LARRY BIRDSONG & THE LARRYETTES, "I'LL LET NOTHING..." C/W "SOONER OR LATER" (HOME OF THE BLUES 121, REL. 6/1961)

Larry Birdsong has been here in the past. He is one of the great neglected talents of Black music in the 1950s and ‘60s. I’ve never heard a recording of his that failed to impress. He found a safe berth at the Memphis, TN label Home of the Blues, with its offices on Beale Street. There he made four superb singles in 1961 and ’62. One of them, “Stay with Me,” got some attention, but the others, including today’s staggering twin-spin, were overlooked in the mad rush of releases and artists.

While Birdsong was with HOTB, legendary vocal group The “5” Royales were there. Both artists share songs with the credit of Celia G. Camp. This woman, whom I don’t believe wrote one bar of music, was the older aunt of the label’s owner, Ruben Cherry, who also ran a record shop of the same name at the same location in Memphis. I suspect this was Ruben’s way to get a cut of the action on the records he released. This practice was common in r&b labels, and its attitude of “you’re lucky you get to make a record, pal” is regrettable. Ms. Camp’s songs for The “5” Royales feel just like group leader Lowman Pauling’s efforts; her two songs on today’s single are obvious Larry Birdsong originals. Music biz grift was at its height in these days and most of it went unreported; the performers knew that if they ratted out these malefactors they might be blacklisted from recording. It was just another bad thing they had to bear.

In a welcome break from his biographies of Black vocal groups, Marv Goldberg wrote a good basic biography/career trajectory of Birdsong, which you can read here for some solid general info:

https://www.uncamarvy.com/LarryBirdsong/larrybirdsong.html

On this least-heard of Birdsong’s HOTB efforts, the sound of early Memphis soul begins to take form. With Birdsong’s trusty Larryettes (a playful reference to Ray Charles’ backup singers?), he lays down some powerful moods on these two sides. The B side packs a particular wallop. Here we go…

“I'll Let Nothing (Separate Me from Your Love)” is a swaggering, philosophical oath of everlasting love that evokes the thoughtful spirit of Lowman Pauling’s songs for the Royales. It’s easy to imagine that group performing this song…so much so that it’s feasible this might have been Pauling’s work. I can’t say for certain, as Birdsong’s compositions share this intense, gospel-infused approach, coupled with well-wrought lyrics that raise the bar on r&b songwriting.

Whomever wrote it, it’s a powerful song that Larry and his Larryettes deliver with passion, tension and deep feeling.

Hear it >>>>> HERE. <<<<<

“Sooner or Later” blows the A side, good as it is, out of the duck pond. Surging minor chords issue from the band, led by producer Willie Mitchell and from the talented voices of The Larryettes. This is a killer deep soul ballad with a mood that won’t quit. Its insistent minor tone reminds me again of Pauling’s songwriting. A guitarist whose showy runs decorate this side also reminds of Pauling. Again, whomever put all this together did a brilliant job. This is one of the most resonant pieces of music I’ve heard in a good while, and it’s a 10 in all departments.

Willie Mitchell is the real hero of HOTB; his impeccable ear as a producer and his coterie of local musical talent made this label a peak example of Black music in the early 1960s. His appears to have been an encouraging presence: all artists who worked with him did their very best and the records they made for this label are highlights of their careers.

Hear it >>>>> HERE. <<<<<

Goldberg’s account of Birdsong’s career is well worth reading and not too long, so do have a go at it. We’ll hear from Larry Birdsong again—here and on the bi-weekly podcasts.

Tomorrow: the first of a three-day survey of 1963—the end of a musical era in America. First up: Filipino vocal group The Rocky Fellers via an excellent Scepter 45 issued in the last weeks of ’63, mere moments from the arrival of The Beatles. Bert Berns penned one side.