They weren't brothers, but Bill Medley and Bobby Hatfield (both born in 1940) were most definitely righteous, defining (and perhaps even inspiring) the term "blue-eyed soul" in the mid-'60s. The white Southern California duo were an established journeyman doo wop/R&B act before an association with Phil Spector produced one of the most memorable... [+] Read More

They weren't brothers, but Bill Medley and Bobby Hatfield (both born in 1940) were most definitely righteous, defining (and perhaps even inspiring) the term "blue-eyed soul" in the mid-'60s. The white Southern California duo were an established journeyman doo wop/R&B act before an association with Phil Spector produced one of the most memorable hits of the 1960s, "You've Lost That Lovin' Feelin'." The collaboration soon fell apart, though, and while the singers had some other excellent hit singles in a similar style, they proved unable to sustain their momentum after just a year or two at the top.

When Medley and Hatfield combined forces in 1962, they emerged from regional groups the Paramours and the Variations; in fact, they kept the Paramours billing for their first single. By 1963, they were calling themselves the Righteous Brothers, Medley taking the low parts with his smoky baritone, Hatfield taking the higher tenor and falsetto lines. For the next couple of years they did quite a few energetic R&B tunes on the Moonglow label that bore similarity to the gospel/soul/rock style of Ray Charles, copping their greatest success with "Little Latin Lupe Lu," which became a garage-band favorite covered by Mitch Ryder, the Kingsmen, and others.

Even on the Moonglow recordings, Bill Medley acted as producer and principal songwriter, but the duo wouldn't break out nationally until they put themselves at the services of Phil Spector. Spector gave the Wall of Sound treatment to "You've Lost That Lovin' Feelin'," a grandiose ballad penned by himself, Barry Mann, and Cynthia Weil. At nearly four minutes, the song was pushing the limits of what could be played on radio in the mid-'60s, and some listeners thought they were hearing a 45 single played at 33 rpm due to Medley's low, blurry lead vocal. No matter; the song had a power that couldn't be denied, and went all the way to number one.

The Righteous Brothers had three more big hits in 1965 on Spector's Philles label ("Just Once in My Life," "Unchained Melody," and "Ebb Tide"), all employing similar dense orchestral arrangements and swelling vocal crescendos. Yet the Righteous Brothers-Spector partnership wasn't a smooth one, and by 1966 the duo had left Philles for a lucrative deal with Verve. Medley, already an experienced hand in the producer's booth, reclaimed the producer's chair, and the Righteous Brothers had another number one hit with their first Verve outing, "(You're My) Soul and Inspiration." Its success must have been a particularly bitter blow for Spector, given that Medley successfully emulated the Wall of Sound orchestral ambience of the Righteous Brothers' Philles singles down to the smallest detail, even employing the same Mann-Weil writing team that had contributed to "You've Lost That Lovin' Feelin'." It's a bit of a mystery as to why the Righteous Brothers never came close to duplicating that success during the rest of their tenure at Verve. But they would only have a couple of other Top 40 hits in the 1960s ("He" and "Go Ahead and Cry," both in 1966), even with the aid of occasional compositions by the formidable Goffin-King team. In 1968 Medley left for a solo career; Hatfield, the less talented of the pair (at least from a songwriting and production standpoint), kept the Righteous Brothers going with Jimmy Walker (who had been in the Knickerbockers).

Medley had a couple of small hits in the late '60s as a solo act, but unsurprisingly neither "brother" was worth half as much on their own as they were together. In 1974 they reunited and had a number three hit with "Rock and Roll Heaven," a tribute to dead rock stars that some found tacky. A couple of smaller hits followed before Medley retired from performing for five years in 1976. The Righteous Brothers continued to tour the oldies circuit off and on in the 1980s and 1990s. It was while on one of these tours that Bobby Hatfield died suddenly on November 5, 2003. ~ Richie Unterberger, All Music Guide [-] Hide

Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the... [+] Read More

Rare Earth began as an R&B band called the Sunliners in Detroit in 1961. Of the musicians who would be part of the band dubbed Rare Earth, only sax player Gil Bridges and drummer Pete Rivera were present. John Parrish joined on bass in 1962. Rod Richards became a guitarist with the group in 1966. Keyboardist Kenny James came into the fold the same year. After years of doing the club circuit, the group changed their name to Rare Earth and released Dreams/Answers on Verve. The album received little reaction and the group was picked up by Motown Records as the first act on their yet-to-be-named new label. Rare Earth suggested to Motown that the label name their new subsidiary after the band and Rare Earth Records was born.

When they set out to record their first album, they essentially ran out of material and did a 21-minute rendition of the Temptation's "Get Ready" to fill out the space. The album was making no headway on the charts for a long period of time. So they took the first three minutes of "Get Ready," released it as a single and it made its way into the U.S. Top Ten list, peaking at number four. Pulled along by the success of the single, the album also began to sell, breaking the Top 20, and Rare Earth's career was officially on its way. The second album, Ecology, was released in June of 1970, a couple months short of a year after "Get Ready" had been put out. Interestingly enough, Ecology was not really the group's second album, but their third. An album entitled Generation was recorded as the soundtrack to the film of the same name. When the film stalled at the box office, the album was shelved. Still, Ecology would yield not one, but two hit singles. The first was "(I Know) I'm Losing You" (another Temptations cover), which also broke the Top Ten. The second single, "Born to Wander," did not fare quite so well, but did make the Top 20. The album was catapulted to number 15.

Not wanting to lose momentum, One World followed almost exactly a year after Ecology, and yielded another hit single in a longtime classic, "I Just Want to Celebrate." The song peaked on the pop charts at number seven and the album broke the Top 50. They released a live album in December of the same year. For the next album, Willie Remembers, the group insisted on doing all originals, a move that was not common around the Motown camp. Unfortunately, for a band trying to prove a point, the album never reached the type of sales of previous records. Indeed, it stalled out at number 90, and the single "Good Time Sally" didn't even break the Top 50.

Motown tightened the creative grip on the group and original producer Norman Whitfield, who had worked with the group on earlier albums, was brought in to save the day. The resulting album, Ma, was released in May of 1973 and fared just a little better than Willie Remembers, peaking at number 65. The label was not pleased and sent the group into the studio to record with Stevie Wonder. That pairing did not really gel, though, and only two tracks were recorded, neither of which were released. Instead, the label sought to release another live album, trying to regain the spark that Rare Earth had had. That project also fell by the wayside, though.

What followed was a serious of lineup changes and legal battles, and the group stopped touring altogether in 1974. The following year Rare Earth, in a new lineup, released Back to Earth. The album did a bit better than the previous one, reaching number 59 on the charts. The single, appropriately entitled "It Makes You Happy (But It Ain't Gonna Last Too Long)" stalled just outside the Top 100. A disco-oriented excursion entitled Midnight Lady was released in 1976, but failed to really go anywhere. To make matters worse, Rare Earth Records was discontinued altogether. The band had broken up by this time.

As fate would have it, though, this was not the end of Rare Earth. Instead, Barney Ales, who had presided over Rare Earth Records, started his own label Prodigal Records. He talked the group into reuniting to record the label debut. The resulting album, Rare Earth, was released in 1977 and made no real waves in the music business. Rare Earth got things together again for a marathon recording session the following year. That session yielded not one, but two albums. The first was Band Together, released in April of 1978, with Grand Slam following in September. Neither of those albums every really took off, either. The group essentially broke up in 1978, although a version of the original lineup was touring all the way into 1983. A different incarnation of the group, with just two original members, still makes the circuits. ~ Gary Hill, All Music Guide [-] Hide

The British soul-pop band Simply Red was formed in 1984 by singer Mick "Red" Hucknall (born Michael James Hucknall, June 8, 1960, Manchester, England) with three ex-members of Durutti Column, Tony Bowers (b. October 31, 1952) (bass), Chris Joyce (b. October 11, 1957, Manchester, England) (drums), and Tim Kellett (b. July 23, 1964, Knaresborough,... [+] Read More

The British soul-pop band Simply Red was formed in 1984 by singer Mick "Red" Hucknall (born Michael James Hucknall, June 8, 1960, Manchester, England) with three ex-members of Durutti Column, Tony Bowers (b. October 31, 1952) (bass), Chris Joyce (b. October 11, 1957, Manchester, England) (drums), and Tim Kellett (b. July 23, 1964, Knaresborough, England) (brass, keyboards), plus Sylvan Richardson (guitar) and Fritz McIntyre (b. September 2, 1956, Birmingham, England) (keyboards).

The group signed to Elektra Records and released Picture Book (October 1985), which featured "Money's Too Tight (To Mention)," a Top 40 cover of a 1982 R&B chart single by the Valentine Brothers, and "Holding Back the Years," a Hucknall original that topped the U.S. charts. The single caused the album to go platinum, and made the group one of the major successes of 1986. Men and Women (March 1987), which featured two collaborations between Hucknall and soul songwriter Lamont Dozier, was less popular, though it generated the Top 40 hit "The Right Thing." (In the U.K., "Infidelity" and a cover of Cole Porter's "Ev'ry Time We Say Goodbye" also made the Top 40.) Richardson left in 1987 and was replaced by guitarist Aziz Ibrahim, who was replaced by Heitor T.P. (b. Brazil). The third album, A New Flame (February 1989), went gold due to the cover of the 1972 Harold Melvin & the Blue Notes hit "If You Don't Know Me By Now" that hit number one and became a gold single. (In the U.K., "It's Only Love" and "A New Flame" also made the Top 40.) By the time of the fourth album, Stars (September 1991), Bowers and Joyce had left, with Shaun Ward joining on bass and Gota on drums, and saxophonist Ian Kirkham had become a permanent member. Stars was a relative commercial disappointment in the U.S. (though it spawned Top 40 hits in "Something Got Me Started" and "Stars" and eventually went gold), but it became a major success elsewhere, especially in the U.K., where it was the best-selling album of 1991, topped the charts for 19 weeks, and spawned the Top Ten hits "Stars" and "For Your Babies" and the Top 40 hits &Something Got Me Started," "Thrill Me," and "Your Mirror." Worldwide, it had sold eight-and-a-half million copies by the second quarter of 1993. Ward and Gota were gone by the release of Simply Red's fifth album, Life (October 1995), leaving a lineup of Hucknall, McIntyre, Heitor T.P., Kirkham, and backup singer Dee Johnson. The album again proved more of a success at home than in America, topping charts all over Europe, as did its leadoff single, "Fairground," while spending only three months in the U.S. charts. Blue followed in 1998, and a year later Simply Red issued Love and the Russian Winter. After establishing their simplyred.com label, Home was released in 2003. Two years later, the band released Simplified, a collection of old tracks and new songs. ~ William Ruhlmann, All Music Guide [-] Hide

The unsung heart and soul of the Motor City rock & roll scene, Mitch Ryder & the Detroit Wheels' blue-eyed R&B attack boasted a gritty passion and incendiary energy matched by few artists on either side of the color line. Born William Levise, Jr. in Hamtramck, MI on February 26, 1945, as a teen Ryder sang with a local black quartet dubbed the... [+] Read More

The unsung heart and soul of the Motor City rock & roll scene, Mitch Ryder & the Detroit Wheels' blue-eyed R&B attack boasted a gritty passion and incendiary energy matched by few artists on either side of the color line. Born William Levise, Jr. in Hamtramck, MI on February 26, 1945, as a teen Ryder sang with a local black quartet dubbed the Peps but suffered so much racial harassment that he soon left the group to form his own combo, Billy Lee and the Rivieras. While opening for the Dave Clark Five during a 1965 date, the Rivieras came to the notice of producer Bob Crewe, who immediately signed the group and, according to legend, rechristened the singer Mitch Ryder after randomly selecting the name from a phone book. Backed by the peerless Detroit Wheels -- originally guitarists James McCarty and Joseph Cubert, bassist Earl Elliot, and drummer Johnny "Bee" Badanjek -- Ryder reached the Top Ten in early '66 with "Jenny Take a Ride"; the single, a frenzied combination of Little Richard's "Jenny Jenny" and Chuck Willis' "C.C. Rider," remains one of the quintessential moments in blue-eyed soul, its breathless intensity setting the tone for the remainder of the band's output.

Ryder and the Detroit Wheels returned to the charts weeks later with their reading of "Little Latin Lupe Lu," scoring their biggest hit that autumn with the Top Five smash "Devil with a Blue Dress On/Good Golly Miss Molly." "Sock It to Me Baby!" followed in early 1967, but at Crewe's insistence Ryder soon split from the rest of the band to mount a solo career; the move proved disastrous -- outside of the Top 30 entry "What Now My Love," the hits quickly and permanently dried up. In 1969 Ryder teamed with Booker T. and the MG's for an LP titled The Detroit/Memphis Experiment before returning home and reuniting with Badanjek in a new seven-piece lineup known simply as Detroit. The group's lone LP, a self-titled effort issued in 1971, remains a minor classic, yielding a major FM radio hit with its cover of Lou Reed's "Rock and Roll"; however, the years of performing were taking their toll, and as Ryder began suffering more and more from severe throat problems, he retired from music, relocating to the Denver area in 1973. In time he began writing songs with wife Kimberley, also taking up painting and working on a novel.

Ryder resurfaced in 1978 on his own Seeds and Stems label with How I Spent My Vacation, his first new LP in seven years; Naked but not Dead appeared a year later, and he continued his prolific output in 1981 with two new efforts, Live Talkies and Got Change for a Million?. In 1983 ardent fan John Cougar Mellencamp agreed to produce Ryder's major label comeback, Never Kick a Sleeping Dog, which generated a minor hit with its cover of the Prince classic "When You Were Mine" but otherwise failed to return the singer to mainstream success, at least at home -- in Europe, and particularly in Germany, he retained a large fan following, releasing In the China Shop on the German label Line in 1986. After satirizing the Iran-Contra debacle with the 1987 single "Good Golly, Ask Ollie," Ryder issued the full-length Red Blood, White Mink the following year; subsequent efforts include 1990's The Beautiful Toulang Sunset, 1992's La Gash and 1994's Rite of Passage. He continued touring steadily in the years to follow and also worked on an autobiography. ~ Jason Ankeny, All Music Guide [-] Hide

The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more... [+] Read More

The Rascals, along with the Righteous Brothers, Mitch Ryder, and precious few others, were the pinnacle of '60s blue-eyed soul. The Rascals' talents, however, would have to rate above their rivals, if for nothing else than the simple fact that they, unlike many other blue-eyed soulsters, penned much of their own material. They also proved more adept at changing with the fast-moving times, drawing much of their inspiration from British Invasion bands, psychedelic rock, gospel, and even a bit of jazz and Latin music. They were at their best on classic singles like "Good Lovin'," "How Can I Be Sure," "Groovin'," and "People Got to Be Free." When they tried to stretch their talents beyond the impositions of the three-minute 45, they couldn't pull it off, a failure which -- along with crucial personnel losses -- effectively finished the band as a major force by the 1970s.

The roots of the Rascals were in New York-area twist and bar bands. Keyboardist/singer Felix Cavaliere, the guiding force of the group, had played with Joey Dee & the Starliters, where he met Canadian guitarist Gene Cornish and singer Eddie Brigati. Brigati would split the lead vocals with Cavaliere and also write much of the band's material with him. With the addition of drummer Dino Danelli, they became the Rascals. Over their objections, manager Sid Bernstein (who had promoted the famous Beatles concerts at Carnegie Hall and Shea Stadium) dubbed them the Young Rascals, although the "Young" was permanently dropped from the billing in a couple of years.

After a small hit with "I Ain't Gonna Eat Out My Heart Anymore" in 1965, the group hit number one with "Good Lovin'," a cover of an R&B tune by the Olympics, in 1966. This was the model for the Rascals' early sound: a mixture of hard R&B and British Invasion energy, with tight harmony vocals and arrangements highlighting Cavaliere's Hammond organ. After several smaller hits in the same vein, the group began to mature at a rapid rate in 1967, particularly as songwriters. "Groovin'," "Beautiful Morning," "It's Wonderful," and "How Can I Be Sure?" married increasingly introspective and philosophical lyrics to increasingly sophisticated arrangements and production, without watering down the band's most soulful qualities. They were also big hits, providing some of the era's most satisfying blends of commercial and artistic appeal.

In 1968, almost as if to prove they could shake 'em down as hard as any soul revue, the Rascals made number one with one of their best songs, "People Got to Be Free." An infectious summons to unity and tolerance in the midst of a very turbulent year for American society, it also reflected the Rascals' own integrationist goals. Not only did they blend white and black in their music; they also, unlike many acts of the time, refused to tour on bills that weren't integrated as well.

"People Got to Be Free," surprisingly, was the group's last Top 20 hit, although they would have several other small chart entries over the next few years, often in a more explicitly gospel-influenced style. The problem wasn't bad timing or shifting commercial taste; the problem was the material itself, which wasn't up to the level of their best smashes. More worrisome were their increasingly ambitious albums, which found Cavaliere in particular trying to expand into jazz, instrumentals, and Eastern philosophy. Not that this couldn't have worked well, but it didn't. They had never been an album-oriented group, but unlike other some other great mid-'60s bands, they were unable to satisfactorily expand their talents into full-length formats.

A more serious problem was the departure of Brigati, the band's primary lyricist, in 1970. Cornish was also gone a year later, although Cavaliere and Dinelli kept the Rascals going a little longer with other musicians. The band broke up in 1972, with none of the members going on to notable commercial or artistic success on their own, though Cavaliere remained the most active. ~ Richie Unterberger, All Music Guide [-] Hide

One of the most exciting albums released during a decade of artifice and extravagance, in a mere ten songs and 35 minutes the Fine Young Cannibals created a masterpiece. Admittedly the trio had some help -- backing singers, guest musicians (including former Squeeze pianoman Jools Holland and Talking Head's Jerry Harrison) -- but that doesn't... [+] Read More

One of the most exciting albums released during a decade of artifice and extravagance, in a mere ten songs and 35 minutes the Fine Young Cannibals created a masterpiece. Admittedly the trio had some help -- backing singers, guest musicians (including former Squeeze pianoman Jools Holland and Talking Head's Jerry Harrison) -- but that doesn't take away the band's own accomplishment. Remaining true to the FYC's vision of tying past and present musical styles together into artful new pop packages, The Raw & the Cooked features a shopping list of genres. Mod, funk, Motown, British beat, R&B, punk, rock, and even disco are embedded within the songs, while the rhythms, many synthetically created, are equally diverse. In less delicate hands this would be nothing more than an everything including the kitchen sink motley mess, but FYC manage this mix with subtly and elan. Two-thirds of the record were released as U.K. singles, all were hits, and each one proudly boasted a distinctly different blend of styles. "Good Thing," for example, was the trio's tribute to the legendary all-night Northern soul parties of the '60s, but is much more than a mere meld of mod and Motown. It's actually built round a slinky R&B riff, fueled by a boogie-woogie piano, and slammed home with a cracking beat. "I'm Not the Man I Used to Be" is a torrid torch song, but fired by a futuristic jungle beat and an almost housey production. Then, of course, there's "She Drives Me Crazy," which features the most unique, and instantly identifiable, beat/riff combination of the decade. Even the four tracks that didn't make the singles cut could have, if MCA had the audacity to keep releasing them. "Tell Me What" perfectly re-creates the Tamla sound, with only the synth giving it a modern touch, but on the rest FYC delve deeper into funk, disco, soul, and lovingly coax them into the modern era. Every one of Raw's tracks simmers with creativity, as the hooks, sharp melodies, and irrepressible beats are caressed by nuanced arrangements and sparkling production. Never has music's past, present, and future been more exceptionally combined. ~ Jo-Ann Greene, All Music Guide [-] Hide

Although Rhino issued a deluxe two-CD set covering the Rascals a few years ago, this single disc set contains enough essential songs for you to get the point. The Rascals, along with the Righteous Brothers, defined blue-eyed soul singing, making records that were as churchy, earthy, and convincing as anything that came out of the South or Motown... [+] Read More

Although Rhino issued a deluxe two-CD set covering the Rascals a few years ago, this single disc set contains enough essential songs for you to get the point. The Rascals, along with the Righteous Brothers, defined blue-eyed soul singing, making records that were as churchy, earthy, and convincing as anything that came out of the South or Motown in the '60s, backed by tight, anthemic arrangements and excellent combo playing. The 16 cuts include their first hit, "I Ain't Gonna Eat Out My Heart Anymore," and continue on into their flirtation with psychedelia in 1970. The only quibble is their failure to include "Look Around," a socio-political cut from the Freedom Suite album that's just a cut below "People Got to Be Free" or "A Ray of Hope." ~ Ron Wynn, All Music Guide [-] Hide

Greatest-hits packages sometimes can rob an artist of their wider focus, only zeroing in on the hits and not giving the true big picture. But this is one time when the hits and the subsequent singles fill the bill in an absolutely perfect way. Although many of these songs turn up on other Mitch Ryder albums, many of the versions included here... [+] Read More

Greatest-hits packages sometimes can rob an artist of their wider focus, only zeroing in on the hits and not giving the true big picture. But this is one time when the hits and the subsequent singles fill the bill in an absolutely perfect way. Although many of these songs turn up on other Mitch Ryder albums, many of the versions included here differ greatly, the most noticeable being the kickoff track, "Devil With a Blue Dress/Good Golly Miss Molly." The reason is simple enough: These are the single mixes, the ones edited and compacted to fit on one side of a 45-rpm vinyl record. As a result, they aurally exude a brighter, more shimmering presence, and although not much else is done in the way of audio chicanery here (no sped-up tracks, etc.), this one does have the sound. If you truly want to experience what a great kick-ass band the Detroit Wheels were in their prime and what a skunk-hot singer Mitch Ryder was in his young man days, this is the one you want to stick in the CD player and play over and over again. ~ Cub Koda, All Music Guide [-] Hide

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Perhaps the most raucous White soul band of the 60s, Ryder and the Detroit Wheels scored a series of hits, 1966-1968, by souping up rock and R&B ravers to fever pitch. This is hard party music. ~ William Ruhlmann, All Music Guide

Perhaps the most raucous White soul band of the 60s, Ryder and the Detroit Wheels scored a series of hits, 1966-1968, by souping up rock and R&B ravers to fever pitch. This is hard party music. ~ William Ruhlmann, All Music Guide [-] Hide