39 ago this week the City of Miami hosted Super Bowl X. The game matched the defending champions Pittsburgh Steelers vs. the Dallas Cowboys.
It was a classic.
Steeler quarterback Terry Bradshaw connected with Lynn Swann for a 64 yard touchdown in the fourth quarter to take a 21-10 lead. Less than two minutes later, Roger Staubach lead a Cowboys touchdown drive to pull within four points with less than two minutes to go in regulation. Then the Cowboys recovered a fumble and with 18 seconds left, the ball at the Steelers 38 yard line, Staubach tried to pass it to Drew Pearson for the win. But the ball was intercepted at the 2 yard line by safety Glen Edwards.
Game over. Steelers won 21-17. Later than night, approximately 20 miles north, a party took place.
Sunny Isles, a town located in North Miami Beach known then for its beach front hotels and steady mix of wise guys, tourists, and rock stars (e.g, occasional visitors included Eric Clapton and Jim Morrison), was home to The Swinger Nite (sic) Club inside the Marco Polo Hotel. The Swinger opened in 1971 and had no trouble living up to its swanky name. Al Green, Wilson Pickett, Gladys Knight & the Pips, Chubby Checker, Sister Sledge were just a few of the artists to play gigs there.
On Monday, January 19, 1976, Miami soul singer Betty Wright aka Miami’s First Lady of Soul, fresh off her fourth album, performed at The Swinger.
Discovered by Deep City Records co-founders Willie Clarke and Johnny Pearsall at the age of 15, Wright’s career took off fast. She had her first hit in 1968 (“Girls Can’t Do What the Guys Do”), her first chart topper in 1971 (“Clean Up Woman”) and by the mid 1970s, she was global, so her coming back home to play at a club in Sunny Isles was as rare as seeing Steeler fans doing the Hustle.
Below is a news clipping from the Miami Herald that was published 39 years ago today about this Betty Wright performance that brought together an unlikely yet fortunate “overflow crowd of disco freaks and Steeler fans.”
Disco freaks and hardcore football fans? Only Betty Wright could manage this.
This is the hit song that Betty Wright closed with that January night. The song won a Grammy Award for Best R&B Song in 1976:
End Note: The Marco Polo survived. Today its a condo-hotel known as the Aventura Beach Club with the hotel operation managed by Ramada (Ramada Plaza Marco Polo Beach Resort.)
A couple of award-winning documentary filmmakers and an avid art collector & philanthropist have teamed up to produce a very charming documentary about the first black-owned record production company in Florida: Deep City Records. Deep City operated in Miami from about 1964 to 1968. It was founded by two friends who first got the idea to make records when they were college mates at Florida A&M. Willie Clarke was the creative; Johnny Pearsall was the entrepreneur. They enlisted the multi-talented Clarence Reid and the three of them set the course for Miami’s special contribution to the soul music landscape of the 1960s.
Deep City recorded local musicians, many of them native Miamians culled from the churches of Liberty City and the night clubs of Overtown, while others were transplants from Jacksonville, Georgia, Arkansas, and other far away places. The record label released songs by Helene Smith, Betty Wright, Them Two, Frank Williams & the Rocketeers, Freda Gray, and Johnny Killens & The Dynamites, to name a few. Local R&B legend Little Beaver played guitar on some of Deep City’s deepest cuts.
The film, titled Deep City: The Birth of the Miami Sound, had its world premiere last night at the SXSW [South by Southwest] Festival in Austin, Texas.
Next stop on the festival circuit is Miami where this Friday, March 14th, the movie will have its Florida debut at the Miami International Film Festival (8:30 PM, Olympia Theater at the Gusman Center). Tickets for the film can be purchased here.
Long Play Miami is honored to be among the first to receive a copy of the movie’s trailer, and, with the filmmakers’ permission, shares it here for all music and film fans to enjoy.
Read the previous Long Play Miami post on the making of the film from January 2013.
A few weeks ago Little Beaver agreed to let me take some photos of him for this site. This was our second meeting.
During our first meeting back in December, when I asked if I could invite my friend Joe to photograph our interview, he refused. Next time, he promised.
So when he agreed, he was simply honoring his word.
I headed to his home in Opa-locka on a Friday afternoon in January with my wife’s Canon EOS Digital Rebel XT, a swivel desk lamp with a 60 watt light bulb, and an extension cord.
In his living room I set up the lamp on his coffee table, connected it to a nearby socket, and swivel-aimed the light towards him while he sat down on his bar stool.
Do you want me to wear my Little Beaver glasses?
Before I could say yes, he was already reaching for a pair of shades folded on top of the bar.
And so began the first-ever Long Play Miami photo shoot.
I then asked him if he could get his guitar.
You mean, Katie Pearl?
I thought you’d want me to.
I’ll be right back.
Little Beaver strummed the guitar for a bit. And then, the strumming flowed into a familiar tune as he began playing his famous guitar track from the 1971 Betty Wright classic, Clean Up Woman.
After he put away his guitar, I sat down on the couch and we talked for awhile, about mundane things like the weather (“I was a little nippy this morning… 39 degrees.”) to far less mundane things like whether he’d ever play in public again (“You know, when you don’t play, you get rusty…”).
Then he remembered something he wanted to show me. He left the room for a minute and returned with a photograph that was mailed to him by his friend Lawrence Watson from Forrest City, Arkansas, where he grew up.
I was maybe 15-16 yrs old.
[That was] Some juke… some little hole in the wall. See the snare drum sitting on the chair?
We were ‘wood-sheddin.’
(That’s Watson on the far left with the bass guitar and of course, that’s Beaver – with the shades.)
As the daylight began to fade, I asked if I could take a couple of photos of him outside. This idea didn’t seem to sit well. There was a moment of hesitation in the way he remained on the bar stool.
But then he just said yes and we walked out the front door.
In the late afternoon sun, Little Beaver stood in the space between the corner of the façade and a half-shuttered window. Occasionally he’d look to either side of him. He wanted to make sure none of the neighbors were watching.
Because, as he has told me before,…
Willie “Little Beaver” Hale doesn’t like ‘all that fuss.’
Copyright © 2014 Long Play Miami
46 years ago this month, Miami-made soul music was hitting its stride. It was the year before the scene would break nationally with a couple of big hits in 1968 from local teen sensations Betty Wright and Della Humphrey. Here are 5 very solid tracks all recorded in Miami that debuted in May 1967, a sample of what was just around the corner for Miami Soul.
Sweet Sweet Lovin’ – Paul Kelly
Released on the Philips label, this song became a local hit by July 1967. Paul Kelly was a Miami-born vocalist who enjoyed an extensive career well through the 1980s. His biggest hit was Stealing in the Name of the Lord, which reportedly created a stir among some black communities because it exposed the hypocrisies of some church leaders. But controversy sells; the song reached #14 on Billboard’s R&B chart in July 1970. Three years earlier, Kelly released the song featured here, Sweet Sweet Lovin’. There was no controversy about this very upbeat song, which was produced by Buddy Killen, a music producer from Alabama who made his bones in country music but also had slightly comparable success with R&B hits.
Girl I Got News For You – Benny Latimore
Benny Latimore is a keyboardist from Charleston, TN who moved to Miami and became an integral part of Henry Stone’s TK Records as a session musician and singer-songwriter. He had 2 national hit records of his own in the mid 1970s with Let’s Straighten It Out (#1 in R&B, #31 in Top 40) and Something ‘Bout Cha (#7 in R&B). Girl I Got News For You, issued on one of Stone’s first R&B record labels (Dade), was released in May 1967. One month later, this catchy, pre-disco track was one of the top songs jamming on local soul stations, and probably would have been a bigger hit if it had been (re)released during TK’s impressive disco run a few years later.
Willie “Little Beaver” Hale moved to Miami as a teenager from Forrest City, AR. He joined the Miami nightclub band, Frank Williams & the Rocketeers as lead guitarist in 1964 and later recorded a few tracks as a solo artist including this one, which was released on Octavia Records. Beaver later joined up with Henry Stone’s TK Records and had five hit songs including the 1974 Party Down which reached #2 on Billboard’s R&B chart. He is considered the grand master of Miami Soul guitarists and is most revered for, among many of his musical accomplishments, playing all three guitar tracks on Betty Wright’s exceptional gold record Clean Up Woman (1971).
I Love You Baby – The Moovers
The Moovers recorded their first 2 songs, including this one, with Deep City Records, Miami’s first black-owned independent label which was run by partners Willie Clarke and Johnny Pearsall. The Moovers later changed their name to The Prolifics and released the song If Only I Could Fly in December 1968. They later recorded under the band name Living Proof in the 1970s. The song featured here was written and arranged by Willie Clarke, Johnny Pearsall, and Arnold Albury. The song has a Delfonics’ flavor to it (and incidentally would have been suitable for the soundtrack of Tarantino’s 1997 film, Jackie Brown). Favorite lyric? “With you, I’m a king, without you, I’m not a dog-gone thing.”
True Love Don’t Grow on Trees – Helene Smith
Widely considered among people in the know as Miami’s first queen of soul, Helene Smith recorded more than 20 songs between 1966 and 1969, mostly with the aforementioned Deep City, and then a couple with Phil-LA-of Soul out of Philadelphia, after Deep City’s partners split in 1968. Smith released True Love Don’t Grow on Trees in May 1967, a modest hit. But her big break would come three months later with A Woman Will Do Wrong, which reached #20 on Billboard’s R&B and #128 on the crossover pop singles charts. Today, she is a public school teacher in Miami-Dade County.
Copyright © 2013 Long Play Miami
NOTE: “Soul Flashback” will be an ongoing feature on this site. Check back periodically for updates or sign up for email alerts (see Sidebar). Also follow Long Play Miami on Twitter & Facebook.
So much has been published about Henry Stone that by now, at the age of 92, you’d think he’d be tired of talking about it. And you’d be wrong. Last week, during a delightful and energetic phone interview that lasted about an hour, he waxed poetic on his iconic past and his undeniable influence on the music industry.
I’m getting people from over the world calling me saying, ‘Henry Stone, you’re still alive? My God, what you did for me and my music…’
What he did for music, in general, is remarkable. And Miami should be forever grateful for that whole putting-this-city-on-the-map thing.
I like to think that the long and storied legend of Henry Stone started with what he described as a chance meeting that occurred here around 1950. Stone had just recently relocated his small record distribution business to Miami from Los Angeles. He moved the business into a warehouse on West Flagler Street. He also purchased a recording machine.
I always had a studio in my back pocket.
Stone quickly found a niche selling to local jukebox operators the controversial “race” records that wouldn’t (couldn’t) be played at mainstream venues. He sold to nightclubs, lounges, brothels and other underground venues. One night he was at a club in Overtown when he witnessed a young and up & coming Ray Charles perform. After the show, the two got to talking.
[Ray] said, ‘I heard you make records, man. I need some bread. Could you cut some sides with me?’
I said, sure. So I made a deal to cut 4 sides, which we did.
Back at Stone’s warehouse, Ray Charles recorded four original tracks: Walkin’ and Talkin’, Why Did You Go, I’m Wondering and Wondering, and St. Pete Florida Blues. It was one of Ray Charles’ first recording sessions and arguably paved the way for him to get noticed by national labels such as Atlantic Records.
Stone would continue to grow his record distribution company [Tone Distributors], eventually moving to Hialeah, FL, and becoming the most successful independent distribution company over the last half century. Stone had connections with all the major labels and independent labels so they’d go to him to get their records out to the DJs. Getting records played was one of his biggest assets, he said. He built rapport with all the DJs.
It was easy really. The DJs came to me.
We had all the hits. The majors [labels] had maybe 3 or 4 hits. Elvis Presley, maybe Tony Bennett or something. That was it. The other 90 percent of the charts were all independents. When the DJs needed a record, especially R&B records, they had to come to me.
Like this, he went on for years, amassing a record distribution empire.
His first big record came in 1959 when he recorded James Brown’s band, Nat Kendrick & the Swans with “(Do the) Mashed Potatoes”. James Brown sang back-up on the original track but it wasn’t supposed to go down like that.
I had to take him off [the track] because he was under contract to King Records.
I said, James, I can’t use your voice, we’ll end up in a lawsuit.
Stone removed Brown’s vocal track from the original recording and replaced it with King Coleman, an R&B singer from Tampa. The final record – sans James Brown – was released on Stone’s “Dade” label and went very big on the R&B charts.
Meanwhile, literally on the other side of the train tracks, Miami homegrown soul cuts were taking off in the mid 1960s under labels like Deep City Records and Lloyd Records out of Overtown. Stone saw an opportunity.
I used to distribute [Deep City] records. I saw when I put their records on the radio I’d get a terrific reaction. So I said why don’t you guys come and record for me.
Those “guys” he’s referring to included Willie Clarke, Betty Wright, and Clarence Reid. They, along with the session musicians, ultimately joined Stone in 1968 and immediately began putting out hit songs. Betty Wright’s “Girls Can’t Do What the Guys Do” was #1 on the local R&B station in July 1968, and reached #33 on Billboard’s National Top 40.
In 1969, Stone combined his music production business under one entity, TK Productions, and started creating record labels such as TK Records and others that from 1971 – 1979 produced R&B and Pop Chart hits the world over. They had a major breakout hit in 1971 with Clean Up Woman by Betty Wright. Written by locals Clarence Reid and Willie Clarke, with guitar licks provided by bluesman Willie “Little Beaver” Hale, Stone knew he had something special.
I saw that record was going to be a big record. I wanted to get national distribution so I made a deal with Atlantic.
The song reached #1 on the national R&B charts and peaked at #6 on the Top 40.
The predominant, distinguishable element in Miami soul music of that time was the horn section. And Stone was no stranger to brass.
I used to be a horn player [trumpet]. I loved the horn licks. Mike Lewis (who arranged his horn sections at TK) had some great horn licks. I used a lot of them [in the records]. It was all planned out.
Motown had their their sound, Stax had their sound, Philly had their sound.
We had our own Miami Sound.
He says the “Miami Sound” really took off in the 1970s when local R&B, soul, and Latin beats converged and crossed over to influence the burgeoning disco craze.
This was the Miami Sound. Not Gloria and Emilio [Estefan], that’s not the Miami Sound. That’s a Latin sound, a good Cuban sound, …
The Miami Sound was in the 70s when we had almost 30 platinum and gold records…
which I’m looking at my wall right now.
Today, if one goes to his website, you can find his entire catalog of music. Ray Charles, Nat Kendrick, KC & The Sunshine Band, Foxy, Anita Ward, all the hits, all the B-sides.
I wanted a lot of different sounds. I always kept my original sound but I had to progress, which I did. Our sound was heard all over the world at that time. TK was so hot. I didn’t realize how big we were. Every country… our records were #1. Hit after hit.
And, the 1970s were king.
I had the 70s. The 70s was me…
I remember Berry Gordy [of Motown] calling me and saying ‘Henry, what the fuck are you doing, man?’
I said, ‘I’m doing what I’m doing, man….you had yours, now this is mine.’
Those were good times, right? But Stone has a different take.
They were just normal times to me. This is what I did. I didn’t know anything else.
When I got up in the morning after breakfast I went to work. I worked 24/7 if I had to to keep the studio going.
And out of a good ole’ fashion thing called hard work, this is what came about through all the years.
Here is Henry Stone’s first hit song from 1959.
[TK photos courtesy of Jeff Lemlich]
Copyright © 2012 Long Play Miami
Update: Henry Stone passed away on August 7, 2014. Rest in Peace, Henry.
In the early 1960s, when Miami Beach was experiencing its first boom, hotels played host to top notch performers and artists from around the country. But black musicians like Louis Armstrong, Josephine Baker, and Billie Holiday who would perform at, say, the Fountainbleu for white audiences, weren’t permitted to stay there due to segregation laws. Once their sets were over they had to head to hotels in Miami’s black neighborhoods. On many late nights these artists and their band members would go out and mix in with the local musicians at the Overtown bars like the Knight Beat Club in the Sir John Hotel or The Fiesta lounge inside the Mary Elizabeth Hotel. It made for a vibrant jazz and soul scene.
Jeff Lemlich, a music historian (and über record collector) describes that time as a significant moment in Miami’s soul music history. He says that while segration laws existed at the official establishments, the local, somewhat under the radar, Miami scene didn’t have those racial barriers in the clubs. It was “a color blind sort of thing” he says, taking place in the midst of the civil rights movement and the turmoil surrounding that time.
You had [white] guys that really rocked out in their garage bands playing guitar, bass and drums. And they were mixing with black Gospel singers…, and with horn sections that were influenced by college marching bands. There was also a Bahamian influence, as well, that was prevalent down here.
Lemlich, author of the book Savage Lost: Florida Garage Bands – The ’60s and Beyond, said that all these diverse influences came together and it worked on both a musical and social level. It really made the Miami sound unique in comparison to Motown, for example.
I got one, he said.
Girls Can’t Do What the Guys Do [And Still Be a Lady] by Betty Wright.
Written by Willie Clarke and Clarence Reid, formerly of Deep City Records, the song is a concise yet assertive plea to women – who are done wrong by their guys – to maintain their dignity and self respect.
Betty Wright was first discovered when she was about 13 years old. As the story goes, she walked into a Miami record shop owned by Johnny Pearsall who, with Willie Clarke, co-founded Deep City Records circa 1965. The young teenager belted out a rendition of “Summertime” that was a top 10 hit by Billy Stewart. Just like that, a star was born.
Clarke and Pearsall got her in the recording studio immediately. They cut two records that played well locally but never broke nationally. In 1968, Clarke and Pearsall split amid philosphical differences. Pearsall took Helene Smith, Deep City’s queen of soul, and signed on with a national label out of Philadelphia. Clarke and writing partner Reid, with Betty Wright on board, joined up with record producer Henry Stone. Stone had the connections to get records played locally on the radio but he also had a recording studio, his own labels, and most importantly he had relationships with nationally recognized labels like Atlantic.
Girls Can’t Do What the Guys Do was the first song recorded by the former Deep City team under Stone. It was released in 1968 as a single (45) on Stone’s Alston label and on her debut album My First Time Around.
“Mucho successful,” says Lemlich. It got up to #2 on the WQAM Top 40 Chart. And it wasn’t just a local hit. The song broke nationally and became the #1 R&B song in the country.
It was a hit all the way, not slick though, no excesses. Black and white musicians together.. you know what I call that? Soul without borders.
Everything just right.
Copyright © 2012 Long Play Miami