YOU MAY WALK THE STREETS AT SUNDOWN LOOKING FOR (1) TROUBLE OR (2) A NEW SWEETIE PIE AFTER LISTENING TO THESE TORRID SHAKERS BY THE SCARLETS FROM 1959.

 

Behold “Park Avenue” (above) and “Stampede” (below), two instrumental shakers recorded in 1959 by The Scarlets, a group that would release only one 45 before morphing into another group, or disbanding, or running riot. To be fair, it’s always possible they power-walked or jogged riot. “Park Avenue” is the B-side, but we present it first because we prefer it just a smidgen better than “Stampede.” We admit that “Park Avenue” is brighter; “Stampede” is more malevolent. Still, we prefer the B-side, slightly. And in case you haven’t noticed, we specialize in bands like The Scarlets, who poked their heads out for just one recording session in 1959 — during that fertile Shakers Era between the appearance of Elvis and the British Invasion of the Beatles et. al.

After listening to “Stampede” we feel like walking the hot summer streets at sundown just looking to heist — or hoist — an armored car. It doesn’t matter, heist or hoist, we’re just fairly jacked up. With “Park Avenue” on the other hand, we want to walk the hot summer streets at sundown and find us some new sweetie pies. We want to tell them all sorts of tales about ourselves — “we just heisted an armored car” — “we just hoisted an armored car” — before whirling them about a dance floor to the strains of that phat saxophone. O, we have torrid affairs with our new sweetie pies, and O, our new sweetie pies have torrid affairs with us. (For couple of minutes, anyhow. . . . . It’s all very innocent fwiw.)

As for you, Dear Readers, skip the heisting and hoisting and go right for the new sweetie pies. We suppose you can keep your old sweetie pies if you must. The key thing is to medicate yourselves (in moderation) and prepare to jump (knee high?) when that phat sax arrives.

Discography and Personnel:
“Stampede” b/w “Park Avenue.” Dot Records 16004, Hollywood, Calif. (1959). Also released on Prince Records PR 1207, Hollywood, Calif. (1959). Likely personnel: Tony Lepard (drums); John Sanzone (guitar); Pete Antonio aka Pete Antell (lead guitar); Bert Salmirs (piano); Howard Herman (saxophone); unknown additional musicians may include a second saxophone and upright bass. Composition credits: Wally Zober, Bert Salmirs, and Pete Antonio (“Stampede”); Wally Zober and Bert Salmirs (“Park Avenue”).

Earlier on, the band may have been known as Tony Leopard and the Spots before changing to other names such as the Escorts and the Scarlets. Antell, Salmirs, and Herman went on to have lengthy careers in music. Sanzone seems to have been a Vietnam Veteran who served in the U.S. Navy. Not much is known about Lepard and any of the other musicians who may have played on these tracks.


Sources of information:
Discogs page for The Scarlets
Howard Herman website
Pete Antell website
AllMusic page for Bert Salmirs’ composing credits
Blogpost with some biographical information on John Sanzone
John Clemente. Girl Groups: Fabulous Females Who Rocked the World. Author House, 2013
September 28, 1959 issue of The Billboard

THE EMBERS BURN HOT AS THEIR 1963 STOMPER “ALEXANDRIA” FUSES AVANT JUMPS WITH BLISTERING R&B.

 

what we know

“Alexandria” drives forward immediately: clapping, scratching, and thumping. The drums circle at about the one-minute mark, at which point, the saxophone madness begins in earnest. And does not cease. This 1963 “instro” grinds in all the best ways.

“How should I respond?” you might ask. Well, we advise you to jump. “How should I execute the jump?” you might ask. Squat down low, we suggest, and propel yourself into the air. Repeat. Vary the frequency and height as you see fit.

If you have a sweetie pie, you can wave hello on the way up, and on the way down. Do you have two sweetie pies? Well, you can wave to both on the way up, and both on the way down. Of course, they may have two sweetie pies themselves. You get the idea. Lots of sweetie pies. Lots of jumping. That’s not a bad worldview, now, is it?

Some may say “jazzy” and others may say “exotica” and still others may declare “northern soul.” Okay with us. We might add rock, R&B, and the “undisciplined blowing” of the soloist. (A compliment.) Thank the heavens for those saxophonists who blow mad jumps.

This may be the five core members of The Embers ca. 1962.

what we might know

A lot of bands called themselves The Embers, but this group likely hailed from Philadelphia. In addition to their work on Newtime, The (Philadelphia) Embers recorded on Newtown Records, also in Philly. The two labels were likely related.

As part of their output on Newtown, the group may have appeared as Ricky Dee and The Embers, a band that cut a few dance-pop sides in 1962. Their song “Work Out” will call to mind the 1962 Sam Cooke single “Twistin’ The Night Away.” Another ditty, “Tunnel of Love,” will recall the 1962 Nathaniel Mayer hit “Village of Love.”

The same group may have also appeared on the Sunset label as Pete Bennett and The Embers. This group cut two sides in 1961 — “Fever” and “Soft” — that were arranged by Bobby Martin, a Philadelphia-based producer. In fact, The Embers, if they are the same group across these three different labels, may have helped form a somewhat forgotten R&B sound pioneered by Mr. Martin in the Town of Brotherly Love.

As a “house band,” The Embers may have backed Patti LaBelle, who was associated with Newtime and Newtown. It is also possible that The Embers recorded on the New York City label, Wynne Records, in 1959. In all, they may have produced ten to twelve sides.


what we don’t know

We know very little, of course. “Alexandria” as in Egypt? We don’t know.

getting into the weeds: discography

The Embers featuring Geo. “Terror” Narr. “Burning Up The Airways.” Newtime 513A. Songwriting credit: A. Levinson, Rick Spain. b/w The Embers featuring Joe “Mack” Lackey. “Alexandria.” Newtime 513B. Songwriting credit: A. Levinson. Philadelphia, 1963.

[Comments: never underestimate the B-side. Ahem. “Rick Spain” represents the nom de plume of the songwriter / producer Richie Rome, born Richard V. Di Cicco. He apparently arranged the Inez & Charlie Foxx top-10 hit “Mockingbird” in the same year. Of “Burning Up The Airways,” we will note that it offers a mischievous and prowling score, with bari sax adding some gravity. We recommend it, too. As for “A. Levinson” — not too shabby, mate.]

The core band members may have been: Anthony Corona aka Bobby Arnell (tenor sax); Paul Longyhore (guitar); Tony Gasperetti (bass); Orlando Capriotti (organ); Rick Wise (Drums).


extended discography

Ricky Dee and The Embers. “Work Out (Part 1)” b/w “Work Out (Part 2.)” Newtown 5001. Philadelphia, 1962.

Ricky Dee and The Embers “Work Out” b/w “Tunnel of Love.” Newtown 5001. Philadelphia, 1962.

Pete Bennett and The Embers. “Fever” b/w “Soft.” Sunset 1002. Philadelphia, 1961.

The Embers. “Peter Gunn Cha Cha” b/w “Chinny-Chin Cha Cha.” Wynne W-101. New York, 1959.

Gloria Hudson with The Embers. “Hawaiian Cha Cha” b/w “I’m Glad For Your Sake.” Wynne W-104. New York, 1959.

sources of information

45cat entry for “Alexandria
45cat entry for Ricky Dee and The Embers (primary release)
45cat entry for Ricky Dee and The Embers (second release)
45cat entry for Pete Bennett and The Embers
45cat entry for The Embers on Wynne
Discogs entry for Gloria Hudson and The Embers
Billboard May 5, 1962
Billboard June 23, 1962
Billboard March 23, 1963
Wikipedia entry for Bobby Martin
Wikipedia entry for Richie Rome
Various blogs & speculation, etc.