boom.
Parrish achieved some success with his soul singles "I'm On My Way", "Tell Her", "Determination", "Skate" and "Bricks, Broken Bottles and Sticks". He toured on Dick Clark's Caravan of Stars, appearing alongside such leading luminaries as Mitch Ryder and the Detroit Wheels, The Capitols and Lou Christie; he even appeared on a Motown revue bill with The Supremes. However, his singing career began to fade.
In 1967 Parrish reverted to his original name, and became an actor, who began to appear on television and in films. He kept his hand in musically by playing guitar with Herbie Mann, and sometimes as frontman for The Rosecrucians and Steeplechase. He worked as a session musician with Jimi Hendrix and Santana in 1970, and played guitar with Bob Marley in 1972.

The Northern soul scene had taken a firm hold in the nightclubs of mid 1970s in the United Kingdom where rare American soul music recordings were played. Parrish's recording of "I'm On My Way" came to the attention of Russ Winstanley, a disc jockey at the Wigan Casino. He began playing the gramophone record and it soon became one of the more popular records at the venue. It was re-released in 1975 on the UK Records label, and sold around 200,000 copies. The track reached #38 in the UK Singles Chart in February 1975. It has consequently gone on to sell over a million copies. Interest in Parrish's mid 1960s recording career began to gain in popularity but Parrish himself remained completely unaware of his popularity on the other side of the Atlantic.
He had changed his name back to Phil Anastasi and no one had been able to track him, with his former U.S. US labels no longer in touch with him. However, in 2001, Parrish contacted Winstanley, and he made his first trip to the UK, some thirty years since his last concert performance. Parrish found himself performing in front of thousands at a Prestatyn, Wales based Northern soul weekend. More trips to Europe followed as well as a growing number of acting roles.
Parrish met up with Paul Weller's guitarist and Ocean Colour Scene member, Steve Cradock. Craddock was a friend of Winstanely's and handed Parrish "Left Right and Centre", a song Weller had composed at the age of fifteen. Parrish recorded the song with Lord Large in 2006. Back in New York he recruited some of his old friends (including members of Santana) and came up with a new single, a cover version of Timi Yuro's, "It'll Never Be Over for Me", his first solo single for 41 years. His first ever album, Determination - The Northern Soul Sound of Dean Parrish, was due to be released in 2008.
Under the name 'Philip J. Anastasia', he appeared as an emcee in an episode of The Sopranos.
I'm On My Way – The Dean Parrish Story was broadcast on Saturday 12 January 2008 on BBC Radio 2. Billed as 'The Northern Soul star sold over one million records, but barely received a penny for his work. Pete Mitchell travels to New York to track down Parrish, revealing a remarkable story that takes in The Sopranos and Jimi Hendrix along the way.