Martha Carter, "Nobody Knows (How I Feel About You)" c/w "I'm Through Crying," Ron 336 (rel. 10/1960)
She comes from the old-school blues tradition, and thus differs from the more tender, diffuse approach of Irma Thomas, who became NOLA's main woman star in this decade. Carter is more a shouter in the Big Maybelle/Etta James vein. Her material, much of it written by Dolores Johnson and Bill Allen, was ideal for Ms C's style and range. Arranger Harold Battiste guided the local session sidemen through less typical "New Orleans" settings. The languor and loose-limbed tenor is still there, but perhaps Ms. Carter's aggressive vocal stance inspired a slightly harder edge.
Roy Montrell's rhythm guitar kicks off "Nobody Knows (How I Feel About You)," a New York-sounding r&b item. I agree with the Cash Box review below that suggests it sounds akin to the recordings of The Drifters. It's almost a twin of "Nobody But Me," the B-side of that group's 1960 chart-topper "Save the Last Dance for Me."
That song was a few months old when this single was released; it's possible Johnson and Allen were inspired to write a variation on the basic scenario. In both records, a call and response approach dominates the vocals. Carter's song has a harder edge with a gospel feeling. It's unusual for a 1960 New Orleans record, but in a welcome way. Shoulda been a hit outside of the Crescent City!
"I'm Through Crying" was co-penned by Dolores Johnson and Bob Douglas. It adopts a swamp-pop sound with heavy vocal chorus, Montrell's driving guitar and that 12/8 churning rhythm that chugs along at a medium beat. Carter is right at home in this setting.
I can imagine Irma Thomas recording this song, and how different her version might be. The heavy blues influence would be dialed down; Carter's confidence would become Thomas' vulnerability, disappointment and quiet defiance. Ms. Thomas' first two singles were released on Ron in 1960 and feature material by the same writers. Her Ron sides are almost unrecognizable in comparison to her material for Minit and Imperial. Outside Allen Toussaint's circle, more traditional sounds continued in New Orleans.
Carter recorded for companion label Ric as Martha Nelson. That single, an answer song to "You Talk Too Much," is closer to the Toussaint sound but still stiff in comparison. No one got as loosey-goosey and Toussaint and his crew.
Carter left the music world in 1962; little is known about her, and with only eight sides (not counting unissued material which may have existed before Hurricane Katrina struck New Orleans), she's never been the subject of a dedicated reissue.
Tomorrow: fab teen harmony rockers by The Skee Brothers, as produced by Bob Crewe, via a scarce 1958 OKeh Records single. This one was quite elusive but worth my effort to track down...
Nice post, Frank, thanks! Yeah, fantastic rhythm guitar on both tracks. What tone! The second track's changes are an enjoyable hybrid of J. Brown's "Please Please Please" and F. Domino's "Walking to New Orleans" to my ear.
ReplyDeleteShe sure 'wails' as Cashbox notes. Two great songs!
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