A Long Way From The Moonglows....Harvey Fuqua!

From: AMG
By: Ed Hogan

Born: July 27, 1928 in Chicago, IL

Harvey Fuqua founded the seminal R&B/doo wop group the Moonglows, was an early mentor of Marvin Gaye (co-producing "Sexual Healing" and Gaye's hit duets with Tammi Terrell), helped to develop several Motown acts, and helped to launch the careers of '70s soul-pop group New Birth and disco superstar Sylvester ("Dance (Disco Heat)," "You Make Me Feel Mighty Real"). Born on July 27, 1929, in Louisville, KY, Harvey Fuqua (the nephew of Charlie Fuqua of the Ink Spots) started the Moonglows with lead singer and fellow Louisville native Bobby Lester (January 13, 1930 -- October 15, 1980), Alexander Graves (born April 17, 1930, Cleveland, OH), and Prentiss Barnes (April 12, 1925, Magnolia, MS). Mentored by legendary rock & roll DJ Alan Freed, the group appeared with Freed on his radio show, concerts, and with him in the movies Rock, Rock, Rock (1956) -- the soundtrack was issued on CD by MCA -- and Mr. Rock and Roll (1957). Originally called the Crazy Sounds, Freed christened the group the Moonglows. The 1978 movie American Hot Wax featured a fictional group that was based on the Moonglows and Frankie Lymon and the Teenagers. The Moonglows' first releases were for Freed's Champagne label in 1953. The following year, the group signed with Art Sheridan's Chicago, IL-based Chance label, scoring a regional hit with a cover of Doris Day's "Secret Love." When Chance folded that same year, label exec Ewart Abner suggested they try to get a deal with another Chicago label, Chess Records. Their Chess single "Sincerely" parked at number one R&B for two weeks, number 20 pop on Billboard's charts in late 1954. The group's "blow harmony" can be heard on other Chess hits: Most of All (number five R&B, spring 1955), "We Go Together" (number nine R&B, summer 1956, later covered by Jan & Dean), the double-sided hit "See Saw" (number six R&B, b/w "When I'm With You," number 15 R&B, fall 1956), a cover of Percy Mayfield's 1950 gold hit "Please Send Me Someone to Love" (number 5 R&B, summer 1957), and "Ten Commandments of Love" (number nine R&B, fall 1958), credited to Harvey and the Moonglows, whose lineup consisted of former members of the Washington, D.C., doo wop group the Marquees: Marvin Gaye, Reese Palmner, James Knowland, Chester Simmons, and Chuck Barksdale on loan from the Dells. The group also recorded under the "pun" name the Moonlighters, having a regional hit with "Soo-doo-Bedoo," which was inspired by the Chords' "Sh-Boom." In 1958, Fuqua left the Moonglows and label owner Leonard Chess suggested that he join Anna Records in nearby Detroit, MI. Retaining Gaye, he gave the other three Marquees members tickets back to DC and traveled to Detroit where he began working with "See Saw" co-writer Billy Davis -- not to be confused with the Fifth Dimension member of the same name -- and Anna Gordy, whose brother Berry he had met when he came to Chess to lease the rights to the Miracles' "Bad Girl." Anna Records was having a huge hit with Barrett Strong's "Money." While with Anna, Fuqua recorded Lamont Anthony (aka Lamont Dozier) and Johnny Bristol, two talents who would later have huge success with Motown. Fuqua came to the attention of Berry Gordy when he observed Fuqua's marathon practice sessions while Fuqua rented a room at the home of his sister Esther Gordy and her husband George Edwards. Fuqua was still working with Chess producing sides on Etta James. In 1961, he started his own labels, Tri-Phi and Harvey Records. On their rosters were the Spinners (the Fuqua-lead "That's What Girls Are Made For" on Tri-Phi, number five R&B, summer 1961), Junior Walker & the All Stars ("Good Rockin' Tonight"), and Shorty Long. Tired of the rigors of running a small independent label with no distribution or manufacturing edge against major-label competition, Fuqua was glad when Motown founder Berry Gordy hired him to head the label's Artist Development department, basically a charm school for the label's artists. He was assisted by Gordy's sisters Gwen (Fuqua's wife) and Anna, Maxine Powell, and Cholly Atkins and brought the Spinners and Johnny Bristol to Motown. Fuqua co-produced several hits with Bristol, all having a sprinkling of the Moonglows' sound: Marvin Gaye and Tammi Terrell's "Aint No Mountain High Enough" (written by Ashford & Simpson, number three R&B, number 19 pop, summer 1967), "Your Precious Love" (number two R&B, number five pop, fall 1967), and "If This World Were Mine" (number two R&B, number ten pop, late 1967), in addition to former Temptations member David Ruffin's "My Whole World Ended (The Moment You Left Me)" (number two R&B, number nine pop, early 1969). Around 1971, Fuqua left Motown and signed a production deal with RCA Records. Two acts signed to Fuqua's talent agency were signed to the label: The Nitelighters ("K-Jee," "Afro-Strut" b/w "(We've Got To) Pull Together") and New Birth (a cover of Perry Como's 1971 hit "It's Impossible," a cover of Bobby Womack's "I Can Understand It," "It's Been a Long Time"). New Birth group members Lester & Melvin Wilson recorded as Love, Peace and Happiness covering Gladys Knight and the Pips' "I Don't Want to Do Wrong," number 41 R&B, summer 1982. The Moonglows reunited in 1972 with Fuqua, Lester, Graves, Doc Williams, and Chuck Lewis. They recorded an RCA LP, The Return of the Moonglows, and a remake of "Sincerely" which charted number 43 R&B. Fuqua reunited with Marvin Gaye in summer 1982, collaborating on the singer's Midnight Love LP which hit number seven pop in late 1982, sold two million copies, and included the gold single "Sexual Healing," number one R&B for ten weeks, number three pop, fall 1982. The single "Sanctified Lady," from Gaye's posthumously released 1985 LP Dream of a Lifetime, parked at number two R&B for three weeks in the spring 1985.

From Valentino To Superstar.....Bobby Womack!

Bio from: AMG
Written by: Steve Huey

A veteran who paid his dues for over a decade before getting his shot at solo stardom, Bobby Womack persevered through tragedy and addiction to emerge as one of soul music's great survivors. Able to shine in the spotlight as a singer or behind the scenes as an instrumentalist and songwriter, Womack never got his due from pop audiences, but during the late '60s and much of the '70s, he was a consistent hitmaker on the R&B charts, with a high standard of quality control. His records were quintessential soul, with a bag of tricks learned from the likes of Sam Cooke, Wilson Pickett, and Sly Stone, all of whom Womack worked closely with at one time or another. Yet often, they also bore the stamp of Womack's own idiosyncratic personality, whether through a lengthy spoken philosophical monologue or a radical reinterpretation of a pop standard. An underrated guitarist, Womack helped pioneer a lean, minimalist approach similar to that of Curtis Mayfield, and was an early influence on the young Jimi Hendrix. Additionally, his songs have been recorded by numerous artists in the realms of both R&B and rock, and the best of them rank as all-time classics.

This perfomance was mixed at Master Sound Recorders in Hollywood.



Listen: Bobby Womack Live At The Roxy With Special Guest..Sly Stone!

It Ain't Easy To Say....Long John's Gone!

JOHN WILLIAM BALDRY - January 12, 1941 - July 21, 2005

John Baldry's family and friends would like to thank everyone at the Vancouver General Hospital for the care and love they gave to John. Special thanks to nurses Deb Hamilton, Susanna and the many others in the Intensive Care Unit for making it possible for John to pass on with dignity and peace. God bless you all. - Frank Garcia


'For me, just shaking his hand – knowing all the great musicians whose hand he’d shaken before – was mind-blowing. But so was John. Picture this elegant man with a proper English accent, never without a tie, a towering six-foot-seven. I was a huge fan and I was intimidated by his offer. Rod Stewart wasn’t in demand in those days; no one was interested. I immediately said 'yes'. John had a knack for discovering talent. Ginger Baker, Jeff Beck and Brian Jones all worked with him early on. Elton John played piano in one of his bands, other Rolling Stones too – Charlie, Ron Wood, and Keith. In 1962, when the Rolling Stones were just getting started, they opened for him in London. Eric Clapton has said many times that John was one of the musicians that inspired him to play the Blues. And for their internationally televised special in 1964, the Beatles invited John to perform his version of 'I Got My Mojo Working'. In those days the only music we fell in love with was the Blues, and John was the first white guy singing it, in his wonderful voice. It was the true Blues and everyone looked up to him'. - Rod Stewart

'I am very glad I sat 15 feet from him in November before a packed house, one of his last London performances before his illness. With Dave Kelly on guitar and harp player Butch Coulter, he delivered, as he always has, and the hushed fans lapped it up. At one point some heathens at the bar spoiled the intimate listening pleasure…John stopped and stood from the stool he was leaning on and with his trademark hat now towering over us at around 7ft 2 he bellowed...
'Don't you know when culture is being thrust upon you!' - UK Bob WRFG/ Atlanta Ga

'Deepest condolences to you and all that were close to John. The few times I got to be in his presence were fun and precious. I'll always be flattered he invited me to record with him and will fondly remember doing his Leadbelly show at the Edmonton Folk Fest two years ago'.-Amos Garrett

Dear Frank: This is very sad news. There are a few people in this world who can considered touchstones. John Baldry was one of them. His spirit of generosity towards his fellow musicians and fans never wavered. His honest approach to his craft and his willingness to share his gift with others is the true measure of his life. He, his family and friends are in my prayers. Thank you for informing me of his passing and for all your communications these past months, -Tom McGivney

Learn more about Long John Baldry