The Falcons

TrackSingle / Album
Sent UpSilhouette SR-521
You're So FineFlick 001
AnnaYou're So Fine 1956-1961
I Don't Want No Part Time LoveYou're So Fine 1956-1961
I Found A LoveLu Pine L-103
Take This Love I've GotAtlantic 45-2179
Let's Kiss And Make UpAtlantic 45-2179
Oh BabyAtlantic 45-2207
(I'm A Fool) I Must Love YouBig Wheel 321
Love You Like You Never Been LovedBig Wheel 1972

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The Falcons photo

The Falcons (l to r): Eddie Floyd, Joe Stubbs, Lance Finnie, Mack Rice, Willie Schofield

 

Contributors: Dave Stephens – with Cal Taylor

The mid-sixties found me buying up soul (and blues) singles and albums as if such music was going out of fashion which it largely did as the decade came to an end. Several of the stars who’d emerged in the time frame managed to cling on for a spell. One of those was Wilson Pickett who, for me, never quite surpassed the marvellous In The Midnight Hour, recorded with all of the M.G.’s on board bar Booker T. Jones himself.

I did discover one track on an album from the Wicked Mr Pickett which came close to matching Midnight Hour in sheer power, and actually exceeded it in both intensity and rawness, and that was I Found A Love on which he was apparently accompanied by the Falcons. Quite who the latter were I had no idea and assumed, simplistically, that this was the group Wilson had led prior to being discovered by Atlantic. I was part right but there was no internet to find out more back in those prehistoric days.

Then, eons later, when the world wide web had become available and I was researching for the chapter headed Vocal Groups And Doo Wop in “RocknRoll”, I found myself repeatedly coming across another record from the Falcons, You’re So Fine, which was as fine as its title implied but didn’t sound a lot like I Found A Love or Wilson Pickett. It took only a little digging to discover that (a) the Falcons were a kind of supergroup but one whose members only found stardom after they’d left the group and (b) they were initially a racially mixed outfit though only for a short spell. And while (b) might not sound too unusual now, it was an extremely rare occurrence in the mid-fifties anywhere in North America.

The two white guys were Bob Manardo and Tom Shetler and the black trio were Eddie “Knock On Wood” Floyd, Arnett Robinson and Willie Schofield. Tom was a baritone, Willie sang bass and the others were tenors. The year was 1955. The location was Detroit. And the whole thing got kicked off by Eddie and Bob who were working together in a jewellery store. They brought in Eddie’s uncle Robert West as manager. Manardo and Shetler left in ’56 to do their thing for the U.S. Department of Defense, and Robinson left at roughly the same time. This started off a whole series of moves which continued throughout the life of the group, sometimes in a wholesale manner. For the full detail of who moved in and who moved out and when (and a detailed discography) I highly recommend Marv Goldberg’s R&B Notebook on the Falcons. Suffice to say for now that other joiners to the Falcons included Joe Stubbs (brother of the Four Tops’ Levi and cousin of Jackie Wilson), “Sir” Mack Rice (one of whose claims to fame was the writing of Mustang Sally) and Wilson Pickett (in the year 1960 at the tender age of 19).

One, perhaps two, other members should be mentioned. Guitarist Lance Finnie (sometimes spelt Finney) was in there with the vocalists up to 1963. He was on the basic side but kept his end up well. Robert Ward, however, who also occasionally featured on axe with the group, was definitely a plus. His day job was leader of the Ohio Untouchables. Having a guitar on board with a vocal group was something of an ‘in thing’ in Detroit; Berry Gordy used to supply a guitarist to each group starting out at Motown.

That’s a lot of writing and no music.

The group got themselves started with Baby That’s It / This Day on Mercury in summer 1956. Eddie Floyd took lead vocal on both sides though this role did get shared around on future records. The A-side was a not displeasing doo-wop jumper with Willie Schofield in the goofy voice role, but the flip was more unusual. The song was a ballad on which Floyd’s soft and soothing tone fitted perfectly. The backdrop though featured not only some ambitious doo-wop effects from the boys, particularly in the middle eight, but also some stinging blues style guitar which I assume came from a session man since it would appear that Finnie didn’t join till after this record was cut. So within one side of a record we had elements of both of the main styles of black fifties vocal groups, Doo Wop and Rhythm & Blues with the latter denoted by heavier gospel and sometimes blues components. While it’s convenient for critics to denote styles in this manner, in practice it wasn’t that unusual for groups to mix things up a bit, as on this side. It’s also worth noting, in terms of R&B vocal groups, that James Brown and the Famous Flames had had Please, Please, Please out earlier in the year, and the Midnighters with an as yet unnamed Hank Ballard on lead had come up with several slow R&B efforts, of which ’55’s Ashamed Of Myself is a good example (see also Footnote on the Midnighters and their name change(s)).

Mercury didn’t progress with the boys and there was a gap till their next effort in late 1957 on Silhouette Records, a label set up by Robert West. The A-side was a hopeful Christmas tie-in but the flip, Sent Up, with vocal this time from Mack Rice, was something different. More emphatic rhythm than Baby That’s It to the extent that I’m inclined to call it down-and-dirty and the sort of thing that could get labelled gutbucket R&B and glorious with it. The starring role was taken by Mr Finnie who also co-wrote the song. Given the riff-based intro (from Lance) the record was almost a model for another Detroit production, Barrett Strong’s Money, but I should add that that record didn’t see release till several years downstream, and the riff wasn’t the same of course.

So the Falcons had managed to string together poppy R&B cum doo-wop, near classy slow doo-wop and raucous R&B across two records, what next? The answer was to go down the doo-wop ballad route again but this time place more emphasis on the splendid Floyd voice with main support coming from a suitably doleful piano. The number was This Heart Of Mine and it was released on Kudo Records, another label set up by Robert West. While there were no overt churchisms present, the record was broadly in the style of Little Willie John, and Eddie didn’t suffer in comparison to the great Mr John. His melisma, though used sparingly, was smoooooth and the touches of falsetto near the end were entirely natural and fitting. A later switch to Chess Records saw a re-recording and re-release of the song. The release was delayed until after You’re So Fine, obviously in hope of capitalising on the success of that record. Thankfully, Chess hardly changed the arrangement at all and the world is left with two excellent, if broadly similar, takes on the ballad.

Record #4 from the Falcons, outside the odd stint of supporting others (see Footnotes), had a flip side, Goddess Of The Angels, which featured Eddie Floyd again in his, by now, familiar ballad role with suitably angelic backing. Charming but not really a step forward. However the A-side was different yet again: a medium tempo churner, indeed the rhythm doesn’t lend itself to an easy descriptor. You’re So Fine featured Joe Stubbs on vocal who managed to prove, within not so many bars, that he too was perfectly capable of handling the lead role albeit with a little more rasp than Eddie. Doo-wop effects were kept to a minimum consisting of little more than humming and a bass interjection at the climax of the middle eight. If asked to sum up, I’d say that it was the air of endearing primitivity about the record – no matter what care had actually gone into it – that sold it to the record buyer. And sell it did. The record was originally recorded on yet another Robert West label, Flick, but after it started seeing action locally, West arranged for it to be distributed by Unart, a subsidiary of United Artists, and the result was a #17 showing in the US Hot 100. What these days we’d call a result with a vengeance.

Nothing of great significance happened to the Falcons for roughly eighteen months though several records were released on several labels (and one – The Teacher – snuck into the R&B Chart at number 18). Then in summer 1960 – the date varies whichever report you read but I’ve stuck with Marv Goldberg who interviewed as many of the participants as he could find – Joe Stubbs left and was replaced by Wilson Pickett. Now while all the existing Falcons would most likely have had some gospel experience in their childhood, Pickett was the real thing. He had worked for years with Detroit’s premier gospel group, the Violinaires (see Footnotes) but felt that the time was ripe for him to get into secular music.

The first effort with Wilson in the hot seat, Pow, You’re In Love wasn’t the most auspicious start for the latest permutation of the Falcons. While the Pickett voice was recognisable, the setting was near Coasters comic style doo-wop which didn’t play to the new man’s strengths at all. Sam Cooke wrote the song and, yes, you could imagine him singing it but it’s one that might well have worked for him in spite of the song.

And the next thing the Falcons recorded was I Found A Love.

Where the heck did this come from one wonders. The perfect harnessing of gospel attributes in the service of love/desire/need/lust/call it what you like. Lines like “I found a kiss, I just want to tell you that I can’t resist/I found a love that I need, ohh, yeah” might have been harmless when delivered by any other vocalist but when emerging from the Pickett mouth they were positively incandescent. But it wasn’t just that, it was the fact that everything else was so right. Robert Ward’s blistering guitar matched Wilson as much as anyone could match Wilson in this mood. The boys moaned and groaned suitably in the background and Willie Schofield supplied a superb bass counterpoint to Wilson’s high level histrionics. For me, this record is the best one Wilson Pickett ever made (though I acknowledge the fact that I might be hopelessly biased).

Robert West who got one third writing credit on I Found A Love along with Willy Schofield and Wilson, didn’t seem to be totally convinced of the track’s merits since he had it tucked away on the flip with the distinctly unmemorable dance track Swim occupying the A-side. In fact it wasn’t a mega hit, more what you might call respectable: #6 in the R&B Chart and #75 in the Hot 100. However it may have helped West to convince Atlantic to give the boys a contract; the label was already aware of them since they distributed Lu Pine.

If I’m to stick more or less to a time-based sequence then I should, round about now, give some consideration to other Pickett fronted Falcons efforts which were laid down prior to the Atlantic move but not released at the time. Two of these tracks were made available in the UK only, by London Records in 1967, in a single credited to Wilson Pickett and the Falcons. The A-side, Billy The Kid, was a 12 bar effort set to the You’re So Fine rhythm, Of more interest though was the flip of that single, I Don’t Want No Part Time Love. Penned once again by Schofield, Pickett and West, the song was a slow minor key blues of the kind that we’ve subsequently labelled soul blues. And it was good. Not as good as I Found A Love but probably the closest that the Pickett fronted Falcons got to that record in terms of quality and depth. While Part Time Love was doleful and agonised rather than triumphal it did demonstrate cohesion and empathy between singer, backing vocalists and band in much the same manner. Whether it was the same pianist on both records I don’t know but he does an excellent job here.

The only other single that saw the light of day credited to Wilson Pickett and the Falcons (this time in the U.S. only, circa 1966) was You’re On My Mind / Anna on Robert West’s Lu Pine label. The A-side once again used the You’re So Fine rhythm but with a not unattractive melody set to it. It had a relatively subdued Wilson but was broadly in line with the R&B and doo-wop styles blossoming into the soul music sound of the early sixties. Anna on the flip was also mid tempo but more basic and bluesy with a slightly frantic edge added by the Finnie guitar. On an alternative cut of the number, possibly for United Artists (source: Marv Goldberg), the tempo is faster and even more edgy with Finnie seemingly only getting his act together as the number progresses.

Perhaps surprisingly, Pickett didn’t get the lead vocal spot on either of the first pair of sides from Atlantic but Joe Stubbs (Darling) and Mack Rice (Lah-Tee-Lah-Tah) acquitted themselves well. The A-side, indeed, was something just a little bit special with Joe setting out to show that anything Wilson could do he could do better (just like he did with Eddie!). It’s only the fact that it was all rather too busy that kept this one out of the selections.

Wilson was back for Atlantic single #2 and you knew it from the opening. Robert Ward’s shimmering guitar was back too and maybe a few more of the Ohio Untouchables were present since the overall sound was considerably more raw than we were used to from Atlantic. Take This Love I’ve Got was a two chord choogler which could have turned into an extended fade if the guys hadn’t remembered to resolve the tension occasionally, allowing Wilson to get a few more screams in. Great stuff and seriously under-appreciated if one goes by the number of viewings on YouTube. I couldn’t make my mind up between this and the flip, Let’s Kiss And Make Up, which has a relatively nondescript opening but builds into quite a stormer thanks in no small part to Robert Ward who comes close to stealing Wilson’s thunder. Both tracks appeared on the first Pickett solo Atlantic album, In The Midnight Hour, (and both tracks now appear in my ten).

 

After Atlantic single #2, the label and Robert West were presented with a problem; Pickett had decided to go solo but contractually the Falcons were due to deliver one more record. There was an attempt at reforming the original group but it failed. West took the bull by the horns and renamed another group he managed, who were then called the Fabulous Playboys, as “The Falcons”. In order to assist with the transition he appointed Mack Rice as road manager to the new Falcons (see Footnotes for a few words on the genealogy of Falcons #2). Such activity wasn’t exactly unheard of in R&B circles. In 1958, George Treadwell, manager of the group then known as the Drifters, fired them and renamed a totally different group (operating as the Crowns at the time) as “The Drifters”.

The new boys stepped up to the mark. Fine Fine Girl / Oh Baby was released in October 1963 with Sonny Munro on lead on both sides and most record buyers wouldn’t have twigged that there had been any change. Okay, it clearly wasn’t Pickett on lead but the Falcons were known to switch around leads (and Munro did let rip with some Pickettesque screams) so, at the very least, it was a fine substitute. What’s more I’ve included Oh Baby in my ten as a very good example of doo-wop trembling on the brink of becoming soul. Not unlike the earlier Darling from Falcons #1, just marginally better realised.

Since none of the Falcons’ Atlantic singles had achieved anything remarkable in the way of sales, the label then let Falcons #2 go (and, for the sake of clarity, I’ll continue referring to this iteration of the group as Falcons #2). They recorded one more single for Robert West on his Lu Pine label. Then, in 1964, West got shot in a dispute over the management of Mary Wells and, since he needed a long convalescence, management of the Falcons switched to a gent called Frank Kocian who recorded several singles with them on his Big Wheel label (source: Marv Goldberg of course). And it has to be said, that while there was significant stylistic change at this time – indeed the singles were more in line with those being produced by Berry Gordy elsewhere in Detroit – those records were arranged, produced and executed extremely well. Broadly, they were of the style we’d now call Northern Soul.

In total, Falcons #2 recorded four singles for Big Wheel over the ’66/’67 period. Every one of the sides had something about it but only one of them, Standing On Guard did anything in the charts, #29 in the R&B Chart to be precise. Gorgeous harmonies and a great sense of rhythm and timing were present everywhere. I’ve selected a couple of personal favourites but all the Big Wheel sides are worth a listen. First, (I’m A Fool) I Must Love You:

and, for my final choice, 1967’s Love You Like You Never Been Loved:

Which brings me almost to a close. The second iteration of the Falcons disbanded in 1970. Over subsequent years there were attempts by both groups to get together again but nothing of significance resulted.

Which is a slightly depressing note to end on. What we do have, though, is not one but two virtually discrete legacies. The first of a group that got progressively more soaked in gospel and rotgut R&B culminating in sides from Atlantic which presented those attributes in the best possible light within a frame of highly professional arrangement and production, and the second, from a totally different group, a small but significant set of records which, had they had Berry Gordy behind them, could well have sold in their millions. Yes they were that good.

But above all, there was I Found A Love.

 

Joe Stubbs – – – Eddie Floyd – – – Wilson Pickett

 

FOOTNOTES

1. The Midnighters were also from Detroit and went through at least one and possibly more group name changes in their very early days. Wiki states that they originally called themselves the Four Falcons but changed their name to the Royals because of an even earlier group calling themselves the Falcons who were also based in Detroit. That group is reputed to have contained Jackie Wilson, Levi Stubbs and Little Willie John at one time or another but sources aren’t consistent. One stated that our boys were carrying on that name which might have had some credibility if Joe Stubbs was a founder member, which he wasn’t. I would also add, in reference to the Royals/Falcons, the usually reliable Marv Goldberg Notebook on the Royals has them named as the Royals from inception with no mention of Falcons, four or otherwise. What is confirmed, though, is that the Royals after getting themselves on record with this name in 1952 did the name change thing again, in 1954, to avoid a clash with the 5 Royales who had been signed by the same record company. Their new name was the Midnighters, later expanded to Hank Ballard and the Midnighters.

2. I’ve seen You’re So Fine described as the first soul record though the adjective ‘possibly’ sometimes gets attached. If I could paraphrase Kenneth Clark’s introduction to the 1969 television series Civilisation: “What is ‘Soul’? I don’t know, I can’t define it, but I think I can recognise it when I see it.” Well, if I was faced with You’re So Fine I don’t think I’d necessarily plop the label ‘soul’ on it. Bear in mind, also, that by the time of the record’s release, we’d already had Please, Please, Please (James Brown), Need Your Love So Bad (Little Willie John), Drown In My Own Tears (Ray Charles), It’s Too Late (Chuck Willis) plus more from the 5 Royales, Hank Ballard, etc. I still love the record, mind you, regardless of its categorisation.

3. I detect a slight similarity between the unusual rhythm on the Falcons’ You’re So Fine and that on Buster Brown’s Fannie Mae released later in 1959 on Bobby Robinson’s Fire Records. It’s certainly not close enough to be copying but one wonders if the arranger on the second disc had heard You’re So Fine.

4. Wilson Pickett sang with the Violinaires for three to four years. One report in AllMusic, states that he was on the single Sign Of Judgement in 1957 but another one disagrees. I’m inclined to go with the latter. Wilson didn’t entirely abandon spiritual music. In the mid-sixties he took the lead in the rather splendid Christ’s Blood / Call Him Up from the Spiritual Five. This is the A-side on which he doesn’t sound a million miles away from I Found A Love.

5. White singer/guitarist Lonnie Mack was a big fan of Robert Ward and to a considerable extent based his vibrato drenched guitar style on him. He was also a fan of the Falcons’ I Found A Love and is known to have recorded it at least three times. This is one of those recordings.

6. The title, or part title, Part Time Love, later saw reuse by Little Johnny Taylor in 1963. The second Part Time Love was also a slow blues but lyrically it bore no resemblance to the Pickett/Falcons number. The title also saw itself get used by Gladys Knight & the Pips and Elton John.

7. Within the song I Found A Love, Wilson sang “And, oh, if you leave me, I figured I would die / If sometime I would call her in the midnight hour” which prefigured the lyrics and possibly the entire theme of his most famous single. The phrase “call in the midnight hour” also appears late on in the Falcons’ Darling wherein Joe Stubbs seems to be doing his very best to sound like Wilson.

8. The Falcons #2 group started out as the Frenesis (in 1955), then they became the Ramblers, then the Playboys, then the Fabulous Playboys (since the Playboys name was in use). Initial membership consisted of Carlis “Sonny” Munro (lead tenor), James “Ooh Wee” Gibson (first tenor), Johnny Alvin (second tenor and baritone) and Frank Holt (bass). When the group magically became the Falcons, there had only been one serious change and that was Chester Flemings coming in for Frank Holt. Sonny Munro had a splendid set of tonsils and invariably took the lead, aided on one number – Sweet Pea And The Broomstick – by Johnny Alvin (source: Marv Goldberg).

As the Ramblers they recorded Heaven On Earth / Don’t You Know, which are both on this clip. The A-side was somewhat stodgy but displayed those harmonies which were already in existence. As the Fabulous Playboys they cut one single for the Daco label and a couple for Apollo. All were good to very good. Nervous for Apollo boasted a quite spectacular intro.

9. Joe Stubbs, Mack Rice and Eddie Floyd cut solo records for Robert West. Floyd signed for Stax in 1965 and starred on several singles including, of course, the aforementioned Knock On Wood. He also co-wrote 634-5789 and Ninety Nine And A Half (Won’t Do) for the solo Wilson Pickett. In terms of the Stax move, it’s noticeable that Eddie’s Lu Pine solo records like I’ll Be Home were more like Southern Soul and Stax than almost anything else coming out of Detroit.

10. Joe Stubbs solo effort Keep On Loving Me is well worth a listen. Not unlike the sort of records another Detroit man, Marv Johnson, was making under the direction of Berry Gordy but arguably Stubbs had a better voice. Joe then went on to work with the Contours – this is him on Just A Little Misunderstanding – followed by the Originals and then took the lead slot in 100 Proof (Aged In Soul), the group put together by Holland, Dozier & Holland. This is Joe complete with lengthy recitation on Ain’t That Lovin’ You (For More Reasons Than One). In later life he worked with brother Levi in the Four Tops.

11. “Sir” Mack Rice continued to pursue a role as a solo singer and his greatest success came with Mustang Sally in 1965 (#15 in the Hot 100). However, his career in song writing blossomed and largely took over from his performing activity. Respect Yourself from the Staple Singers is probably his best known song outside Mustang Sally but his numbers were recorded by a wide range of artists. Rice is also one of a select group of musicians whose career touched both Motown and Stax Records (source: Wiki).

12. In case anyone thinks I’m dropping a hyphen in what should be “Lu-Pine”, they sometimes used a hyphen, sometimes a space and sometimes joined the two syllables as in ‘Lupine’. The label is most famous for recording Tears Of Sorrow, the first single by the Supremes, then called the Primettes. There’s doubt as to when the disc was released but it now seems to be generally accepted that it came out after the official debut of the Supremes on Motown in 1961 (though Tears Of Sorrow was recorded in 1960).

13. It’s evident from the above that the activities of Robert West in the music industry spread well beyond the Falcons. He might have put his toe in the water with his acceptance of a management role for the group but his whole body followed very shortly after! AllMusic give a very detailed picture of his activities which I’m not even going to attempt to summarise but I would concur with their labelling him as a “Detroit soul pioneer”.

14. Robert Ward was born in Luthersville, Georgia but moved to Dayton, Ohio which is where he formed the Ohio Untouchables. He was both singer and guitarist with the group and played the instrument with a highly distinctive vibrato sound which was, in part, the result of his usage of a Magnetone amp. They picked up a contract with Robert West’s Lu Pine Records and their first job was backing Wilson Pickett and the Falcons on I Found A Love. They also recorded three singles of their own for the label. One of those tracks, Forgive Me Darling, is illustrative of their gospel inflected style. They also cut a couple of sides for the Thelma label. One of them, Your Love Is Real (1964) features Ward in a more bluesy, almost Texan, style. The group and Ward split in the second half of the sixties, with the group adding musicians and transforming themselves into the funk styled Ohio Players. Ward moved away from music in the ’70s and ’80s but was tempted back by Black Top Records for which outfit he made several acclaimed albums.

15. The first version of the Falcons made a couple of appearances in the studio backing other vocalists, viz. Joltin’ Joe Howard (with uncredited Falcons) – Searching For My Baby, Benny McCain and the Ohio Untouchables (with uncredited Falcons) – She’s My Heart’s Desire, a record that sounds not unlike the Robert Ward led Ohio Untouchables. I’d add also, that this number was written by Willie Schofield.

The boys also moonlighted, courtesy of Robert West, and recorded as the Newports in 1959. The A-side of the single was Chicky Chop-Chop.

16. While I’ve mentioned the occasional composition from a member, or members of, the Falcons en passant, I haven’t really given the boys credit for providing the majority of the songs that they recorded. To repeat an earlier comment, this might not sound unusual but it wasn’t exactly the norm back then.

17. Circling back to the name thing, Cal pulled out a plum late in the day re the source of the Falcons’ ‘christening’. According to Jay Warner in his piece on the group in “American Singing Groups: A History From 1940 To Today”, it was Arnett Robinson who came up with “The Falcons”. As always in putting these things together, Cal was his normal indefatigable self, not letting me get away with anything.

18. As if the story of the Falcons hasn’t had confusion as a thread running through it, there have also been umpteen other Falcons over the years. Just enter “The Falcons” into 45cat and you’ll be presented with a very long list, but our boys will be heading it and rightly so.

 

Joe Stubbs (1942—1998)

Mack Rice (1933–2016)

Wilson Pickett (1941–2006)

Robert Ward (1938–2008)

Carlis “Sonny” Munro (1938-2009)

 

The Falcons: Marv Goldberg’s R&B Notebooks

The Falcons at 45cat

The Falcons at Discogs

The Falcons biography (iTunes)

Dave Stephens is the author of two books on popular music. His first, “RocknRoll”, is described by one reviewer as “probably the most useful single source of information on 50s & 60s music I’ve come across”. Dave followed this up with “London Rocks” in 2016, an analysis of the early years of the London (American) record label in the UK. You can follow him on Twitter @DangerousDaveXX

Cal Taylor has avidly collected records since the early 1960s, gravitating to deep soul and blues. As time went on he got more and more into studying pre-war blues and accumulated a vast record collection. Cal saw many such artists live in the sixties. He has written several posts for this site including Charley Patton, Robert Johnson, Blind Willie Johnson, Howlin’ Wolf, Otis Redding and Betty Harris.

The Stephens/Taylor toppermosts include Johnny Ace, Arthur Alexander, Cyril Davies, Screamin’ Jay Hawkins, Alexis Korner, Johnny Otis, Junior Parker, T-Bone Walker.

Read the Toppermosts of some of the other artists mentioned in this post:
Booker T. & the M.G.’s, Sam Cooke, Little Willie John, Lonnie Mack, The Supremes, Chuck Willis

TopperPost #702

1 Comment

  1. Andrew Shields
    Mar 6, 2018

    Dave & Cal, thanks for another great piece. Have to admit I knew nothing about The Falcons before reading this – but what great voices and there are some superb songs in here. Thanks again for introducing me to some very fine music.

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