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Collector & DJ Peter Richer stops off at a US city and looks at a selection of release from there area...this time it's... PETER IS A REGULAR GUEST ON THE NORTH-EAST SOUL
SESSIONS ON MOD RADIO UK - <<CLICK TO HEAR HIS SHOW>> The Shrine record label has been somewhat disparaged over the years (principally by people who don¹t own the records, or have never heard the music), but the label has been the source of some of the most sublime - as well as rare - northern soul records ever made. What is more, all 19 releases are proper SOUL records, mostly double sided gems, having a style all of their own (echoey and busy), and constitute a project of immense interest and ultimately sadness. A glorious failure, in fact (which us West Ham and Newcastle fans appreciate so well!). So what’s the story? Well, here’s a brief summary. The label was started by Raynoma Gordy (known as Miss Ray; she was Berry Gordy’s ex-wife, and provider of much of Motown¹s musical expertise in its formative years), Eddie Singleton (writer, producer and integral part of the New York musical establishment), and Mike Ossman (Miss Ray’s half-brother, who also had worked at Motown as songwriter and Jobete administrator). They decided to make a fresh start in Washington which was a city with a big market, a rich vein of untapped talent, and virtually nobody recording there. Moving to Washington in the spring of 1965, they called their label Shrine as a tribute to the late John F. Kennedy and also to symbolize their aspirations for the project. As they were forming a skilled production team (including Harry Bass, Keni Lewis and Carl Kidd) they immediately released a 1963 track ‘She Went Away’ by Linda & the Vistas, and began recruiting talented artists such as Leroy Taylor, Jimmy Armstrong and Ray Pollard, Sidney Hall, and the Cautions. Later, more really class acts joined the team including: the Epsilons, the DC Blossoms, J. D. Bryant, Shirley Edwards, the Prophets and the Cavaliers. With an initial run of 2,500 copies of each Shrine record some early releases made a strong local impact. The Cautions ‘Watch Your Step’ (Shrine 104) took decent sales, and the Epsilons ‘Mad At The World’ (Shrine 106) even needed a second pressing run. So what went wrong? There were pressures from financial backers and other money problems. Eddie Singleton was exhausted and stressed from commuting to New York for other recording projects (most notably with Jackie Wilson). And, crucially, it is alleged that Motown itself was using its power to stifle the airplay of Shrine’s product and to make it difficult for Shrine to secure deals with key distributors; in effect, Berry Gordy did not want his ex-wife to have a successful rival business - particularly with Eddie Singleton, her new husband. Eddie called a meeting to announce that Shrine was to cease operations at the beginning of 1967. So how come many of the Shrine discs are so rare, when 2,500 were pressed? Well, most of the records after number 106 were produced quickly and held back for release at set intervals as part of a big promotion. They were initially stored at Schwartz Brothers Distributors, at the Shrine office, and in the basement of Eddie’s house. Upon leaving Washington Eddie left all these copies behind, and the bulk of them (from Schwartz) were transferred to Waxie Maxy’s where they were destroyed when the warehouse was burned down during the race riots the following year. The house and office stock was mostly discarded by their new occupants. And what about the all-important music? I’ve selected five of the best from my collection to review, all of which are superb northern soul: Cautions - No Other Way (Shrine 115). Had to start with this. A totally classic style, 100 mph northern, male group stormer. Thumping drum intro, brass and guitars to knock your socks off, gritty lead vocal, and harmonies all the way through from the only group to have two releases on the label. A few do come up for sale on ebay for around £600-800, but usually they are a bit knackered as all Shrine discs are made of styrene and a lot of the’survivors’ have suffered abuse. This is the first Shrine I have seen listed on Soul Bowl, around 1978/79, and it was £60 then! Listen out for it on this month¹s CD. Cavaliers - Do What I Want (Shrine 119). When I first heard this I couldn’t believe it. This is tremendous northern, but boy is it different. For a start it’s raw and manic - not surprising as the group were half drunk, the musicians more-so (you can hear the tempo wavering!), and there were a crowd of well wishers who were invited to ‘whoop and holla’ along! It also has a harmonica lead, emulating Bob Dylan. But you know what, it works and it’s brilliant. Until recently only two known copies. Possibly four or five now, but a couple of those are cracked! This was my first big-money record, and I can assure you my heart was thumping as I was bidding on John Manship’s auction. Despite, in-keeping with the style of the recording, having consumed more than my fair share of lychee cocktails at the time!! It was the last Shrine release. Les Chansonettes - Don’t let Him Hurt You (Shrine 114). A wonderful girlie group stomper from three Baltimore high school girls who were believed to be sisters. A solid pounding drum beat leads the way, with brass and vibes prominent throughout. This was one of the first Shrines to go big around 1982 at the start of the Stafford era. I actually heard it in 1978 on a tape from John Manship (on the same tape of ‘monsters’ was Rita & Tiaras, the Dogs, Yvonne Vernee and the De-Lites!). The flipside ‘Deeper’ is excellent northern too. Epsilons - Mad At The World (Shrine 106). Shrine’s best seller, and can be picked up in good condition for £300-400. Mid tempo this time with wonderful lead guitar and brass (as always), but with this group it’s all about the vocals and exquisite harmonies. Two minutes and nine seconds of heart rending magic! The flip ‘I’m so devoted’ is one of the best sweet soul male ballads you¹re likely to hear. Counts - Peaches Baby (Shrine 117). Did I save the best for last or what? I could rave on about this record all day (and frequently do, which is why I have no friends!!), and cannot stress enough how good this is. Five local youngsters whose average age was 16, yet they produce a vocal performance of such distinctiveness and maturity. A floorshaker, with the usual Shrine brass, vibes and pounding drums, but the real aesthetical and dancefloor intrigue comes from the way the combination of lead vocals, harmonies, and tune produce an in/out and up/down effect which is totally compelling. Not known to exist until 1991. Of the two discs recovered by bandmember Richard Collins one was trashed and the other was to be sent over to Andy Rix. Alas the posting was entrusted to Richard’s mother who forgot the packaging, and the record ended up in six pieces! Fortunately, seven years later, Lew Stanley found what remains the only known copy, and this was used to produce the Kent CD where you can hear it. Of course, you can also check it out on today’s NESU free CD!! Collectors’ Trivia: The sixth release (number 105), earmarked for Jimmy Armstrong, was never issued as the song ‘I Believe I’ll Love On’ was given to Jackie Wilson. It’s brilliant uptempo R&B by the way, and dirt cheap! The labels now are generally a very pale, dirty, blue; but that’s because the ink fades in light! The few mint copies are a beautiful bright sky blue with dazzling red flame. Keep them filed away in the dark!! All records have an X mark in the run out groove, signifying production at Johnson’s Wax pressing plant. Shirley Edwards was offered the chance to audition for a film theme song, but her husband wouldn’t let her out of town. The song eventually went to Shirley Bassey ... it was Goldfinger!!
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