The Escorts [RCA 1960s], "No City Folks Allowed" c/w "The Hurt," RCA Victor 37-8327 (rel. 3/1964)
No Surprises Dept.: Yet another RCA-Victor group who have no publicity photos or evident biography. The Escorts (one of perhaps 30 groups to use that name over the years and one of at least four on RCA-Victor) made two fine vocal group r&b singles in 1963 and '64. They were produced in California, as arranger Jack Nitzsche is involved on three of the four sides.
On this second and final release, each side had a different production crew. The group's names are known: Robert Jones, Eugene Proctor, Herman Robinson and Leonard Hogains.
On this second and final release, each side had a different production crew. The group's names are known: Robert Jones, Eugene Proctor, Herman Robinson and Leonard Hogains.
The group's first Victor single, "Itchy Koo," is a three-figure item; the follow-ups averages at 30-40 dollars. I found today's record long ago, in more innocent times, amidst the clutter of an antique (junk) store in a bungalow on Seattle's Greenwood Avenue. The store had the remains of an old folk music shop's 78-rpm records. Scattered amidst them were a few 45s, this record among them.
"No City Folks Allowed," co-written by Carole Bayer, Kenneth Lauber (as Mal Rube) and Sherry Harway, is a solid Drifters-style dancer about a country guy who's tried life in the city, found it cold and unwelcome, and dreams about returning to the sticks and establishing an anti-urban commune. There's a flavor of "On Broadway" to this dramatic item, which contests The Zombies' 1964 hit "Tell Her No" for the repetition of their shared two-letter word in each chorus.
Jack Nitzsche's arrangement makes this record something special. Wailing sax, frenzied rhythm guitars, atmospheric percussion and oodles of studio reverb are the ideal delivery method for this eccentric, gripping song which sounds like $1M in the hallowed chambers of RCA's LA studios. This has been a Northern Soul favorite and might still be. I'll have to ask around.
Jack Nitzsche's arrangement makes this record something special. Wailing sax, frenzied rhythm guitars, atmospheric percussion and oodles of studio reverb are the ideal delivery method for this eccentric, gripping song which sounds like $1M in the hallowed chambers of RCA's LA studios. This has been a Northern Soul favorite and might still be. I'll have to ask around.
Cash Box dug both sides of this schizophrenic '64 single lost in the wilds of Beatlemania.
"The Hurt" is penned by Joy Byers, a Northern Soul favorite for the many exciting songs that bear her name. Perry Botkin, Jr. helmed this side, which sounds much more like a typical soul recording of 1964.
Byers had little musical knowledge but wrote passionate, emotional lyrics and devised clever idea for songs. Her husband, Bob Johnston, helped her with chord changes and, in later years, claimed he'd written or co-written most of the songs with her name. I'm skeptical of that boast. Byers' songs all come from the same emotional perspective and use simple, direct phrases to make their point.
Less of a grabber than "No City Folks," "The Hurt" is solid material for these talented vocalists, with the lead Escort approaching Solomon Burke territory with his impassioned performance. The other side was the obvious radio-friendly one, so, of course, Victor pitched "The Hurt" as the A. Didn't matter: they let it fly into the long weeds where only record-collector fanatics would later discover it. Fat lotta good it did the performers, arrangers or composers in 1964!
Byers had little musical knowledge but wrote passionate, emotional lyrics and devised clever idea for songs. Her husband, Bob Johnston, helped her with chord changes and, in later years, claimed he'd written or co-written most of the songs with her name. I'm skeptical of that boast. Byers' songs all come from the same emotional perspective and use simple, direct phrases to make their point.
Less of a grabber than "No City Folks," "The Hurt" is solid material for these talented vocalists, with the lead Escort approaching Solomon Burke territory with his impassioned performance. The other side was the obvious radio-friendly one, so, of course, Victor pitched "The Hurt" as the A. Didn't matter: they let it fly into the long weeds where only record-collector fanatics would later discover it. Fat lotta good it did the performers, arrangers or composers in 1964!
Today I return home from a weekend of 45-tastic revelry in Tacoma, Washington. There should be mucho goodies to share with you soon! I write this a few days in advance, so who knows what future me will bring home with him?
Tomorrow: wild teen sounds from Latina duet Connie and Lee, via their lone 1958 single for Gone Records. Two thrilling sides!
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