Uni Records: My Precious World (The Man)

Jamaican artist Demond Dekker with and without The Aces released three singles on Uni Records in 1969 and 1970. Originally released on Pyramid Records in Dekker’s native Jamaica in 1968, his only hit in America was “Israelites”; it peaked at #9 during the summer of 1969. The flip side, credited to Desmond Dekker and His Aces, had a misidentification as well a different version of the same song that appeared on the original Jamaican 45.

The original “B” side was Beverley’s All Stars’ instrumental “The Man.” This version of the “B” Side was also was released in the UK. In the US, “The Man” was augmented by lyrical content and vocals by Desmond Dekker; however, it is not The Aces who are backing Dekker but rather Beverley’s All Stars. As the lyrics dictate, the title has been amended to become “My Precious World (The Man).” It’s quite a nice soul ballad and I hope you like it.

Uni Records: Border Song

In April 1970, the “Elton John” album was released in the US and it subsequently peaked on the Billboard album charts at #4. Not bad for an artist who was unknown in the US until this release. John’s first album from 1969, “Empty Sky,” would not reach North American audiences until 1975.

While Elton John was signed to Dick James Music (DJM Records) in the UK, the label attempted to make a dent in the US in 1968. DJM even released Elton John’s first US single: “Lady Samantha”; however, it failed to chart.

Seeing some potential in John, MCA picked up his North American option and initially released two singles on Congress before moving him over to the higher profile Uni Records. Congress originally was a subsidiary label of Kapp and both labels had come under Uni’s control in 1967.

In addition to another unsuccessful release of “Lady Samantha” in March 1970, the second Congress single, “Border Song,” was issued the following month and it too received a chilly reception. Re-released in July 1970, “Border Song” peaked at #34 in Canada; however, this gospel tinged ballad only made it to #92 in the US.

Holy Moses! Even at #92, it did better than it did in Elton John’s native land, as it failed to chart in the UK. The last verse, which was written by Elton John and not by lyricist Bernie Taupin, indicates that the song is about bigotry.

I love the production on these early Elton John albums – as they had a rich and full sound. Paul Buckmaster’s arrangements have always been appealing. Boy, I haven’t listened to this LP in a long time – I need to get it out more.

Uni Records: Banks of the Ohio

Uni Records was not known for a plethora of acoustic music, so finding a Wooden Wednesday selection was a little difficult; however, Olivia Newton-John charted with a recording of a 19th century American murder ballad.

“Banks of the Ohio” was Olivia’s second single for Uni and was released in October 1971. The song peaked only at #94 on the pop charts and crossed over to the Adult Contemporary chart at #34. “Banks of the Ohio” appeared on two American albums: “If Not for You” and “Olivia” – which was different than the “Olivia” album issued elsewhere in the world.

Although sporting the same cover and title as her international release, the American issue of “Olivia” was quite different musically. Six of its 10 tracks were repacked from “If Not for You” and only two songs originally appeared on the international version of the “Olivia” album.

The “If Not for You” album was released on Uni in 1971 while “Olivia” was issued on the newly formed MCA Records label in 1973. The “Olivia” album featured five songs that had been released as singles: “If Not for You,” “Banks of the Ohio,” “Take Me Home, Country Roads,” “Just a Little Too Much,” and “Let Me Be There.” The only single up to this point that was missing was “What is Life,” and it had appeared on the international version of “Olivia.” “What is Life” would not appear on an American album until 1992.

Her first American single, Bob Dylan’s “If Not for You,” and her third single, George Harrison’s “What is Life,” both had pop arrangements; however, this second Uni single was a country recording by anyone’s standards. Neither albums’ liner notes reveal the name of the backing vocal group on this release, but their style is in an Oak Ridge Boys/Statler Brothers’ vein.

The song also features a high-strung guitar which was typical for Nashville productions of that day although the single was recorded in London. It’s a wonder that “Banks of Ohio” didn’t chart on the country music side of things, as seven of her later hits were Top 10 country records.

Uni Records: Love Unlimited Twofer

Not generally considered a soul label, Uni Records signed a number of R&B artists including the trio: Love Unlimited, which had two Top 40 singles in the 1970s; however, only one was on the Uni label: “Walking in the Rain with the One I Love.” It’s one of our Tuesday Twofers for our fourth week label special.

“Walking in the Rain with the One I Love” was Love Unlimited’s highest mainstream hit charting at #14. This 1972 hit also placed at #6 on the R&B chart. The song was composed by Barry White and was produced by White and Gene Page. Yes, I believe that’s Barry White’s voice on the telephone.

Love Unlimited was a family group featuring sisters Glodean and Linda James and their cousin Diane Taylor. Glodean would later become the future Mrs. Barry White. In 1973, White moved Love Unlimited over to 20th Century Records where they would have the #1 R&B hit “I Belong to You.” The trio disbanded in 1975 following the death of Diane Taylor. The name, however, would be retained by Barry White for the incarnation of his Love Unlimited Orchestra.

For our second Uni Records/Love Unlimited Twofer, I present a single that perhaps you’ve never heard. “Another Chance,” written by Barry White and Tom Brocker, was the group’s third single for Uni. Unfortunately, it never charted. I really love this cut and its production – it’s so indicative of the Barry White sound – a recitation, lush strings, a harp, and a Coral electric sitar. It’s so 70s soul to a “T” that it’s almost campy in 2014. Good stuff – too bad it received virtually no airplay.

Uni Records: Grazing in the Grass

Only four singles issued on Uni Records made it to the #1 spot on the Billboard charts. Uni’s first number one was The Strawberry Alarm Clock’s “Incense and Peppermints” in 1967. The last two were recorded by Neil Diamond: “Cracklin’ Rosie” in 1970 and “Song Sung Blue” in 1972. Sandwiched in between was “Grazing in the Grass” by South African trumpeter Hugh Masekela.

This 1968 instrumental was composed in the studio by South African actor Philemon M. Hou who was a personal friend of Masekela and Miriam Makeba. Not only was “Grazing in the Grass” number one on the pop charts for two weeks, it also hit the top spot on the R&B chart and held down that position for four weeks.

In addition to its chart success, the single sold four million copies in 1968. Unfortunately that success wasn’t translated in his own country, as Masekela’s music was banned on South African radio. Being that “Grazing in the Grass” has been used in a number of motion pictures, it will serve double duty as our Media Monday selection. On this song, drummer Chuck Carter uses cowbell to the extreme – therefore, it isn’t necessary to shout “More cowbell!”

Uni Records: Brother Love's Travelling Salvation Show

It’s our fourth week of the month and we take another trip down memory lane with selections from the now defunct Uni Records label. Formed in 1966 by MCA Records as Universal City Records, the label was popularly known simply as Uni Records. Outside the fine print on the labels and album covers, no one would have ever known of its full name.

Uni was distinct for its mustard yellow label with swirls of blue, magenta, and lime green. At the end of 1972, MCA consolidated all of its labels (Decca, Uni, Kapp, Coral, Congress, Vocalion, MCA Special Products, and others) into MCA Records. MCA’s first release was by a former Uni artist Elton John.

In 1988, MCA Records reintroduced Uni as a subsidiary to serve as an alternative music label. Much publicity was given to the label and a friend of mine was hired as their national promotions director. Uni was in the midst of building their regional team when I was in talks with the label about taking a promotional job. Unfortunately (or fortunately given the circumstances), MCA pulled the plug on the reconstituted Uni before I was ever hired. So I continued in radio for another six years prior to moving to higher education full-time.

You may not see some of your favorite Uni releases this week, as many have already been featured in the past and I do not repeat recordings. For our first Uni selection, I’ve drawn from their archives of hits to feature long-time Uni artist Neil Diamond with his 1969 hit “Brother’s Love Travelling Salvation Show.” The song peaked at #22.

Part of the reason that it failed to chart higher is that there was movement to ban the song in the American South. Some evangelical ministers felt that the song denigrated the tent revival type of experience, which is still prevalent south of the Mason-Dixon Line.

Unfortunately, they missed the point. Although Diamond is Jewish, this was far from his intentions, as the song actually elevates the style of gospel singing and revival preaching – and perhaps introduced it to an entire new audience. It was a tribute and not a mockery of this form of religious experience.

The song inspired two album titles: “Brother Love’s Travelling Salvation Show” (obviously) and “Hot August Night.” Taken from the first line of the song, “Hot August Night” was Diamond’s popular 1973 live album. The title uses the British spelling of “Travelling” as opposed to the American spelling of “Traveling.”  “Hallelujah – I say brothers.”

Jefferson Airplane: When The Earth Moves Again

I have two albums in my collection that came in brown paper wrappers – one of those was designed as a knock off of an A&P bag – Jefferson Airplane’s “Bark” from 1971. “Bark” was the first release on Jefferson Airplane’s own label Grunt Records.

While a handful of other artists recorded for Grunt, the great majority of releases were from the Airplane and its spinoff groups and solo projects. It was also the band’s first album without Marty Balin who would later rejoin Jefferson Starship in 1975.

The first cut on “Bark” was a song that was neglected for single release, but received a modicum of album radio play was “When the Earth Moves Again.” Personally I prefer the mix on the Airplane’s live album “Thirty Seconds over Winterland,” which was released in 1973. Be that as it may, I am featuring both versions of the song.

I feel that the live version better becuase the vocals have more punch. Perhaps this is because David Freiberg, an alumnus of Quicksilver Messenger Service,” joined Grace Slick and Paul Kantner singing lead on this Kantner composition. The guitars are also hotter in the mix as well.

No singles were issued from “Thirty Seconds over Winterland.” Although the reviews of “Bark” were mixed, it peaked on the album chart at #11; “Thirty Seconds Over Winterland,” which I also have as an import, was one of the bands poorer charting albums with a peak at #52.

The personnel on both cuts were slightly different. While both releases featured long time JA members Slick (vocals), Kantner (guitar & vocals), Jorma Kaukonen (guitar), and Jack Casady (bass), some changes appeared by the recording of the live tracks at San Franciso’s Winterland Ballroom in August and September 1972.

In addition to adding Freiberg on vocals, Johnny Barbata (from The Turtles) replaced Joey Covington on drums. Papa John Creach, who had been performing with Airplane spinoff band Hot Tuna, was enlisted as a sideman on “Bark.” He played on three of the album’s cuts including “When the Earth Moves Again.” By 1972, Creach had become a full-fledged member of the band, albeit the oldest member at 55 – but looked much older at the time.