Archive for August, 2010

Any Major Soul 1988-89

August 27th, 2010 10 comments

The cycle of soul compilations covering the 1970s and “80s is coming to an end with this mix, some 13 months after I posted the first (which drew a comment from Jerry Plunk, singer of the Flaming Ember). I have had feedback from a number of people who said they have collected the whole series. One reader told me that he burnt the compilations on CD, printed the covers and gave the set as a present to a soul-loving relative. It”s feedback like this that makes me not ditch this lonely blogging thing.

Of the lot here, I really like Keni Stevens, a British soulster of distinctive style and voice who never made it big. I previously posted my favourite song of his, 24-7-365 (download it here).  Somehow he was not marketable because he was not sufficiently upbeat. Soul lost a fine artist, who released only three albums.

A cursory listen to Charlie Singleton“s track will doubtless cause the savvy listener to call to mind Cameo”s 1985 hit Single Life. Singleton was the guitarist of Cameo until the Single Life album. So all he”s doing is to rip off himself. I hear that lately he”s been performing with Cameo again.

Three songs featured here have a tangential link: Mica Paris and Paul Johnson (the latter featured also on Any Major Soul 1986-87) perform a song from Mica”s 1988 debut album. Another singer who duetted with Paris on the album was the greatly gifted Will Downing, featured here with a track from his eponymously titled debut album. And the gorgeous song here by Al Jarrreau from 1989 originally appeared on Mica Paris” debut.

This mix features a slate of new artists, but also a few singers in the twilight of their careers. Shortly after releasing his Take It To The Streets album, on which the lovely Doo Be Down appeared, Curtis Mayfield suffered the accident that paralysed him. Johnnie Taylor had been a Stax headliner in the early 1970s and made the transition to disco. By the 1980s, he was on the fringes of soul music, though he made a brief comeback in 1996, four years before his death at 62.

New York-born Nicole McCloud never made it big, despite creating a minor soul classic with New York Eyes, her duet with Timmy Thomas (which featured on the New York City Mix Vol. 2). Her  1989 album Rock The House, a mostly poorly produced effort, was Nicole”s second. She released two more, in 1996 and 2002.

1. Womack & Womack – Teardrops
2. Johnnie Taylor – You Knocked My Heart Out Of Line
3. Al Jarreau – So Good
4. Curtis Mayfield – Do Be Down
5. Teddy Pendergrass – 2 A.M.
6. Chuckii Booker – Turned Away
7. BeBe & CeCe Winans – Lost Without You
8. Mica Paris & Paul Johnson – Words Into Action
9. Keni Stevens – Hurt This Way
10. Maze featuring Frankie Beverley – Can’t Get Over You
11. Charlie Singleton – Good Bad Ugly
12. Will Downing – That Good Morning Love
13. Anita Baker – Lead Me Into Love
14. Regina Belle – It Doesn’t Hurt Anymore
15. Brenda Russell – Piano In The Dark
16. Narada Michael Walden – I Belong
17. Nicole – So Lost Without Your Love



Any Major Soul 1970-71
Any Major Soul 1972-73
Any Major Soul 1974-75
Any Major Soul 1976-77
Any Major Soul 1978-79
Any Major Soul 1980-81
Any Major Soul 1982-83
Any Major Soul 1984-85
Any Major Soul 1986-87

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A History of Country Vol. 3: Pre-war years – 1937-41

August 19th, 2010 4 comments

The second article in the history of country music covered the trends and artists of the depression and pre-war years, 1930-41. Here we”ll look at some of the songs of the era. The photo on the cover comes from a superb series of colour photos from the US in the 1930s and ’40s.

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Rock “˜n” roll grew out of R&B and various shades of country, especially rockabilly, a sub-genre that peaked in the 1950s. But what is widely regarded as the first rockabilly number dates back to 1939, Buddy Jones” Rockin” Rollin’ Mama. It”s a futile exercise to identify “the first-ever rock “˜n” roll record”, but any list of contenders must include Rockin” Rollin’ Mama. Read more…

Answer Records Vol. 7

August 16th, 2010 2 comments

Thank my new friend Charlie for this instalment in the Answer Records series; covering the reply to Universal Soldier was his suggestion. Besides the conflict of ideology, we have Billie Jean creating a bit of a scene and Sam Cooke begging his woman to return to him. But will she, and is the kid Jacko”s son?

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Who does Wacko think he is?

Act 1: Michael Jackson ““ Billie Jean (Demo) (1982).mp3
Renowned laydees man Michael Jackson”s denial of paternity in relation to Billie Jean”s kid is well known. Our man is not impressed when his disco dancing is disrupted by the appearance of the woman who claims that he fathered her son. He pretends not to know her, but he does admit that he followed Billie Jean into a room (because of her perfume, apparently), and then did not have sex with that woman. Perhaps the excessive consumption of Jesus-juice made Jacko forget the act that spawned a kid with his eyes, as his girl (presumably the one he won in the contest with Paul McCartney) confirms. The kid might have his eyes, but still Michael denies paternity. Not only that, he accuses Billie Jean if all manner of dishonest schemes and duplicity “” and of being just some random girl.

Act 2: Lydia Murdock – Superstar (1983).mp3
Billie Jean, it”s safe to say, is rather disappointed by Michael”s denial. In her rather more convincing version, the two had an affair which Michael asked to be handled with discretion. “You became my lover, you said: “˜Let”s keep it secret, let”s not spread it around”.” The trade-off for being a secret lover? Expensive gifts and smooth-talk: “You send me flowers and diamonds, and said that you were in love. You said you never met a girl that you thought so much of.” The cad! And when he had had enough of Billie Jean, he just stopped calling. In an instance of bad timing, Billie Jean soon discovered that she was pregnant. “And when the baby was born I sent you a telegram, but it came back saying you don”t know who I am.” So when Billie Jean goes out dancing (her son presumably in good care) and spots Michael, she goes ballistic: “I did not intend to start a fight, but when you said who am I, you don”t know my face, I went off. I made a scene, I really wrecked the place. And I know you might be a big superstar and the whole wide world knows who you are, but the next time we meet, if you don”t want a scene, tip your hat with respect, “cause I am Billie Jean.” And some child support would be nice too, she might add.


Running from an elf

Act 1: Buffy Sainte-Marie ““ Universal Soldier (1964).mp3
If we want peace, all soldiers must just refuse to fight. It”s an easy equation, but, well, it”s not entirely lacking in naivety. Donovan (or Donovan or, in the original recording, The Highwaymen ) asks how without the universal soldier “would Hitler have condemned him at Dachau?” Which is a bit of a strange question: more likely, the refusenik would have been executed at Dachau for the act of refusing to fight, no? Still, the soldier is “the one who gives his body as a weapon of the war. And without him all this killing can”t go on.” So, until all soldiers turn into conscientious objectors, the argument goes, they are personally to blame for war.

Act 2: Jan Berry ““ Universal Coward (1965).mp3
The hippy sentiment is not universally shared, least of all among the clean cut youth represented by surfer duo Jan & Dean (Dean Torrence wanted no part of the song, so it was released as a solo record by Jan Berry, who here sports the broken leg that kept him from being drafted. It did turn up on Jan & Dean Rock “˜n Folk album though). Jan is mightily pissed off that the responsibility for war is being shifted on to the runts in the trenches. With soldiers in Vietnam serving what Berry evidently thought was a just cause, the peacenik “just can’t get it through his thick skull why the mighty USA has got to be a watchdog of the world” “” an opinion perpetuated by any Dick, Don and Dubya three and a half decades later. Berry defines the peacenik: “He’s a pacifist, an extremist, a communist or just a Yank; a demonstrator, an agitator, or just a knave.  A conscientious objector, a fanatic, a defector “” and he doesn”t know he”s digging his own grave.” And then, by way of lazy rhyme, he gets his digs in before arriving at a nonsensical conclusion: “He”s the universal coward, and he runs from anything: from a giant, from a human, from an elf. He runs from Uncle Sam, and he runs from Vietnam. But most of all he’s running from himself.” Give that man some tea!


Can a cad get forgiveness?

Act 1: Sam Cooke ““ Bring It On Home To Me (1962).mp3
Sam is heartbroken because he has been left by the woman he loves. At first he laughed it off, literally: “You know I laughed when you left, but now I know I”ve only hurt myself.” So now he is begging her to come back: “If you ever change your mind about leaving me behind, bring it to me. Bring your sweet lovin”, bring it on home to me.” He is making extravagant promises: “I”ll give you jewellery, money too.” And, in case she is not so much of a material girl, “You know I”ll always be your slave till I”m dead and buried in my grave”  “” which we know, alas, will be all to soon.

Act 2: Carla Thomas – I’ll Bring It On Home To You (1962).mp3
Sam”s sweet-talk worked. Carla is packing her bags as we speak: “Darling, you”ve made me change my mind. I can”t leave you leave you behind. I”m gonna bring it to you, bring my sweet loving, bring it on home to you.” Carla is satisfied that he has learnt his lesson: “I heard you laughing when I left. So now you know, you only hurt yourself.” Sam gets forgiveness, even though it was he “who stayed out late at night”. She is not a material girl: “Don”t want your jewellery or money too and nothing else you said you would do. I”m just gonna bring it to you.” And then the poignant verse: “You said you”d always be my slave till you were buried in your grave, but you got a little time yet…”


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A History of Country Vol. 2: Depression Years – 1930-36

August 12th, 2010 17 comments

The titles of posts in this series may be a bit confusing. They will refer to the timespan covered in the mixes. But this post looks at the era from about 1930 to about 1941. The next post will include the 1937-41 mix, but the text will be a sidebar to this article, also referring to 1930-41. I hope that makes sense…

Record sales collapsed dramatically with the Depression, with sales dropping from 104 million in 1927 to just 6 million in 1932. Some records still sold prodigiously, of course. Gene Autry”s That Silver-Haired Daddy Of Mine (released in 1931 but becoming a mega-hit a couple of years later, it is sometimes considered the first honky tonk record, a decade before that sub-genre really took hold) sold a million copies, as did Patsy Montana”s 1935 hit I Want To Be A Cowboy”s Sweetheart. Read more…

Intros Quiz – Disney Edition

August 9th, 2010 1 comment

This month’s intros quiz looks at songs from Disney movies. As always, there are twenty intros to songs of of 5-7 seconds in length. Clue: Pixar movies are not included.

The answers will be posted in the comments section by Thursday “” please don”t post your answeers in the comments section, in case it inadvertently spoils the fun for somebody else. And if the pesky number 14 bugs you, e-mail me at halfhearteddude [at) gmail [dot] com for the answers, or  better, message me on Facebook. If you”re not my FB friend, click here.

Intros Quiz ““ Disney edition


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A History of Country: Pioneer Years – 1920s: Part 2

August 6th, 2010 7 comments

After the first instalment of the country history series, it was suggested that I should have at least two compilations for each article. When I floated the idea on this blog”s Facebook page, a number of people approved of the idea. So here”s a second disc  for the Pioneer Years ““ 1920s selection.

In the first part of the history, we noted the first ever country recording: Sally Gooden by Eck Robertson, put to record on 30 June 1922 in New York. Ragtime Annie comes from the same session, recorded the following day, this time without the civil war veteran Henry C Gilliland, who played on Sally Gooden. Read more…

The Originals Vol. 39

August 6th, 2010 9 comments

Here are five more lesser-known originals, covered in four entries: Wild Thing, Sunny, Angel Of The Morning, Under The Influence Of Love and It May Be Winter Outside. Incidentally, look at the tabs on top to find an alphabetical index of Originals that have featured so far, with links to the relevant posts.

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The Wild Ones ““ Wild Thing (1965).mp3
The Troggs ““ Wild Thing (1966).mp3
Senator Bobby ““ Wild Thing (1968)
Jimi Hendrix ““ Wild Thing.mp3
Marsha Hunt ““ Wild Thing (1971).mp3

One of rock”s most iconic songs was written by actor Jon Voight”s younger brother,  James Wesley, who took the name Chip Taylor. He had a prolific songwriting career before turning to recording records himself in 1971 as a country artist. The first version of Wild Thing, by the New York band The Wild Ones, was released in 1965. Headed by one Jordan Christopher, they are said to have been the houseband of what has been called New York”s first disco, The Office. Taylor wrote Wild Thing for them as a favour for A&R man Gerry Granagan.

It”s not very good, certainly not in comparison to The Troggs version, which replaced the Wild Ones” whistle interlude with an ocarina solo (the ocarina is an ancient ceramic wind instrument). Taylor has recalled that he wrote the song in a few minutes (“the pauses and the hesitations are a result of not knowing what I was going to do next”) and had a low opinion of it. Likewise, The Troggs recorded it in 20 minutes, during the same session that produced their follow-up hit With A Girl Like You. They worked from Taylor”s demo, rather than the Wild Ones” version.  Due to a licensing issue, The Troggs” version of Wild Thing was released on two labels, Fontana and Atco. It is the only time a record has topped the US charts under the simultaneous banner of two labels.

Wild Thing was covered frequently after that. Jimi Hendrix famously set his guitar on fire at Monterey after playing his version of it. In 1968 the comedy troupe The Hardly Worthit Players released a version of Wild Thing being performed by “Bobby Kennedy”, with a producer giving him instructions. Robert F Kennedy was voiced by the comedian Bill Minkin (it”s a myth that it was Jon Voight). That novelty record  was one of the last releases by the Cameo-Parkway label, a noteworthy footnote in light of the next song. Marsha Hunt”s version featured on the Covered In Soul Vol 2 mix.

Also recorded by: The Capitols (1966), The Standells (1966), The Kingsmen (1966), Manfred Mann (1966), Geno Washington & the Ram Jam Band (1967), The Memphis Three (1968), Fancy (1974), The Goodies (1976), The Runaways (1977), The Creatures (1981), The Meteors (1983), X (1984), Cold Chisel (1984), La Muerte (1984), Sister Carol (1986), Amanda Lear (1987), Unrest (1987), Sam Kinison with Jessica Hahn (1988), Cheap Trick (1992), Divinyls (1993), Stoned Age (1994), Hank Williams, Jr (1995), The Muppets (1995), Acid Drinkers (1995), Chip Taylor (1996), Popa Chubby (1996), Danny and the Nightmares (1999), Sky Sunlight Saxon (2008), Trash Cans (2010)


Evie Sands – Angel Of The Morning (1967).mp3
Merrilee Rush and the Turnabouts  – Angel Of The Morning (1968).mp3
P.P. Arnold – Angel Of The Morning (1968).mp3
Skeeter Davis  – Angel Of The Morning (1969).mp3
Nina Simone ““ Angel Of The Morning (1971).mp3
Juice Newton – Angel of the Morning (1981).mp3

The one-night stand anthem was also written by Chip Taylor (perhaps the angel of the morning was last night”s wild thing). Indeed, he told Mojo magazine in its September 2008 edition that Angel is Wild Thing slowed down: “I heard some guy playing Wild Thing real slow on a guitar. It sounded nice. So I did the same, lifting one of my fingers off a chord to create a suspension.” He also credited the Rolling Stones” Ruby Tuesday for inspiration.

The song was first recorded in 1967 by New York singer-songwriter Evie Sands (pictured), for whom Taylor wrote several songs (he also wrote I Can”t Let Go for her; it became a hit for The Hollies). It was on its way to becoming a hit, with good radio airplay and 10,000 copies selling fast. Then the label, Cameo-Parkway (of the Bobby Kennedy novelty record above) went bankrupt, and Sands” record sank. A few months later, Memphis producer Chips Moman picked up Angel Of The Morning (which in the interim had also been recorded by English singer Billie Davies) and had the unknown Merrilee Rush record it, backed by the same session crew that played with Elvis during his famous Memphis sessions that produced hits such as Suspicious Minds (itself a cover, as detailed in The Orignals Vol. 21). The Seattle-born singer had a massive hit with it, even receiving a Grammy nomination. It soon was covered prodigiously, with P.P. Arnold scoring a UK hit with it in 1968.

Angel Of The Morning was revived in 1981 by Juice Newton, who previously featured in The Originals Vol. 26 with her cover of Queen Of Hearts.  Her version sold a million copies in the US and reached #4 in the US charts. Like Rush, Newton was Grammy-nominated for her performance.

Also recorded by: Billie Davis (1967), Joya Landis (1968), Percy Faith (1968), Ray Conniff (1968), Liliane Saint Pierre (as Au revoir et à demain, 1968), I Profeti (as Gli occhi verdi dell’amore, 1968), Dusty Springfield (1969), Skeeter Davis (1969), Bettye Swann (1969), Connie Eaton (1970), Olivia Newton-John (1973), Merrilee Rush (re-recording, 1977), Guys n’ Dolls (1977), Mary Mason (as part of a medley, 1977), Thelma Jones (1978), Rita Remington (1978), Melba Montgomery (1978), Pat Kelly (1978), Elisabeth Andreassen (as En enda morgon, 1981), The Tremeloes (1987), Barnyard Slut (1993), Chip Taylor (1994), The Pretenders (1994), Ace Cannon (1994), Position (1997), Juice Newton (re-recording, 1998), Bonnie Tyler (1998), Thunderbugs (1999), Shaggy (as Angel, 2000), Maggie Reilly (2002), Blackman & The Butterfly (2003), The Shocker (2003), Chip Davis & Carrie Rodriguez (2006), Girlyman (2007), Jill Johnson (2007), Vagiant (2007), Gypsy Butterfly (2008), Barb Jungr (2008), Michelle (2008), Randy Crawford with Joe Sample (2008), Iván (as Angel de la mañana, 2009)


Felice Taylor – It May Be Winter Outside (But In My Heart It’s Spring) (1967).mp3
Felice Taylor – I’m Under The Influence Of Love (1967).mp3
Love Unlimited – It May Be Winter Outside, But In My Heart It’s Spring (1973).mp3
Love Unlimited – Under The Influence Of Love (1973).mp3

Before becoming an icon of baby-making music, Barry White was something of an impresario. He discovered and produced the girl band Love Unlimited (which included White”s future wife Glodean James), whose success in 1972 set him off on his successful solo career. Just a decade or so earlier, White had been in jail for stealing the tyres of a Cadillac (he credited hearing Elvis Presley singing It”s Now Or Never for turning his life around). After leaving jail, he started to work in record production, mostly as an arranger. Among his early arrangement credits was Bob & Earl”s 1963 song Harlem Shuffle. By 1967, White worked for the Mustang label, owned by Rob Keane, the man who first signed Sam Cooke, Richie Valens and Frank Zappa. In that job, White wrote for Bobby Fuller (of I Fought The Law fame), Viola Wills and  a young soul singer named Felice Taylor.

Felice Taylor, born in 1948 in Richmond, California, had previously released a single as part of a trio with her sisters, The Sweets, and a solo single under the name Florian Taylor. White”s It May Be Winter Outside provided Taylor with her only US hit, reaching #42 in the pop charts. It is a rather lovely version that sounds a lot like a Supremes song (with a break stolen from the Four Tops” Reach Out I”ll Be There). White also wrote and arranged Taylor”s I”m Under The Influence Of Love. The arrangement and Taylor”s vocals are inferior, and the single failed to make an impact. Taylor”s biggest success was with another White song, I Feel Love Comin” On, a bubblegum pop number that reached #11 in the UK charts in late 1967.

By the early 1970s Taylor had ceased to record. In 1973 Love Unlimited recorded totally reworked, luscious versions of It May Be Winter Outside and (title shortened) Under The Influence Of Love for the sophomore album. Both were released as singles, with Winter reaching #11 in the UK charts.

Also recorded by: (Under The Influence) Lori Hampton (1968), Kylie Minogue (2000)


Mieko Hirota ““ Sunny (1965).mp3
Chris Montez ““ Sunny (1966).mp3
Bobby Hebb ““ Sunny (1966).mp3
Dusty Springfield ““ Sunny (1967).mp3
Johnny Rivers –  Sunny (1967).mp3
Stevie Wonder ““ Sunny (1968).mp3
Boney M. ““ Sunny (1976).mp3

Bobby Hebb died on Tuesday, August 3 at the age of 72. The man had a quite remarkable early life. Born to blind parents, both musicians, Nashville-born Robert Von Hebb progressed from being a child musician to becoming  one of the earlier musicians to play at the Grand Ole Opry, as part of Ray Acuff”s band. In the early 1960s Hebb even had a minor hit with a country standard recorded by Acuff, among others, Night Train To Memphis. Subsequently, afer the success of Sunny, he headlined the 1966 Beatles tour.

The genesis for Sunny was in a dual tragedy: the assassination of John F Kennedy and soon after  the fatal stabbing in a mugging of Hebb”s older brother Harold, with whom he had performed in childhood. The song was a conscious statement of meeting the trauma of these events with a defiantly positive disposition. In 2007, he told the Assiociated Press about writing Sunny: “I was intoxicated. I came home and started playing the guitar. I looked up and saw what looked like a purple sky. I started writing because I”d never seen that before.”

Still, it would be almost three years before Hebb would release the song himself. It was first recorded by the Japanese singer Mieko “Miko” Hirota who made her debut in her home country in 1962 with a cover of Connie Francis” Vacation. Within three years, the by now 18-year-old singer became the first Japanese artist to appear at the Newport Jazz Festival (the line-up of which included Frank Sinatra), having just recently discovered her talent for the genre thanks to a chance meeting with American jazz promoter  George Wein. The same year, in October 1965, she was the first of many to release Sunny, scoring a hit with it in Japan with her rather lovely jazzy version. By the time Hebb got around to releasing it, apparently having recorded it as an after-thought at the end of a session, there already were a few versions, including Chris Montez”s featured here. Hebb”s rightly became the definitive and most successful version, though Boney M scored a huge hit with it in Europe ten years later.

Also recorded by: John Schroeder Orchestra (1966), Cher (1966), Chris Montez (1966), Del Shannon (1966), Dave Pike (1966), Georgie Fame (1966), The Young-Holt Trio (1966), Roger Williams (1966), Richard Anthiny (1966), James Darren (1967), Horacio Malvicino (1967), Billy Preston (1967), Herbie Mann & Tamiko Jones (1967), Johnny Mathis (1967), Andy Williams (1967), Sam Baker (1967), John Davidson (1967), The Amazing Dancing Band (1967), Jackie Trent (1967), Booker T. & The M.G.’s (1967), Gordon Beck (1967), Joe Torres (1967), Nancy Wilson (1967), Dusty Springfield (1967), The Ventures (1967), Shirley Bassey (1968), Eddy Arnold (1968), Leonard Nimoy (1968), Frankie Valli (1968), José Feliciano (1968), Bill Cosby (1968), Mary Wells (1968), Frank Sinatra & Duke Ellington (1968), Paul Mauriat (1968), Gary Lewis & the Playboys (1968), Stevie Wonder (1968), Ray Conniff (1968), George Nenson (1968),  The Head Shop (1969), Herb Alpert & the Tijuana Brass (1969), The Electric Flag (1969), Classics IV (1969), Ray Nance (1969), The Lettermen (1969), Ella Fitzgerald (1970), Del Shannon (1971), Pat Martino (1972), Bobby Hebb (as Sunny ’76, 1975), Hampton Hawes (1976), Boney M. (1976), Stanley Jordan (1987), Cosmoalpha (1994), Günther Neefs (1997), Ottottrio (1998), Kazuo Yashiro Trio (2000), Clementine (2000), Twinset (2003), Christophe Willem (2006), Michael Sagmeister (2006), Dwight Adams (2007), Cris Barber (2008), Giuliano Palma & the Bluebeaters (2009) a.o.


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In Memoriam – July 2010

August 3rd, 2010 1 comment

The grim reaper evidently is a big football fan, stepping up his reaping only after the World Cup concluded (taking, however, the great South African saxophonist Robbie Jansen before its conclusion), but then with a vengeance. The most notable musician this month may be Harvey Fuqua, whose impact on music was mostly behind the scenes. Fittingly, Marvin Gaye on the last track of his last album paid tribute to his mentor. Just a short while after Big Star”s Alex Chilton, Andy Hummel died.

A couple of session musicians who played on rock classics passed on. I usually don”t include technical staff other than influential producers. But as a sound engineer Bill Porter shaped the Nashville sound. We all know songs that he has produced (many have featured on this blog), including classics by the Everly Brothers, Elvis Presley, Roy Orbison, Skeeter Davis, Hank Locklin, and Jim Reeves. Also passing on is the relatively obscure funk and soul singer Melvin Bliss, whose 1973 b-side Synthetic Substitution became a staple hip hop sample (for a list, see here)

But the most tragic death came towards the end of the month when the jazz drummer Chris Dagley — who also was a session man (as featured on jazz singer”s Claire Martin”s latest album) “” died in a motorbike accident on the way home from playing a gig at London”s famous Ronnie Scott”s. He leaves behind his wife and three kids.

Tracks listed for each entry are on the compilation linked to at the end of this post.

Ilene Woods, 81, American singer and actress, on Juy 1
Ilene Woods – Bibbidi-Bobbidi-Boo (from Cinderella, 1950)

Harvey Fuqua, 80, singer with The Moonglows and record producer, on July 6
Harvey & The Moonglows – Ten Commandments Of Love (1959)
Marvin Gaye – My Love Is Waiting (1982)
Read more…