🎷 AotW: CTI Richard Barbary - SOUL MACHINE (SP-3010)

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Captain Bacardi

Well-Known Member
Richard Barbary

A&M/CTi SP-3010


Released 1968

Format: Vinyl/Reel-to-Reel/8-Track

Produced by Creed Taylor

  • 1. Poor Side Of Town (Johnny Rivers) - 3:20
    2. What's Your Name (Claude Johnson) - 2:15
    3. Nature Boy (Eden Ahbez) - 2:15
    4. Call On Me (Deodric Malone) - 2:35
    5. I Know Love (H. Thomas/R. Barbary) - 3:15
    6. Teach Me (Willing To Learn) (H. Thomas/E. Kuntz) - 2:30
    7. Please Stay (Bacharach/Hilliard) - 2:50
    8. There Was Never, Ever, Anyone But You (D. Parrish/B. Stanley) - 2:35
    9. Like You, Babe (Harold Thomas) - 2:15
    10. Let The Music Play (B. Bacharach/H. David) - 3:40
    11. Nothin' In This World (H. Thomas/R. Barbary) - 2:50

    Tracks 1, 4-5 & 8 Rhythm tracks arranged & conducted by Jimmy Wisner, Orchestra arranged and conducted by Horace Ott
    Tracks 2-3, 6-7 & 10-11 Arranged & Conducted by Artie Butler

Richard Barbary - Vocals
Drums & Percussion: Gary Chester (2, 3, 6, 7), George Devens (2, 3, 6, 7, 10, 11), Herb Lovelle (1, 4, 5, 8 ), Art Kaplan (1, 4, 5, 8 ), Richard Ritz (10, 11), Bernard Purdie (all tracks)
Bass: Chuck Rainey
Guitar: Eric Gale, Sal DiTroia (2, 3, 6, 7, 10, 11), Hugh McCracken (1, 4, 5, 8 )
Piano: George Butcher (2, 3, 6, 7, 10, 11), Paul Griffin (1, 4, 5, 8 )
Organ: Ernie Hayes (1-8 )
Saxophone: Arthur Clarke & Seldon Powell (1, 4, 5, 8 ), Joe Grimm & Romeo Penque (10, 11), Hank Freeman (2, 3, 6, 7)
Trumpets: Harold Johnson & John Newman (1, 4, 5, 8 ), Marvin Stamm (10, 11)
Flugelhorns: John Bello (2-3, 6-7), Irvin Markowitz (2, 3, 6, 7, 10, 11)
Cornet: Mel Lastie (1, 4, 5, 8 )
Trombone: Garnett Brown (1, 4, 5, 8 ), Dom Gravine (2, 3, 6, 7), Alan Raph (10, 11)
Flute: Hank Freeman & Joe Grimm (2, 3, 6, 7)
Violin (1, 8 ): Winston Collymore, Peter Dimitriades, Richard Elias, Felix Giglio & Jesse James Tryon
Viola: Al Brown & Julien Barber (1, 8 )
Cello: Sidney Edwards (1, 8 )

Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded on March 13 & 19, May 14 and June 12, 1968

Cover Photos by Pete Turner
Album Design by Sam Antupit
Liner notes by Ted Williams, Record World Magazine

Capt. Bacardi
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Yet another obscurity from A&M. But on its associated CTi imprint. Veering away from A&M/CTis usual Jazz repertoire, and catapulted onto its "Buy MY Albums" Inner-Sleeve advertising campaign. That is, marketed along side the more recognized names like Adderley, Wanderley, Mongomery, Herbie Mann, JJ&K, Desmond, the "almost newly discovered" George Benson and Jobim--just to name a few. Yes, I'm wondering what Barbary is doing nowadays, too!

Poor Side Of Town (Rivers)--Yes, Rivers' Top-40 Hit transformed into a Lovely Ballad! It always had a potential for being a Soul song and glad Barbary put it to constructive use. Makes up for The 5th Dimension's version--they started it off A-Capella, then got upbeat, but a bit aimless with it.

What's Your Name (Johnson)--occasionally hear this one by the original group it was done by on the radio, but the station, so far made no mention of who-dun-it, while I was listening. But Barbary gave it a good run on the airwaves, too. Least according to the liner notes. Competent Hitcraft of its time.

Nature Boy (Ahbez)--often covered, both vocally and even as an instrumental by many. Barbary gives it that suave, sophisticated treatment it deserves. It is easily disguished and not run-of-the-mill, by far.

Call On Me (Malone)--Deke Malone, author of many Blues compositions gets this number taken in an appropriate Soul direction by our Richard. Some good Street-Corner harmonies employed in his singing and somehow keeping that Blues-groove intact, from Hugh McCracken's guitar intro, onward.

I Know Love (Thomas/Barbary)--Another good soul saga or a "story song" effectively delivered. The strings carry it quite well. Think there is a sort of a psychedelia here. At least that's what the Phased Guitar Work suggests. The Strawberry Alarm Clock's "Incense & Peppermints" was going to be included in this outing, too. But it may never have even been recorded.

Teach Me (Willing To Learn) (Thomas/Kuntz)--Barbary belts this one out quite DANCE-ably! Artie Butler's arrangements and horn charts make this piece very interesting.

At its worse, it can annoyingly stick in your head! Remember 20-years ago, or so, it was just BLARING through the speakers at The Farmer Jack! An entire shelf of Spaghetti Sauce just fell onto the floor creating the biggest mess, with the song IMMEDIATELY, but briefly interrupted, as a "Clean-Up" was announced. And the song contiued, as a few clerks were Boppin' while helplessly moppin' up the messy aisle! DAMN!!!!!

But getting back to the Musical Qualities, it was also getting some airplay as a single. The "Walking Bass" pattern is Chuck Rainey's favorite and even appears in the issue of BASS PLAYER, Rainey is interviewed in.

Please Stay (Bacharach/Hilliard)--Actaully a Bacharach song, improvised, of course! Your typical 'call & response' vocal work, though not your typical 'belter'. This song kicks off Side 2 with a ROAR!

There Was Never, Ever, Anyone But You (Parrish/Stanley)--Here's a 'belter', and a REAL Belter, done a lot more upbeat with the 'call & response' chorus and its leader being ever so cool and calm, throughout. And check out "Pretty" Purdie's Rumblin' Drummin' Intro, he's known for!

Like You, Babe (Thomas)--Much like "Call On Me", but more upbeat. Think we're in a pattern, here, but an interesting pattern as 'Little Richard' here keeps it.

Let The Music Play (Bacharach/David)--A Bacharach-David number, like the previous one, given those Soul Improvations! And always keeps the listener intersted, with Barbary's singing in his fully measured staccatto, as the song gets layered more and more in its treatment.

Nothin' In This World (Thomas/Barbary)--Looks like we're getting far-fetched, over-emotional and even CARRIED AWAY! But, amist Barbary's wails and shouts, he does know when to reel what he's casting out back in. The horns, flutes and gentle guitar work compliment this closing number quite well.

Yes, an obscure, but a gifted singer, Barbary is. Maybe he came back as Carl Graves! :D

To paraphrase a comment from another poster whose name escapes me, this is part of Creed Taylor's attempt to bring pop acts to the label and, here specifically, incorporate that budding "soul" sound. Though I haven't listened to enough recordings from Taylor's "Kudu" CTi series, it seems that he was more successful developing an R&B/soul canon there than with A&M.

Strangely, I have been unable to find any information, musical or personal, about Barbary anywhere else. Tamiko Jones' album followed shortly after this one, but she was already established as a soul/R&B singer in her own right.

Musically, this brings in some of the best arrangers of the time who surround Barbary with catchy organ licks, brass work and strings. The first three or so songs on side 1 are good and get repeat listenings from me, but the rest of the album seems pretty forgettable and Richard seems to belt out the lyrics with more force than art. One of his original numbers, "Nothin' in This World," closes the album nicely, if I actually listen to all of side 2. Three stars here.
Poor Side Of Town -- ...How can you tell me how much you miss me, when the last time I saw you you wouldn't even kiss me; That rich guy you've been seein', must have put you down-wn-wn; So welcome back, bab-ay, to the poor side of tow-wn-wn; To the poor side of town...

Best application of "Improvised Soul" to this already Soulful Johnny Rivers chestnut... In a world where '45's of "Side 1, Track 1 Songs" are generally abundant, one more, being this one really wouldn't hurt...

What's Your Name -- This is the track which did make it to a '45' and despite it being a "second track" on the album, maintains a good "kick-off" track status... Like the liner notes suggest, it is a good song to request your local Deejay to play on your favorite radio progeram, and if not for a version of this (which I regularily hear, to this day) by an R&B group or artist, whom I can't think of the name of, I think Barbary's version (especially with the HUGE Contrast between the Delivery of the two) really could have been an All-Time Big Hit...

Nature Boy -- Myriad versions of this out there and as Richard does force the verses on a lot of these songs, he lets up well enough that this is one of the best reeinditions and at least makes this pretty well-sung... (Studio guitarist Joe Beck made a version of this on an album of the same title for Verve/Forcast which seems rather "growled", rather than sung, while George Benson seems to go "too lightly" on his almost Scat-Singing cover of it, too)

Call On Me -- When you need a good lovin'... When you need a good huggin', yeah, yeah, yeah... Call on meee-eee-eee... Call on meeeee... A muted trumpet "punctuates" this passage... I'm sure there might have been another version of this out there; seems as though Richard couldn't get much out there, "competition free", if neither this number could even be his "breakthrough"...

I Know Love -- And another number, this time, with so far, NO competition, missing out on also being a Hit for Mr. Barbary...

Teach Me (Willing To Learn) -- Go, Artie Butler, with those Horns...!!! :thumbsup: Some pounding drums by "Pretty" Purdie and a bit of guitar quickly start this quirky number... Did you know Chuck Rainey's "Walking Bass Line" for THIS SONG appears in a copy of Bass Player magazine? My aunt, who is a bass player/music teacher even taught me it, years before hearing it! Or that is, HAVING it on record...; forgot that a lot of the A&M/CTi catalog played at a nearby Supermarket, way-back-when... This particular tune was "music to train a new employee by" there... An entire shelf of Spaghetti Sauce came crashing down in its aisle so after "CLEAN-UP IN AISLE FOURTEEN!" got called out RIGHT AWAY, INSTANTLY over the loudspeaker, every employee on duty had to helplessly mop up the messy aisle...!! --Sorry, there is NOT ENOUGH that I can say about this song...!!

Please Stay -- A Burt Bacharach/(?) Hillard-written number, which starts off Side 2 with that "Pretty" Purdie's Incessant Drumming, and with a bit of Doo-Wop reminisent in the chorus... There had to have been a version of this by Dionne Warwick, as well...

There Was Never, Ever, Anyone But You -- Drums, drums...and MORE Drums! "Pretty" Purdie starts this number with his "introduction", again! Another "ballad/belter", which Barbary specializes in quite well...

Like You, Babe -- Starts off with an Organ and snappy Guitar work, and there's thatunknown chorus of un-named background singers... This song really sounds similar to A&M Records Recording Artist, Mark Benno's Put A Little Love In Your Soul, which he recorded years later on his Minnows album... Could he have been listening...???

Let The Music Play -- Bacharach and Hillard, whom I still don't know the first name of wrote this... Like Please Stay, I believe that Dionee Warwick also recorded this, and I believe that she recorded it in Memphis, with that area's musicians, as well; saw an album I very well remember this song being on, Produced & Arranged by Chips Moman and his stable of Musicians at American Sound Studios in Memphis... (Inspired by B.J. Thomas and Tamiko Jones, perhaps...)

Nothin' In This World -- If they made me the President and crowned me King..., If I had all the riches, wealth and fame, don't you know that there's still one thing, that'd remain the same... And Nothing in this World, could take my love from you, girl... Nothing in This World, could take my love from yoooouuuu... If they "drug" (--Or is it "drugged"?) me, through the streets...,

...Tore out my eyes, girl, so I couldn't see... :blinkeye: :blinkeye: --...Yikes!!! :scared:

...If they laughed at me and called me dirty names, don't you know that I'd still remain the same... And Nothing in this World, could take my love from yoooouuuu...

--Very BOMBASTIC Closing Piece!!!! :freak: The jarring singing gave me many a vivid dream as I had long fallen asleep while Side 2 was playing and woke up hours later after the record finished... But, easily the best number and Richard really reaches the Pinnicle of his Potential on this Piece!!! Did THIS ever become a hit by anyone?! I swear this song was in one of my old SONG HITS magazines...!!

A True Showcase for the Musicians, as guitarists Hugh McCracken and Eric Gale each insert an abundance of their trademark "leads and fills", while "Pretty" Purdie puts out his best and most ponderous drumming and bassist Chuck Rainey must have LOVED playing on this to have been on every track... A lot of Piano and Organ pounded and trilled, too... I'm wondering if anything gimmicky could'a been done with that horn section...: Were the horn players blowing right behind Richard or is there a balcony in the studio they were recorded, blowing "up-ward, toward the ceiling", on top of? More R&B and Old-School Soul than Jazz and a suprisingly unprecidented addition to the A&M/CTi catalog, as is the Tamiko Jones (who was previously recording for the indepdendent December records) which follows...

I guess Richie must be out there, touring around the world, singing this stuff, then!:cool:

Wonder what THESE SONGS Must'a Sounded Like...?!...:

Unreleased Tracks for A&M/CTi SP 3010:

Incense And Peppermints -- ...By Strawberry Alarm Clock?

Granny Was Her Name -- ..."Original Piece" by Barbary? (Probably also written w/ Henry Thomas?)

Walk Like A Man -- ...By Frankie Valli & The Four Seasons?

Along Comes Mary -- ...By The Association?

--Source: Noted Jazz critic, Doug Payne at his Sound Insights Jazz Artist Website, at www.dougpayne.com

Dave :neutral:inkshield:
A fine effort throughout with Barbary's understated delivery demonstrating the principle that "less is more."

This is the album Sam Cooke would have recorded had he lived past '64 and signed with A&M, a natural progression in his career.

I finally found a copy of this LP the other day. It's a white label promo in pretty good condition. It's not a jazz album by any means, and I wonder why this was even in the 3000 series. But man, this is one hell of a 60's soul album! This really captures the sound of 60's r&b, and Barbary is a great singer. I'm surprised this album didn't chart at all. Tasty arrangements with some nice horn lines throughout. This album is definitely worth looking for. 4 & 1/2 stars.

Capt. Bacardi
First things first - this is not a jazz album. So I'm not sure why this was in the 3000 series.

That said, this is a very good R&B album. This is what I think of when I think of non-Motown 60's soul. Barbary has a great voice, and these songs work well for him. My favorite song is "Nature Boy", with the Bacharach-penned "Please Stay" a close second. There's some nice background horns on several tracks as well. Nice, tight rhythm section. Artie Butler redeemed himself on this album.

Capt. Bacardi
Captain Bacardi said:
First things first - this is not a jazz album. So I'm not sure why this was in the 3000 series.

Capt. Bacardi

Did Creed produce anything during his contract with A&M that was released anyplace other than the 3000 series?

---Michael Hagerty
Captain Bacardi said:
First things first - this is not a jazz album. So I'm not sure why this was in the 3000 series.

That said, this is a very good R&B album. This is what I think of when I think of non-Motown 60's soul. Barbary has a great voice, and these songs work well for him. My favorite song is "Nature Boy", with the Bacharach-penned "Please Stay" a close second. There's some nice background horns on several tracks as well. Nice, tight rhythm section. Artie Butler redeemed himself on this album.

Capt. Bacardi

Agreed. I'm not a fan of Motown; on the other hand, Black pop like this I do like a great deal (particularly the wonderful Nature Boy -- which is only lacking a guitar break-out solo! -- and the excellent last cut). Butler confuses me -- following a near hideous LP, it's hard to imagine him making musical contributions to this LP...must've been something in those hot dogs he eats while zooming around in his rolls royce.

So what happened to Barbary? Talented singer, but the MAJOR blunder of issuing this thing by the "jazz" unit surely kept the record out of the record store pop bins where it belonged. I'm sure the pop radio programmers also passed on it -- based solely on the Creed Taylor association.
Regarding Michael's question, there was WES MONTGOMERY'S GREATEST HITS (4247), which contains tracks previously released on his three 3000 series albums.

"So welcome back, baby, to the poor side of town..." A bag of boundless clichés, which could have easily just fit on any NON-CTi A&M product, although passed to Creed Taylor in hopes that this "discovery" would make a worthy crossover into his usual jazz-stock in trade...

"What's your name? Do I stand a chance with you?" The creative arrangements of the top-arrangers-of-the-day help frame this new talent with plenty of surprises: Artie Butler gives a robust big-band type of sound, which makes his later-day arrangements behind Neil Sedaka whom he started with seem so evident... Jimmy Wisner gives an ordinary and conventional, yet unique pop feel on his songs, while it took a more R&B-oriented arranger like Horace Ott to understand Richard Barbary perfectly...

"There was a boy, a very strange enchanted boy..." And the songs do run a bit strange and enchanting, and while much seem to be rather "common-cover-songs-of-the-day", a few are at least uncommon, in the sense that Richard seems to be so far, the first to have recorded, at least, enough that he still fell to shy of his desserved fame...

"When you need a good lovin', yeah... Call on me'eee-eee... Call on me..." Still that lingering potential to achieve chart status evident from the top-40 nature of the proceedings; alas, the commercial potential the characteristics of this album evoke remains unrealized...

"I know love, love, love..." And the self-written material, by Barbary, himself, also stands as an example... The likelihood of "remakes by other artists", so far never yet attempted, not withstanding...

"Show me how you want it... Tell me how you need it... Teach me how you like it..., 'Cause I'm willin'..., I'm willin'..., Tooooo-ooooh..., Willin' to learn..." Hence good songs like this disappointing as they fade off into history of supermarket muzak and elevator fare...

"If I got on my knees and I pleaded with you... Not to go, but to stay in my arms... Would you walk out the door, like you did once before? Or would this time be different? Would you stay-ay'ay?" Certainly a worthy Bacharach collaboration in the Dionne Warwick mode might have clicked had this really gotten off the ground and such a venture had been given a chance...! (Maybe not...)

"There Was Never, Ever, Anyone But You, Babe... Like you, Babe... Like yoooouuuu'uuuu...." Blues power, only all blues & not much rhythm... A sad, but inevitable fate... But a chance at something that *might* sell... All in the name of $$$$$$"profit"$$$$$$...! But delivered from the perils & purity of common heartache; the depth of his soul even when shallow and spotty in some places...

"Let the music play, just a little slower... Play a little slower... Let me hold her in my arms, a little longer... Let the music play, just a little softer... Play a little softer... Let her hear me when I sigh, how much I love her..." Or perhaps a down-home Memphis groove as the upcoming Tamiko Jones LP got, might have helped, at least on some of these tunes... (Or are we just keeping this: "Northern Soul"...????)

"If they drug(ged) me, thru the street..., Tore out my eyes, girl, so I couldn't see... If they laughed at me & called me dirty names..." Ah, I'm sure it should be "dragged" (Say NO to "drugged"...!) or this is "crak alley of its time"...! A winner, this one...! The "dirty names" should be hurled at the lack of promotion (despite 90% of copies probably being PROMOTIONAL copies) that this ultimately got...

The "triangular trade" between arranger, musicians and singer presents the tirade in trying, trying to hard & not trying at all (perhaps in need of something to try with... Amid the confusion and animosity of the parties involves, the swirling of confection from the battle with convention yields one of the '60's better soul products...

Borrowing much from the "roots of rock 'n' roll"/doo-wop of the '50's, and wrapped up in much of the Motown sound of the '60's... Even combined with up-and-coming Philly Soul from Philadelphia, and echoes from venues like Atlanta and Muscle Shoals... And added to it, a sheer pop sound to make it that "vehicle" on the charts...

May have missed out on the destination of which it was bound, but surely an off-the-beaten path obscure curiosity, and underrated/undervalued, over-looked treasure but accessible & obsessively sough-after item looked fondly upon in the world of more urban hip-hop culture & modern rap sounds of today...

That picture (presumably from the picture sleeve) showing through the record spindle hole is HILARIOUS... He looks like a refugee from the 70's era Sesame Street cast! Spring Records, a division of MGM... :afro:
That picture (presumably from the picture sleeve) showing through the record spindle hole is HILARIOUS... He looks like a refugee from the 70's era Sesame Street cast! Spring Records, a division of MGM... :afro:

Yeh, too bad the YouTube "VJ" seems into promoting himself--I mean, why couldn't that be Richard Barbary's photo there--or is THAT who THIS one looks like? (To those unfamiliar w/ his A&M one-shot career?)

-- Dave
I just assumed that picture IS the picture sleeve to this single. Examining my copy of Soul Machine I have to ssay that it is indeed Mr. Barbary...

--Mr B
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