Essential The Big Thread of Black Excellence
- Thread starter Patriarch
- Start date
look at the follow up posts I made....nothing happened with it...
just some info....
MOORISH VANGUARD CONCERT (70's Singing group)
Most are familiar with the plethora of artists that were either brought up under the wing of the late great James Brown, or were featured artists on one of his many label imprints. Hits were created, songs flopped, pay was docked for missed notes and improper attire… all under the strict discernment of the godfather. For every Bobby Byrd, Lyn Collins, and Marva Whitney, theres your lesser known AAAB, Dee Felice Trio and, the focus of today’s post, Moorish Vanguard Concert.
Several years ago, a local record dealer was kind enough to share a binder of press photos and flyers from the Philadelphia area that he has been compiling since the early 70s. While I remember being blown away by just about every photo in the binder, only one was burned into my memory. The press photo featured roughly 6 or 7 members, wearing all white, and donning turbans. At the bottom of the photo: MOORISH VANGUARD CONCERT in big bold letters. He told me they released one 45 on Polydor, and that it was produced by James Brown. Anything Philly related grabs my attention, but a Philly group produced by JB?! I threw it on the radar and kept it moving. Years later, I would learn the story behind the band from the lead singer herself, Barbara Bey.
Hailing from Philadelphia, the members of Moorish Vanguard Concert were comprised of members from another notable Philadelphia funk outfit produced by Jimmy Bishop, The Interpretations (Bell/Jubilee) a.k.a. Brass Rail (Buddah). After The Interpretations disbanded, a few members converted to Islam, specifically the Moorish Science Temple Of America sect, and at the advice of their manager, spent the winter of 1976 in Aiken, SC helping fellow Moorish Americans open new temples, while playing as many gigs as possible throughout the south.
They eventually put enough money together to pay for studio time at International Recording Studios in Augusta, GA where they recorded their original song "The Sunset Of Your Love". Charles Shafer, the manager of the studio, was impressed with what he heard during the session, and asked the band to hold tight while he made a phone call to his partner. At the time, the band was unaware that the studio they were recording in was owned by James Brown until he walked into the studio twenty minutes later. Charles had hyped up the band and JB wanted to hear it for himself. He said he saw potential in the group, and that he’d take them "to the top & over the top!" At this point, Brown had been six years into his Polydor deal and was confident that he could sign the group given his pull with the label. While they found JB’s comments flattering, they had their own plans to release the single privately. Most members of the band were seasoned musicians who had experienced success with their music in the past, and were intent on focusing on their group’s message.
Shortly after leaving the studio, the band heard a familiar horn riff blasting out of their car radio. An unmixed version of the song they had just recorded was being broadcast on a JB owned radio station… before they even returned home! The initial excitement of being on the radio quickly faded as the band realized that a copy of their session was bounced to tape and played over the air without their permission. While what JB did was certainly questionable, the band dismissed it as a one off occurrence and continued to tour throughout the south.
Soon after, they sent the tapes from the Augusta session to be pressed in Nashville, and had their first single "The Sunset Of Your Love" on Country Eastern Music in hand. Armed with the newly pressed goods, the band headed back north for a gig at Club Harlem in Atlantic City, NJ during the summer of 1977. While at the show, a long time friend told them he heard their new single on the radio. This was no longer a "one off" occurrence. It’s easy to explain how JB could take a copy of the tape from the studio he owned, and play it on a radio station which he also owned, but how did it reach the northern states? It didn’t take long to discover that JB claimed to have produced the record and handed the tapes over to Polydor, who then pressed and distributed the single without any agreement from the band in place.
After a drawn out court case (Moorish Vanguard Concert v. James brown; James Brown Enterprises; S&B Publishing Company; Charles Shafer; International Recording Studios, Inc. Polydor Corporation), the band was mildly compensated for copyright infringement, and the remaining copies of the Polydor 45 were supposedly pulled. Polydor was required to pay the band $1 for every record pressed, totaling a mere $5,700. This explains the rarity of the Polydor issues, even though the Country Eastern Music issue is still far tougher to track down.
Written by Tony Jones and Barbara Bey, "The Sunset Of Your Love", or as it is incorrectly titled on the Polydor issues "Sitting In The Sunshine Of Your Love", is an uptempo horn driven cut that highlights the female lead’s vocal abilities, over a catchy, frantic horn arrangement. Walking the line between disco and funk, the band keeps things moving with a driving bass line thats nicely complemented by Sonny Bey’s subtle drum work. Jason Bey, the band’s guitarist, occasionally breaks from the groove, displays some of his chops, and falls right back in line. The white label promo Polydor issue contains a mono and stereo version on each side, while the red label Polydor and Country Eastern Music issues feature the instrumental on the B-side.
MOORISH VANGUARD CONCERT (70's Singing group)
Most are familiar with the plethora of artists that were either brought up under the wing of the late great James Brown, or were featured artists on one of his many label imprints. Hits were created, songs flopped, pay was docked for missed notes and improper attire… all under the strict discernment of the godfather. For every Bobby Byrd, Lyn Collins, and Marva Whitney, theres your lesser known AAAB, Dee Felice Trio and, the focus of today’s post, Moorish Vanguard Concert.
Several years ago, a local record dealer was kind enough to share a binder of press photos and flyers from the Philadelphia area that he has been compiling since the early 70s. While I remember being blown away by just about every photo in the binder, only one was burned into my memory. The press photo featured roughly 6 or 7 members, wearing all white, and donning turbans. At the bottom of the photo: MOORISH VANGUARD CONCERT in big bold letters. He told me they released one 45 on Polydor, and that it was produced by James Brown. Anything Philly related grabs my attention, but a Philly group produced by JB?! I threw it on the radar and kept it moving. Years later, I would learn the story behind the band from the lead singer herself, Barbara Bey.
Hailing from Philadelphia, the members of Moorish Vanguard Concert were comprised of members from another notable Philadelphia funk outfit produced by Jimmy Bishop, The Interpretations (Bell/Jubilee) a.k.a. Brass Rail (Buddah). After The Interpretations disbanded, a few members converted to Islam, specifically the Moorish Science Temple Of America sect, and at the advice of their manager, spent the winter of 1976 in Aiken, SC helping fellow Moorish Americans open new temples, while playing as many gigs as possible throughout the south.
They eventually put enough money together to pay for studio time at International Recording Studios in Augusta, GA where they recorded their original song "The Sunset Of Your Love". Charles Shafer, the manager of the studio, was impressed with what he heard during the session, and asked the band to hold tight while he made a phone call to his partner. At the time, the band was unaware that the studio they were recording in was owned by James Brown until he walked into the studio twenty minutes later. Charles had hyped up the band and JB wanted to hear it for himself. He said he saw potential in the group, and that he’d take them "to the top & over the top!" At this point, Brown had been six years into his Polydor deal and was confident that he could sign the group given his pull with the label. While they found JB’s comments flattering, they had their own plans to release the single privately. Most members of the band were seasoned musicians who had experienced success with their music in the past, and were intent on focusing on their group’s message.
Shortly after leaving the studio, the band heard a familiar horn riff blasting out of their car radio. An unmixed version of the song they had just recorded was being broadcast on a JB owned radio station… before they even returned home! The initial excitement of being on the radio quickly faded as the band realized that a copy of their session was bounced to tape and played over the air without their permission. While what JB did was certainly questionable, the band dismissed it as a one off occurrence and continued to tour throughout the south.
Soon after, they sent the tapes from the Augusta session to be pressed in Nashville, and had their first single "The Sunset Of Your Love" on Country Eastern Music in hand. Armed with the newly pressed goods, the band headed back north for a gig at Club Harlem in Atlantic City, NJ during the summer of 1977. While at the show, a long time friend told them he heard their new single on the radio. This was no longer a "one off" occurrence. It’s easy to explain how JB could take a copy of the tape from the studio he owned, and play it on a radio station which he also owned, but how did it reach the northern states? It didn’t take long to discover that JB claimed to have produced the record and handed the tapes over to Polydor, who then pressed and distributed the single without any agreement from the band in place.
After a drawn out court case (Moorish Vanguard Concert v. James brown; James Brown Enterprises; S&B Publishing Company; Charles Shafer; International Recording Studios, Inc. Polydor Corporation), the band was mildly compensated for copyright infringement, and the remaining copies of the Polydor 45 were supposedly pulled. Polydor was required to pay the band $1 for every record pressed, totaling a mere $5,700. This explains the rarity of the Polydor issues, even though the Country Eastern Music issue is still far tougher to track down.
Written by Tony Jones and Barbara Bey, "The Sunset Of Your Love", or as it is incorrectly titled on the Polydor issues "Sitting In The Sunshine Of Your Love", is an uptempo horn driven cut that highlights the female lead’s vocal abilities, over a catchy, frantic horn arrangement. Walking the line between disco and funk, the band keeps things moving with a driving bass line thats nicely complemented by Sonny Bey’s subtle drum work. Jason Bey, the band’s guitarist, occasionally breaks from the groove, displays some of his chops, and falls right back in line. The white label promo Polydor issue contains a mono and stereo version on each side, while the red label Polydor and Country Eastern Music issues feature the instrumental on the B-side.
continued.....
The court case against James Brown ultimately led to the break up of the band, but all members remained active in the music scene as either session musicians, or went on to form new bands of their own. Barbara Bey joined up with Vince and Denise Montana’s group Goody Goody as a backup vocalist shortly after Moorish Vanguard’s demise, and later landed a long term gig singing for the Mark Rose Orchestra, often singing in Yiddish. Tony Jones would go on to perform live shows with Sister Sledge, Norman Connors, Jean Carne, and served as Nina Simone’s band leader during her later years. Lewis "Sonny" Bey went on to play drums on Frankie Smith’s ode to SEPTA, and popular Philly classic "Double Dutch Bus". Melvin El remained very active in music, going on to found the group Chops, as well as finding work as a session player for Fat Larry’s Band, Mutiny, McFadden & Whitehead, and even Afrika Bambaataa (played trombone on "Frantic Situation"). Frank Bey (Barbara’s brother) founded his own group, Frank Bey & The Swing City Blues Band, and is still active to this day. Jason Bey was tragically murdered in Arizona in December 2012.
The court case against James Brown ultimately led to the break up of the band, but all members remained active in the music scene as either session musicians, or went on to form new bands of their own. Barbara Bey joined up with Vince and Denise Montana’s group Goody Goody as a backup vocalist shortly after Moorish Vanguard’s demise, and later landed a long term gig singing for the Mark Rose Orchestra, often singing in Yiddish. Tony Jones would go on to perform live shows with Sister Sledge, Norman Connors, Jean Carne, and served as Nina Simone’s band leader during her later years. Lewis "Sonny" Bey went on to play drums on Frankie Smith’s ode to SEPTA, and popular Philly classic "Double Dutch Bus". Melvin El remained very active in music, going on to found the group Chops, as well as finding work as a session player for Fat Larry’s Band, Mutiny, McFadden & Whitehead, and even Afrika Bambaataa (played trombone on "Frantic Situation"). Frank Bey (Barbara’s brother) founded his own group, Frank Bey & The Swing City Blues Band, and is still active to this day. Jason Bey was tragically murdered in Arizona in December 2012.
trying to get my hands on a book pertaining to the MSTA, price is steep as hell. but i feel like it worth it.
great great man. he has a lecture called the negro assimilation, that i seen years ago. between him and Naim Akbar is just
(visions for black men remains a favorite)
Lianne La Havas...
Your the OP and have made great contributions in here but although I like her music, Lianne should not really be in here since she is a bed wench...try to google "lianne la havas black men" and you will likely find just one picture....But I suppose she is still "technically" Black excellence
On a side note can you guys support this petition:
http://petitions.moveon.org/sign/have-detective-butler?source=c.fwd.in&r_by=7884530
Box Cutta
Bumbling Sidekick
Damn, doesn't surprise me. I don't think I know of a black British female celebrity that dates black men (And I say this with an understanding that our American women aren't much better).
I disagree. Bed wenches are essentially white supremacist. Nothing is more damaging to a tribe than a female of said tribe choosing outsiders.
