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
Let’s flash back to a couple of noteworthy Miami soul classics from 45 years ago this month.
He’s Bad, Bad, Bad – Betty Wright
Local soul singer Betty Wright was fresh off her first hit record, “Girls Can’t Do What the Guys Do” and rolling into the fall of 1968. But momentum doesn’t last long in the music business. ALSTON Records, the Miami record label run by Steve Alaimo and Henry Stone which had released Wright’s first single, was clamoring for another hit song by the 14-year old up-and-comer. Clarence Reid, the composer behind her first hit, suggested a song titled “Don’t Make the Good Girls Go Bad” as a natural follow-up, a kind of sequel in the same style and narrative of the first song. But Alaimo reportedly rejected it for those very reasons.
So Reid and his writing partner, Willie Clarke, composed “He’s Bad, Bad, Bad” for Wright. In this track, Wright shows off her Aretha-like chops and swag. And backed up by a trio of girls, a couple of horns, and a bluesy guitarist, she earned herself another hit record.
By November 1968, “He’s Bad, Bad, Bad” had climbed into the top ten singles charts at Miami’s leading soul station WAME “Whammy” Radio. While the track is not one of Wright’s more widely recognized singles, it nevertheless showed the music world that this Miami teenager was not to be taken lightly.
Flash Forward: Betty Wright is still doing her thing. At last check, she had released a soul revival album in 2011 in association with The Roots.
She lives in Miami.
Don’t Make the Good Girls Go Bad – Della Humphrey
The second song from November 1968 is in my humble but informed opinion the more notable of the Soul Flashback hits not only due to its back story but because it gave rise to yet another 14 year old star – Della Humphrey.
The legend goes that when Clarence Reid’s initial follow up song for Betty Wright was rejected by ALSTON, he took the lyrics to Ms. Humphrey, a Miami teenager who until then had sung in her Overtown church choir and had won a few singing contests around town.
“Don’t Make the Good Girls Go Bad” was released not on any Miami label (due to Reid’s disdain for ALSTON’s response to it), but instead by a Philadelphia record label he had connections to. The song reached #1 with local radio stations and bumped aside Betty Wright momentarily from the top of the charts.
Humphrey reached her musical peak with that song and sadly, her career floundered after that. But the song remains a soul classic.
Flash Forward: Della Humphrey lives in a town north of Atlanta, Georgia with her husband, Bill. She has a small music studio set up in her home for whenever she feels like laying down a few vocal tracks.
(For the full story on Della Humphrey, read “The Della Humphrey Experience,” which was featured in a prominent post here in December 2012.)
One [of] Deep City’s heaviest cuts is Them Two’s “Am I A Good Man.” This is Willie Clarke & Johnny Pearsall’s enduring masterpiece – Numero Group
A few weeks ago, as I was heading home from the office, I made a detour. I went to go look for a guy named Larry.
By my research, Larry was a tall, African-American male in his early 70s who lived in the Miami working class neighborhood of Brownsville near NW 27th Avenue. He’s not listed in the local telephone directory but I did locate an address for him so I figured I’d stop by. When I arrived, an elder Cuban gentleman and his wife were pulling into the driveway. As the motorized gate behind them closed, I jumped out of my car and asked them if they knew the Larry associated with their address. No, they said. I looked down at my notes to make sure I was at the right house. But this is the address, I said. They replied that they’d been living there for a few years and had never heard of him.
Across the street there was a middle-aged woman inside her idle vehicle talking to a young girl leaning against the car. I walked over.
I told her I wanted to interview him for a story. She shrugged her shoulders; Larry?
Yes, I said. Did you know that back in the 60s, he was a popular nightclub singer? Soul man, hit record, the whole thing.
She sat there and I’m no mind reader but I could tell she had images of Larry the Neighbor racing through her mind, trying to place him into a new, celebrity-like context. And as she did this, her mouth opened and she let out a joyful laugh. I know his sister. If you leave me your information, I could reach out for her, she offered.
I handed her a card, thanked her and headed home, knowing that I was quite possibly a step closer to finding Larry.
The aforementioned Larry is Lawrence Mobley, the sole surviving member of the Miami 60s nightclub act Them Two, a deeply talented vocal duo who 46 years ago this month, in July 1967, released Am I A Good Man.
The song is, in my opinion, one of the most profound and soulful tracks to come out of Miami’s soul scene of the 1960s. It was released on Deep City Records, the Miami independent record label co-founded by Willie Clarke and Johnny Pearsall. And it has enjoyed a recent resurgence of sorts: (1) It was covered by the rock group Band of Horses (Released as a single in February 2008 and now part of their live repertoire.); (2) It’s been featured on a hit television show (the pilot episode of HBO’s “Hung” in June 2009); and, (3) It’s been sampled – for better and for worse – by hip hop artists including 50 Cent and The Game.
That’s an impressive trifecta.
And another beautiful thing is that the song is all Miami, right down to the back-up singers and the session musicians in the studio that day.
Oh yes, Them Two. Do you know how they got their name?
He tells me that one night the duo was hanging out backstage at a local club ready to perform.
The M.C. wanted to know who was up next. So he asked some guy near the back, Hey man, who’s next? The guy looked back, pointed at the duo and said, them two is next.
Then the M.C. introduced them. Something like Ladies and gentlemen, give it up for … Them Two.
They liked the name so much they kept it.
Now about the song – Clarke said he knew he had something special and when he saw Them Two perform a few times, he also knew they’d be ideal for it. But getting them to record took some work.
They were working the nightclubs all the time. They were quite busy.
Clarke managed to convince them to record the song. He says the duo came in, rehearsed it a couple of times, and then nailed the song on the first recording.
I was just amazed at their poise and creativity. How profound they were. Exactly how I wanted it.
They had a style.
And style was most certainly a pre-requisite for this song, as was depth and maturity, with lyrics like:
Am I a good man? / Am I a fool? / Am I weak? / Somebody tell me… Or am I just playing it cool? / I have a woman / And I know she’s no good / Still hold my head up high… trying to do the things a good man should.
Clarke says that at the time he penned those lyrics he was married, with a young child, holding down two jobs (public school teacher and music producer) and pondering what he calls “the first adventures of manhood.”
[The song] is about a man looking in the mirror asking himself questions. It’s about the trials and tribulations of a man growing up into adult life. Are you ready for the challenge? Am I a good man or am I a fool?
After that record, which was released as a single (B side: Love Has Taken Wings), Clarke never worked with Them Two again. He says the duo got busier at the nightclubs and Deep City focused more on their rising female stars, local queen of soul Helene Smith and Deep City’s young starlet, Betty Wright.
Still, he wishes he would have worked with them again.
And then he returns to the song and it’s very essence: the core question that now, 40 years later, Clarke is ready to embrace definitively:
Hey, you know what the answer is? Am I a good man or am I a fool?
No, I said. What’s the answer?
A good man and a fool.
Endnote: I’m still hoping to interview Larry Mobley. I learned last week that he may be living in Tamarac, Florida. [To be continued.]
In the meantime, here’s the Miami soul classic:
**Update: Larry Mobley found and interviewed. Read the story here.**
Copyright © 2013 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
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