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░█████▓█████▓██ ▌Artist__│ Soul Survivors ██▓█████▓█████░
░████▓▓██▒██▓██ ▌Title___│ When The Whistle Blows Anything Goes ██▓█████▓▓████░
░████▓███▒██▓██ ▌Label___│ Collectables Records ██▓██▒███▓████░
░████▓███▒██▓██ ▌Genre___│ Soul ██▓██▒███▓████░
░████▓███▒██▓██ ▌Format__│ Album ██▓██▒███▓████░
░████▓███▒██▓██ ▌Year____│ 2019 ██▓██▒███▓████░
░░████▓█████▓██ ▀▀▀▀▀▀▀▀▀╝ ██▓█████▓████░░
░░████▓█████▓██ ▌Time____│ 54:18 ██▓█████▓████░░
░░░████▓████▓██ ▌Size____│ 130.66 MB ██▓████▓████░░░
░░░░███▓▓███▓██ ▀▀▀▀▀▀▀▀▀╝ ██▓███▓▓███░░░░
░░░░░███▓▓▓█▓██ ▌Source__│ Web Store ██▓█▓▓▓███░░░░░
░░░░░░████▓▓▓██ ▌Quality_│ 320 kbps ██▓▓▓████░░░░░░
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░░ ╔═══════════════╗
░░ ║ T R A C K S ║░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
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░░
░░ 01. Do You Feel It 3:46
░░ 02. Please Please Please 3:29
░░ 03. Expressway (To Your Heart) (Uncut Extended Version) 3:33
░░ 04. Respect 2:43
░░ 05. Taboo-India 3:43
░░ 06. Too Many Fish In The Sea / Shake 5:53
░░ 07. Dathon's Theme 2:46
░░ 08. Expressway (To Your Heart) (Single Version) 2:18
░░ 09. A Change Is Gonna Come 3:48
░░ 10. Hey Gyp 4:54
░░ 11. The Rydle 3:01
░░ 12. Explosion In Your Soul 2:36
░░ 13. Impossible Mission (Mission Impossible) 2:24
░░ 14. Poor Man's Dream 2:54
░░ 15. Explosion In Your Soul (Extended Version) 2:58
░░ 16. Expressway (To Your Heart) (Acapella) 3:32
░░
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░░ ╔═══════════════╗
░░ ║ N O T E S ║░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░░
░░ ╚═══════════════╝▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀
░░
░░ It was late 1966, and nearly five years since I left New York at age 18
░░ to open the Record Museum store at 1005 Chestnut Street in Philadelphia,
░░ with my partner, Jared Weinstein. We sold a lot of reissued past hits,
░░ which had come to be known as "oldies." Because of the great demand for
░░ this music, Jared and I had formed a wholesale distributorship called J&J
░░ Distributors, which sold oldies to other record stores. One of our
░░ customers was a record store in the 1300s block of South Street, which
░░ was owned by Kenny Gamble. In addition to operating his record store,
░░ Kenny was writing and producing songs with his partner, Leon Huff. In
░░ prior years he had also performed with the vocal harmony group Kenny
░░ Gamble & The Romeos.
░░
░░ Around that time, a young man (age 17) named John Oates used to frequent
░░ Record Museum, which was a popular hangout for music fans. He had a group
░░ called The Masters, and my partner and I released their first single "I
░░ Need Your Love" backed with "Not My Baby" on our Crimson Records label
░░ (#CR-1008). After his time with The Masters, John teamed up with Daryl
░░ Hall to form Hall & Oates, and enjoyed incredible success.
░░
░░ One day when Kenny was in my store picking up his order, we had a
░░ discussion about The Masters' single. I told him that Jared and I wanted
░░ to build the Crimson label and continue putting out records. Kenny told
░░ me that if I had another group I wanted to record, he'd like to produce
░░ the record. Jared and I had just signed a group called The Soul
░░ Survivors, and I felt that having Kenny and Leon work with them would be
░░ a good match. The band was doing a gig at a club called The Living Room
░░ at 13th and Locust Streets, so I told Kenny that he and Leon should go
░░ and check them out. Kenny and Leon liked what they heard and saw, so they
░░ got together with the band and went to work.
░░
░░ Jared and I were friendly with Bernie Lowe, who owned Cameo-Parkway
░░ Records. His labels are legendary for hits by Charlie Gracie (Butterfly),
░░ Bobby Rydell (Volare), Chubby Checker (The Twist), The Dovells (The
░░ Bristol Stomp), Dee Dee Sharp (Mashed Potato Time), The Orlons (Don't
░░ Hang Up), The Tymes (So Much In Love), and Question Mark and The
░░ Mysterians (96 Tears).
░░
░░ The original Cameo-Parkway studios were located in an office building in
░░ the same block of Locust Street (between Broad and 15th Streets) as the
░░ Academy of Music. The studio was surrounded by lawyers and accountants
░░ who were annoyed to no end by the loud music. Even when they tried
░░ recording only at night, they ticked off their late-working neighbors.
░░ When their lease was up the building management threw them out, and they
░░ moved to 309 South Broad Street, which later became the headquarters for
░░ Gamble & Huff's Philadelphia International Records.
░░
░░ Bernie gave us studio time at a reduced rate so long as we paid for the
░░ tape we used, and we worked with their engineer, Joe Tarsia. Soon after,
░░ Joe pooled all of his assets to open Sigma Sound Studios, from which most
░░ of the music known in the 1970s as "The Sound Of Philadelphia"
░░ originated. Altogether, the studio time for the Soul Survivors' sessions
░░ at 309 South Broad cost a little over $300 for about three days' work.
░░
░░ Kenny Gamble and Leon Huff produced the Soul Survivors' sessions. My
░░ partner Jared and I went down to the studio to watch the recording
░░ process. In exchange for their services, Kenny and Leon got full
░░ ownership of the publishing for their compositions appearing on the
░░ album, including "Expressway To Your Heart."
░░
░░ Kenny and Leon were really excited when they finished "Expressway." Kenny
░░ called from the studio and said, "You have GOT to hear this." Jared and I
░░ headed over after closing our store at 6 p.m. Kenny and Leon played it
░░ for us. It was incredible. From the great R&B arrangement to those
░░ soulful, yearning vocals to the car horns and traffic sounds, it was
░░ clear that Kenny and Leon and the group had just nailed it. There was
░░ just one little problem. "I think it's too long, Kenny," I said. Kenny
░░ played it again while we timed it and it came in at three minutes,
░░ forty-two seconds. Now I know that these days that's not considered a
░░ long song by any means. But at that time on Top 40 AM radio, NOBODY was
░░ playing songs over three minutes. Even The Doors' "Light My Fire", which
░░ is over seven minutes on the album, was edited down to 2:52 for radio
░░ play.
░░
░░ I said, "Kenny, it's great. But it's not gonna get played on radio. You
░░ have to cut it down." Kenny was adamant: "I'm not cutting it." Me:
░░ "What's the point in putting out a record if it's not going to get
░░ played?" Kenny got really upset and walked out. Leon followed... in a
░░ huff.
░░
░░ The next morning when I opened the store at 9:00 a.m., I got a call from
░░ Joe Tarsia. He told me that Kenny and Leon had come back to the studio
░░ that night and worked with Joe until two in the morning to cut the record
░░ down to 2:21. I listened to their edit: even with more than a minute
░░ gone, it was still great. The guys had whittled down the bridge (which
░░ had some really solid guitar work) and replaced the song's ending with a
░░ fade. It was really a shame to lose the pulsating beat and the dynamite
░░ harmony that originally took the song out. But, that's the edit that we
░░ released as Crimson single #1010. On the flip side was "Hey Gyp (Dig The
░░ Slowness)", a cover of a song by Donovan. The group had really wanted to
░░ record this song and requested that it be the B-side to Expressway.
░░
░░ For the album "When The Whistle Blows Anything Goes" (Crimson LP-502), we
░░ had a cover photo of the group which featured Soul Survivor Kenny
░░ Jeremiah seated at an old-fashioned schoolroom desk with a knife in his
░░ hand. When we received our sample pressing from Queens Litho who did the
░░ jacket, we took it around for feedback. Almost every person who saw the
░░ cover said the knife in Kenny's hand sent the wrong message, so we had
░░ the photo retouched to take out the knife.
░░
░░ I did the national promotion for the single, with some assistance from
░░ Kal Rudman. Kal later founded Friday Morning Quarterback, the trade
░░ magazine for radio and music which became known as the industry's
░░ "bible." My partner Jared took care of getting the record to the
░░ distributors. My wife Nina had many a sleepless night while I sat up in
░░ bed calling radio stations all over the country. Then I'd send out copies
░░ of the single to the disc jockeys and program directors to whom I'd raved
░░ about the record. Nina made me promise that we would get a dog if the
░░ song went to Number One. She wanted a Bichon Frise, just like the one
░░ Barbra Streisand had.
░░
░░ Because of the Soul Survivors' sound, program directors from the R&B
░░ stations thought the group was racially mixed. Welcoming these stations'
░░ airplay of the single, I did nothing to change this impression. The
░░ group's manager got them a spot on ABC's Joey Bishop Show. I was against
░░ this, because I felt "Expressway" was getting better milage coming from a
░░ group with some mystery as to their ethnic makeup. However, I was
░░ overruled. The group was excited about appearing on national television,
░░ and naturally their parents and families were thrilled. Unfortunately, my
░░ fears were realized. As soon as it was apparent that the Soul Survivors
░░ were an all-white group, the single dropped off the R&B charts, which
░░ hurt the record's momentum. While it did reach #4 on Billboard's Hot 100
░░ on September 23, 1967, I believe it could have made it to #1 with
░░ continued airplay from the R&B stations. "Explosion In Your Soul" went up
░░ to #33 on January 20, 1968.
░░
░░ Here for the first time is the full, original version of "Expressway To
░░ Your Heart" as originally produced by Kenny Gamble and Leon Huff and
░░ engineered by Joe Tarsia in 1967. Included as a bonus is the
░░ unaccompanied vocal track, which I feel is really powerful.
░░
░░ In case you were wondering: even though the single didn't make it to #1,
░░ Nina got her Bichon.
░░
░░ - Jerry Greene, oldies.com
░░
░░ https://play.google.com/store/music/album?id=Bs6qtccik5xsvutlrat2ti7mary
░░
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░░░██ ███ ░| shouts 2 all the groups |░
░░░░██ ████ ░| putting out |░
░░░░░██ █████ ░| quality music |░
░░░░░░███ ████▒ \─────────────────────────/
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