 Soul Junction has a forthcoming 45 release lined up from The Coalitions - The Memory of You. As part of the info side of the release the site has been passed on this informative bio of their founding member, Philadelphian William Anthony Anderson who recorded and performed under the name of “Little Tony Talent”
Biography of Tony Talent
Little Tony Talent, the 12 year old singing sensation.Little Tony Talent (real name William Anthony Anderson) was born in Philadelphia on February 11th 1954. Tony first began singing as a member of the Hanna Elementary School, glee club. At the age of 11, Tony through a friend of his mother’s sister (Charlotte) was first introduced to local talent scout and promotion man, Gene Lawson. Lawson, who at the time was acting as Otis Redding’s publicity agent arranged for Little Tony to open the show for Redding during his first appearance in Philadelphia at the cities Uptown Theatre. Tony backed by Redding’s band captivated the audience with a rousing rendition of James Brown’s “I Feel Good”. Thereafter as part of Redding’s touring show Tony would go on to perform in venues in and around Baltimore and Washington D.C. In 1966, Lawson introduced his by now 12 year old, singing sensation Little Tony Talent to New York record producer and owner of Sue records Juggy Murray. Juggy was suitably impressed enough to sign Tony to one of his subsidiary labels, Symbol. Where under the tutelage of producer Jesse Herring Tony recorded “All That’s Good Baby/Your Too Young” (Symbol 218) at the Cameo Parkway studios in Philadelphia
In 1966, Lawson introduced his by now 12 year old, singing sensation Little Tony Talent to New York record producer and owner of Sue records Juggy Murray. Juggy was suitably impressed enough to sign Tony to one of his subsidiary labels, Symbol. Where under the tutelage of producer Jesse Herring Tony recorded “All That’s Good Baby/Your Too Young” (Symbol 218) at the Cameo Parkway studios in Philadelphia.
 During the following year, Lawson secured Tony a further recording contract with Vando Records in New York. The Vando label was jointly owned by Van McCoy and Douglas “Jocko” Henderson (With Vando being an amalgamation of both partners Christian names). Here Tony recorded “Gotta Tell Somebody (About My Baby)/Hooked On You” (Vando 3001) both sides where written and produced by McCoy (with both songs also being recorded by fellow Vando artist Chris Bartley).
 Sadden by the tragic death of his friend Otis Redding, Gene Lawson took a break from the recording industry for a while (Lawson later returned in 1969 to form the Uplook label). With his mentor now gone Tony’s burgeoning career was bought to a temporary halt.
At this moment in time everybody seemed to want to record harmony groups and after losing out in a few talent shows to such acts Tony decided that the best way forward was to form a group of his own. So in 1968 with high school friends Alan Williams, Bruce Dunbar and Carl Smith, Tony formed a group known as the “Deltones”. Although later due to a similarity of names with another Philly harmony group “The Delfonics” a change of name was soon to follow. So in 1969 with the guys choosing a name that they thought was more relevant to the times they were living in, the Deltones became “The Coalitions”. At this juncture Carl Smith left the group to be replaced by the late Dwight Mitchell. The Coalitions were to record a song written for them by Wilbert Hart of the Delfonics entitled “Freedom” although this was reputedly never released.
  Their big break came in 1974 when under the guidance of producer Michael Nise they recorded “Instead … How Are You/I Don’t Mind Doin’ It (Instrumental)” for Leon Dunbar’s local “Re Dun” label. Michael Nise was later responsible for taking “Instead… How Are You to Jamie/Guyden who picked up the release for national distribution on their Phil. LA Of Soul label (367).The Coalitions hit the road, touring the chitlin circuit to help promote their release. A second release (371) of “Instead … How Are You” was issued in early 1975 this time dropping the instrumental flipside in favour of a vocal outing “Later Than You Think”. The highlight of this period for the group was being invited to open a concert in Philadelphia for The Jackson Five.
After the Phil. LA Of Soul adventure closed The Coalition entered a barren period recording wise during which time Bruce Dunbar left the group. His position would later be filled by Bruce Fauntleroy, with a fifth member Stephen Ferguson also joining the group. In circa 1980 with the group line up of Tony Anderson (Talent), Alan Williams, Bruce Fauntleroy, Milton Williams and Stephen Ferguson the Coalitions embarked on a vanity project to record the “Colour Me Blue” album. Although the project was completed, due to lack of finance the finished product was never issued.  The Coalitions are, from left to right:
Bruce Fauntleroy, Alan Williams, Tony Anderson (a.k.a Tony Talent), Milton Williams and Stephen Ferguson. In 1982 Tony married Carmen raising their two children Antoinina and Laquia. Tony also has three other children Tony Jr, Shasaree and Shamia (now deceased) from a previous relationship. It was at this point that Tony turned his back on a career as a full time performer to pursue a new career in the Banking Industry. He currently is in the employ of the Citizens Bank in Philadelphia (the U.S subsidiary of Royal Bank of Scotland). Following a decade of inactivity Tony rediscovered his passion to perform once again. So in 1995 under the new group name of “Ol’ Heads” Tony with former Coalition members Alan Williams and Bruce Fauntleroy and additional member Alfonso Smith recorded the “Before You Go” album. The Late Donald Murphy was the producer on the “Before You Go “project. He also featured as a songwriter on the project along with Marty Sutton. The album was recorded at Gerald Levert’s “Trevel” studio in Cleveland Ohio. A further name change and album project followed in 2003 when under the pseudonym of “The Rheel Menn” the group recorded the “Keepin’ It Rheel” album. The group had by now grown to six members with Tony McFarland and Leonard Deans (both former members of the group, Maximum Level) joining Tony Anderson (Talent), Bruce Fauntleroy, Alan Williams and Milton Williams (who later left the group).
Returning to the previously mentioned “Colour Me Blue” unissued album. After lying dormant in the can for circa 30 years it was recently rescued from obscurity by Soul Junction’s Philadelphia A&R representative, Charles Anderson. A lead 45 featuring two of the album tracks “The Memory Of You” and “On The Block” will be released for the first time in the fall of 2011 (release number SJ512) with the complete album appearing during 2012. For upto date information and to hear sound clips of the 45. Please go to our website
Release Info: http:// www.souljunctionrecords.co.uk or Releases Listing  David Welding Acknowledgments: Photographs: courtesy of Tony Anderson (Talent) Little Tony Talent “All That’s Good Baby” label Scan courtesy of Mark Dobson Coalitions “Instead…How Are You” label scan courtesy of: Steve Guarnori Editorial layout courtesy of Steve Lloyd THE MAGIC MAN
 Ted Wizard Mills
Singer/songwriter/ Arranger Ted Wizard Mills sang lead vocals for Blue Magic, who are best known for dreamy Philly Soul ballads, the million-selling "Sideshow,” "Spell," "What's Come Over Me," and "Three Ring Circus." He also wrote the classic favorites: "Chasing Rainbows" and "I like You.”. Ted is the son of Jazz musician Edward Mills. He was named Wizard by his mother Estelle.
Born in Delaware, he moved to Philadelphia at the age of 7 and began his formal musical development by entering a school for young drummers. After learning to read and write drum music, at age 13 Ted began to learn piano. At age 16 he recorded his first record while he performed with a group called The Topics. At age 20, Randy Cain of The Delfonics, known best for "Didn't I Blow Your Mind," took Mills to the offices of WMOT Productions so he could become a staff songwriter.
Ted was later introduced to Gamble & Huff, Norman Harris and Linda Creed. Shortly after, Ted received additional musical training from the Musical master Tom Bell. With the help of Norman Harris Ted produced his first Gold record “Spell on my Mind.” After recording six other songs for that project, the Topics recording group was replaced by the members of the Shaded of Love group. When the production was complete BLUE MAGIC was born. Ted recorded 10 projects with BLUE MAGIC; he also recorded with The ROLLING STONES and members of EARTH WIND & FIRE. From back then till today, from a smooth harmony soul perspective, when the smoke clears, Ted Wizard is still one of the best Tenors in the world.
Ted Mills has shared the stage with other performers such as Alicia Keys, Jahiem, Frankie Beverly, Kool and the Gang , Lionel Richie, The Commodores, Marvin Gaye, Gladys Knight Natalie Cole, The Temptations, The Four Tops, The Spinners, Earth, Wind & Fire, New Edition,The Stylistics, Mick Jagger and others. Ted Mills also sang background vocals for the Rolling Stones (in If You Really Want to Be My Friend on the album It's Only Rock'n Roll). Two times Ebony Awards Winner, Grammy nominated. Albums: Singles:
1976: Big Daddy Kane It’s a Big Daddy Thing PLATNIUM 1973: "Look Me Up" 1976: Mystic Dragons (Atco) - 1978: Message (Atco) 1973: "Spell" ( GOLD) 1983: Magic # (Mirage) 1974: "Sideshow" ( GOLD) 1986: The Magic of the Blue: Greatest Hits (Atco) 1974: "Stop to Start" 1989: From Out of the Blue (Columbia) 1974: "Three Ring Circus" 1995: My Magic is Real (Hot Productions) 1975: "Chasing Rainbows" 1996: The Best of Blue Magic: Soulful Spell (Rhino) 1975: "Love Has Found It's Way To Me" 2006: Live (with Major Harris & Margie Joseph) (Collectables) 1975: "What's Come Over Me"( GOLD) 2007. 3 Tenors of soul 1976: "Teach Me
1977 "Summer Snow"
1981: "Land of Make-Believe" 1989: "It's Like Magic" William “Kooly” Scott’s latest endeavor KOOLY brilliantly blends classic R&B with current grooves and together you get a musical masterpiece featuring the cool, smooth sounds of songs like “Count 2 3,” “Tell Me If You Like It Later” and William’s current single “Twelve O Five.” Legendary bass player Brian Bromberg collaborated with William on the re-recording and remix of “Twelve O Five” and together they created music filled with warm soul, scintillating vocals and bumping grooves. Bromberg said, “The song is unbelievably infectious…I had a blast working on it.”
SmoothJazz.com Founder and President Sandy Shore said, “When I first heard “Twelve O Five,” I immediately thought of how amazing it would sound with a fresh makeover from funky bass man Brian Bromberg... so I asked Brian if he'd be into it and he said that he loved the track... then I asked William, if he was open to it and he said yes... so after a few weeks of studio Mojo, some hot L.A. sidemen and we have a killer new version! This tune is perfect for stations that lean towards urban and soulful... as well as for Smooth Jazz radio that plays Jeffrey Osborne, George Benson and Luther Vandross.” Growing up in Ft. Lauderdale, Florida, it became apparent at an early age that William was extraordinary. By the age of eight, he was already performing in his parent’s Gospel group – Voices of Faith. After graduating High School, William went into the Military where he served for six years including two overseas tours. William’s final tour was served in Berlin, Germany where he enjoyed a very successful musical career getting a ton of work as a studio musician in addition to forming his own band. However, after he was told he sounded “too American,” he decided it was time to come home. William continued his incredible musical journey placing second in a national song writing contest (1987) for “Count 2 3” and then won Musician’s Magazine Best Unsigned Artist in the R&B category (1989) for “Tell Me If U Like It Later.” He has recorded with such artists as Joss Stone providing background vocals on her second record and performed with the Grammy Nominated Florida Mass Choir as their bass player on two of their annual Gospel Music Crusades. In addition to his extensive musical career, William exercised his silky voice in the world of commercial voiceover work and three of his musical tracks were used in the documentary “Making the Tracks” which featured a narration by Danny Glover. William’s biggest musical influences are Larry Graham and Gospel and some of his favorite musicians are Gladys Knight, Peabo Bryson, Earth, Wind and Fire, and Luther Vandross. When asked who he would most like to perform with at this stage in his career, he immediately replied “Stevie Wonder or Quincy Jones.” This incredible bass player takes you to the heights of ecstasy with his luscious stylings and compelling compositions. Wearing several hats, William is a renaissance man whose talent spans beyond musical instruments to supreme vocals and lyrical genius. TY CAUSEY
Possessing abundant sex appeal, smooth vocal ease and poetic mastery, Causey is catching the attention of a growing fan base.” - Jazzreview.com Mellifluous, enticing, passionate and dexterous - these are superlatives most certainly appropriate for defining the style and sound of acclaimed singer/songwriter, TY CAUSEY. Talented, prolific, and genuine are best in describing who he is.All combined the result unveils an artist that harkens back to thestoried crooners of the past, but with a present day sheen that boasts a collage of soul, jazz and R&B. His brand of sensual soul and smooth R&B is winning over a growing number of fans and industry insiders alike on the strength of his acclaimed CDs and live performances causing many to place him amongst the elite vocalists on the scene today. While building a solid rep for himself as a consummate live performer, fast becoming known as a local star in his hometown Fort Wayne and the surrounding to th Indiana area, a series of fateful connections brought him e attention of noted contemporary jazz saxophonist, Najee while there for a performance. So impressed with a demo of Causey’s, Najee quickly invited him to work on his next project, the Verve Records release, MORNING TENDERNESS. Causey would not only be a featured vocalist on the recording, co-writing several of it’s tracks, but he would also fill that spot on the subsequent worldwide tour which had him sharing the stage with other artists such as Pieces Of A Dream, Norman Brown and more. This great opportunity introduced him to a number of eventual fans of his style and sound. Needless to say, the enthusiastic response he received while on the tour encouraged Causey upon his return home to start crafting a project of his own. He ultimately released his aptly titled full-length debut, NTYSING in 2004. The winning collection that featured guest spots from saxophonist Najee and bassist Nelson Braxton of the jazz duo Braxton Brothers drew enthusiastic reviews and found its way to the playlists of radio programs in both the U.S and abroad including the UK, Japan and Germany. The resulting exposure gave notice to an engaging new voice on the music scene moving many to include N-TYSING on several “best of” lists for 2004. Causey has since released four more acclaimed projects including LOVE NOTES and EXPRESSIONS, which holds a position as one of premier on-line music retailers, CDBaby.com’s top selling Urban/ R&B: Smooth Soul albums and helped to garner him yet another Male Vocalist of Year nomination, his fourth, from Soultracks.com which wrote in it’s review of the release, “Ty Causey has taken a strong, creative turn on Expressions that should provide ample material for both smooth jazz and UAC radio to highlight forsome time. It should also accelerate his growth as one of the most enjoyable adult soul singers around.” Premiere on-line destination for smooth jazz, SmoothJazz.com also wrote, “Causey is an extraordinarily talented producer/singer/songwriter who has got to be one of the brightest new stars of the smooth jazz, R&B, and sensual soul genres . . . EXPRESSIONS is the album that should move Mr. Causey right to the top of the pack, where he certainly belongs.” Causey’s latest release, TRUE LOVE IN MOTION, is a solid collection,
consistent with his others, of winning tracks, infectious beats, indelible hooks and an infusion of contemporary flows – done his way – delivered with one of the most engaging and purest voices on the scene today. And also like his others this collection has received impressive reviews like that from Indiana magazine, Frost Illustrated, that raves, “With each record, Causey just keeps getting better and better at what he does. He’s really hit stride on this record, his already great voice maturing and him using it to explore even more emotional nooks and crannies in his writing and production.” While Causey has built an impressive as well as acclaimed catalog of recorded music and is continuously in the studio creating music for future projects, his love is to perform live. In addition to appearing at music festivals, sponsored public and private events, and music clubs such as the legendary Bluenote Jazz Club in New York, Causey has opened and shared the stage with a number of noted R&B and smooth jazz artists including Boney James, Najee, Peter White and Chico Debarge, continuing in the process to capture new admirers of his captivating voice and sound. TYVONN
RECORDS 1416 Dodge Ave Fort Wayne, IN 46805 260 471 0876 email: tycauseymusic@gmail.com  Sam E. Solo Biography
Sam E. Solo was born Samuel Flournoy Jr on the 13th of July 1942 in Shreveport Louisiana, to parents Samuel and Ona Lee Flournoy. While still a babe in arms Sam’s family moved to Flint Michigan. As many other southern families had done prior to and after them seeking a better life in the more industrial cities of the north.
Sam’s grandfather Isaac Epps a carpenter by trade and an ordained minister had moved north a year earlier taking up residence in Flint and it was he who the family first lived with until Sam’s father found work at General Motors.
From the age of 8 until he was 16 Sam honed his voice at his grandfather’s church. But like most teenagers he became more intrigued with secular music eventually joining an R &B group known as the “Royal Lovers”. The Royal Lovers became a popular act around their local neighbourhood and this was to lead to a potential lucky break for Sam. When big band leader Big Jay McNeely who was in town visiting his Sister heard the group perform. McNeely persuaded Sam to join his band with the promise of a recording contract and a performing tour of Texas. So Sam headed south to live with his half sister Mary Lee Forest in Houston, Texas. Mary Lee would act as Sam’s chaperone due to him being under age of 21.
While in Houston Sam did get to audition for Don Robey’s Peacock label but no recording deal ever materialised. Though Robey was suitably impressed enough to sign Sam as the opening act for several of his revue’s which featured acts such as Bobby (Blue) Bland, Lowell Fulsom, Little Junior Parker and Etta James amongst others.
Upon reaching the age of 18 Sam decided to return to Flint where he rejoined the “Royal Lovers”. The next significant figure in Sam’s career was Al Bennett Bennett offered to manage Sam and it he who introduced Sam to radio DJ Fred Garrett, who later arranged a recording session for Sam at the One-derful studios in Chicago. Although three tracks were recorded none were ever thought to have gained a release. Sam remembers the title of one of the tracks as being “Hey, Hey Pretty Baby “. Bennett did eventually get Sam a recording contract with a local Flint label owner, by the name of James Wheeler. Sam recorded a solitary release for Wheeler records under the name of Little Sammy & The Wheelettes “Tell The Truth Jackie/Goodbye My Love”
This too was to be short lived affair when one of the Wheelettes an all girl threesome became emotionally involved with a local pimp who during an argument shot her dead. Sam’s next return to the recording studio came in 1966 when Al Bennett introduced him to Bob Schwartz the owner of Ruby Records.It was During his time with Ruby that Sam cut his best remembered release, the excellent double sided” Tears Keep Falling/Love Is Not A Game” (Ruby 5075).
Recorded under the tutelage of the Pied Piper Production team and featuring the all girl group, The Wonderettes
of “I Feel Strange”, fame on backing vocals. This would be the first and last time that Sam would meet the girls. Incidentally Sam was blissfully unaware that “Tears keep Falling” had gained a release on the major United Artists distributed Imperial label, (that was until I mentioned it 44 years later). The deal with UA/ Imperial was most probably arranged through Bob Schwartz who operated as a record distributorship at the time.
Sam’s follow up release was a cover version of a Amos Milburn song,”Bad, Bad Whisky/Baby, Baby (Ruby 5090).This time under the stage name of Sammy Soulo. The Rudy label eventually closed down and with it so did Sam’s recording career for the foreseeable future.
 Sam continued to perform on the supper club and chitlin circuit with several different groups the likes of Jim Taylor’s Flipside. At one point he replaced Bobby Taylor (of the Vancouver’s) as the front man for Good Rockin’ Brown and the Soul Brothers on a tour of Alaska and Las Vegas. Sam also appeared on the local Detroit TV show “Club1270” and later went up to Canada to perform on the “Swingtime” show.
As the 70’s dawned although still continuing to perform Sam took a day job as a truck driver, an occupation he continued on a full time basis until his 65th birthday, he still gets behind the wheel of a truck today but only to help out on a part time basis at a friend’s haulage company, Walker Transport.
In 2008 Sam joined the Ministry and now goes under the title of the Reverend Sam E. Solo. Together with his old friends, brothers Eddie and Reggie Garland formerly of the local Detroit groups, the 21st Generation and the Perfections (Ultra and Tri-city respectively) they collaborated on the “Peace Angel” Gospel cd album project.
The album contains four tracks recorded by Sammy “Through Me” ( a recent popular play with radio jocks in the Carolina’s), A Place Called Calvary”, Can’t Nobody Do Me Like Jesus” and I’ll Never Let You Down”. The remainder of the cd features songs by the Garland Brothers and Betty Maker. David Welding With acknowledgments to the Reverend Sam E. Solo and Jerome Cunningham Photographs courtesy of the Reverend Sam E. Solo.
Tad Robinson
Having been a lover of soul music for the past 42 years and collected 45’s, albums, tapes, cd’s and now the dreaded MP3 in the search for next soulful fix, I stumbled over this guy in about 2000 when I picked up his 1998 album “Last go round”. Over the years very little has been written about him whilst his stature within his musical field has grown, with each new release the clamor for his music grows. So with the help of the folks at Severn Records plus some wisdom from yours truly here is a soulful look at Tad Robinson.
He was born on the 24th June 1956 in New York City attending school at Indiana University's school of music and graduating in 1980 Robinson’s been formulating his style which is a timeless blend of blues and soul-all of his life, he recalls “When I was a kid growing up in Manhattan in the 60’s, I lived in a neighbourhood that was German, Irish and Latino, and I went to school in an African-American/Latino neighbourhood, In those days everybody had their AM radios on and their doors and windows open, so you heard Ray Charles, Aretha Franklin, British Invasion Rock, Sam Cooke, Otis Redding and folk music everywhere you went. It was a big melting pot, so I feel comfortable drawing on any of those things if that’s what it takes to make a song breathe.”Robinson’s been formulating his style which is a timeless blend of blues and soul-all of his life, he recalls “When I was a kid growing up in Manhattan in the 60’s, I lived in a neighbourhood that was German, Irish and Latino, and I went to school in an African-American/Latino neighbourhood, In those days everybody had their AM radios on and their doors and windows open, so you heard Ray Charles, Aretha Franklin, British Invasion Rock, Sam Cooke, Otis Redding and folk music everywhere you went. It was a big melting pot, so I feel comfortable drawing on any of those things if that’s what it takes to make a song breathe.” Its clear that he is an accomplished harmonica player having gotten his first one from his aunt which really did fire up his curiosity about the instrument “I discovered Big Walter Horton, Sony Boy Williamson, Junior Wells and James Cotton, and it just blew my mind to hear players like that. I started devouring every blues record with harmonica I could get my hands on. Learning the licks became my apprenticeship, and led me to great guitarists and singers and the rest of the genre”. That path eventually led to Robinson relocating from New York to Chicago in the mid 80’s “I wanted to be able to hear the great blues and soul singers in the City- Otis Clay, Junior Wells, Syl Johnson, Tyrone Davis, Denise LaSalle- and to be a part of that music scene. I immediately started working in clubs, there was a lot happening in Chicago then and for two years I led the Wednesday night house band a Rosa’s. We’d play the first set and the second was an all-star jam where Junior Wells, Sam Lay, Bob Stroger, Louis and Dave Myers…just about everybody would come to play at one point or another” Whilst in Chicago, Robinson was also drafted in by the members of Big Shoulders as front man for a year and he sang on their first album for Rounder Records. Whilst in the Windy City he drifted into Jazz gigs where he developed a friendship with vocalist Kurt Elling “Kurt was a major influence on me, I learned preparedness from him, he studied his songs so hard he knew every nuance of them by the time he got on stage. Whatever song he did, he knew the best key and any limitations he might have, and he knew the best key and any limitations he might have, and he was so comfortable he could improvise at early any point in a song”. Robinson also fell into work in the Chicago production scene, becoming n ‘A’ list session singer for commercial jingles and some film work. ”You never know what’s going to be thrown at you in a session, you have to be ready for any style of music.” But Robinson’s most important meeting was with Chicago guitarist Dave Specter. He and Robinson formed a musical bond on the bandstand at Rosa’s Lounge and when Specter signed with Delmark Records he invited Robinson to sing on his 1994 debut album ‘Blueplicity’. This in turn led to Robinson’s own 1994 debut album ‘One to infinity’ and 1998’s ‘Last go Round’. After these two releases which firmly put Robinson on the blues map he was ready for a new challenge “Signing with Severn was another important step in my evolution as an artist, at Delmark we recorded just like we were playing in a club. We’d just set up like we were on stage and start rolling the tape. But when its time to make a new album at Severn I’m able to work with the musicians for about a week before we start to record and we get to experiment with tempos and arrangements and alter the song list. It really means that every musician is deep inside the music before we push the ‘record’ button.” That strategy along with inspired song choices and writing has paid off not only in critical acclaim for Robinson’s Severn releases, but in a larger audience and invitations to play prestigious blues festivals in the US and Europe. Commenting on the tracks for ‘Back in style’ and the sequel ‘A new point in view’ Robinson says
“Basically, I’d describe the new one as very soulful and groove orientated; fresh but with a timeless feel, I feel like, musically speaking ‘Back in Style’ will help me move on to the next chapter, I’m in a good place creatively right now, I’ve learned to connect with my audience through a collection of songs I’ve developed that I really believe in. That’s important because blues fans can smell a fraud a mile away and they know that what were doing is 100-persent real” So what’s in it for the real soul man then? I’ll run you through the tracks that will appeal to you soul music aficionados. First up then the tinkling piano intro of “Raining in New York” fractures the silence, from the 1994 “One to Infinity” album and it’s a slow burner that builds and builds into a real soul opus. For more of the same try “At the end of the tunnel” with its horn stabs and is that a Hammond I can hear in there, both these have Robinson in reflective mood with moody vocals. The mighty Robert Ward appears on the latter oh and incidentally in the liner notes for this album Robinson gives us an insight into his musical history when he is quick to point out that he has been profoundly influenced by the late Arthur Alexander who’s music freed Robinson “of the fear of going out and just playing songs for people. If you have a song that tells a story, you give the listener a reason to keep on listening” Next up is the ‘Last Goes Round’ album and there really are some top tunes on here, “Payback” with its rolling drum led rhythm could have been cut under the supervision of the late Willie Mitchell over there at the Royal Studios and could grace any dance floor, “Since you been gone” is as the title suggests a gem of a soulful ballad and now for the tour de force “Another Song-Another Day” is a mid tempo dancer that has gone unnoticed by the soul jocks over here, Iv dropped this at the last 2 Soul Essence Weekenders and on each occasion it draws folks to the floor as it unfolds. Simply a stunning tune. In the liner notes Robinson again sites his influences “I used to lie on my bed listening to that music and telling myself-someday man that what I want to do” whilst listening Bob Dylan, Ray Charles and Motown. Then having picked up a copy of Otis Redding/The Jimi Hendrix Experience Live at Monterey Pop Festival he was hooked “That record made me realize there was a whole other world out there. Part of it was the energy of a live recording-there was something riveting about Otis Redding, a soul singer putting so much energy into a song that really struck me, totally opened my eyes to a lot of other stuff that was going on” The ‘Did you ever wonder’ album really did spawn a dance floor monster for me in the shape of the Cornelius Brothers & Sister Rose “To late to turn back now”, its jazzy, bluesy and so bloody soulful it hurts, Iv had full dance floors at various venues up and down the country since its release in 2004. “Did you ever wonder” is right bang in that Hi Records groove, Robert Ward’s “Your love is amazing” is a superb foot tapper and is a real throwback to the halcyon days, dig those horns. The pace drops for “Welcome Home” which is another horn drenched opus, swirling Hammond, tinkling piano and a real song with proper lyrics. Another ballad of note is “My love is real”, stripped down instrumentation allows Robinson’s voice to take over your mind.
The arrival of the ‘New point of view’ set in 2007 heralded a fuller sound and a more soulful sound, we still have those vocals but musically this is a very progressive sound. And it works too. Kicking off with the funky “Long Way Home” with its catchy chorus line and almost 70’s music score feel. The top top track on the album and the one that got spins all around the country and on radio Johnnie Taylor’s “Aint that loving you,” a string laden opus that ambles along in fine style. Incidentally the horn arrangements are taken care of by one Willie Henderson, Robert Stupka’s drumming is sensational throughout. “When your ready” is another corker of a dancer, horns a plenty and some fine singing. “Love is everything” takes us into ballad territory again in fine style. And so to the new album 2010’s “Back in style” and the sound has progressed even further just listen to “Rained all night” Robb Stupka beating out the rhythm, Kevin Anker with those rich Hammond fills and runs, and the Memphis horn legend Wayne Jackson taking care of those horns. Oh my god I’m in heaven……….deep dirgy ballad time in the shape of “You name it I’ve had it” is somewhat of a confessional over hammond runs and guitar fills. “On and On” takes up where “Rainin” left off but at a more choppy beat, “I’m in good” is a horn led stunner and really should be played by every jock in the land. Sam Dees classic “Just out of my reach” shouldn’t be touched by anyone really as Sam’s really is the definitive and original version however Robinson gives this a fine go and whilst he hasn’t won me over, it’s a fine attempt. “Sunday morning woman” is another stunning dancer with a lyric that commands that you listen, sung with passion and understanding. Back to the 70’s sounding movie score with “Half smile” this sounds so damn good played really loud and finally “Get back to love” is more of that wonderful Hi Sound with its rolling beat. The tracks I have highlighted for the real soul boys out there are interspersed with classic sounding blues and jazz, but throughout Robinson’s vocals are an absolute pleasure to listen too. He has surrounded himself with a wonderful array of really talented musicians who obviously feel the music. Robinson is clearly is at home with these guys and they appear to feed off him as he tells stories with passion accompanied by some wonderful music.
Otis Clay is reputed to have said “When Tad Robinson dies, he’s going to soul heaven…a place reserved for very few people”
Today Robinson is one of handful of vocalists who like others before him, Otis Clay, Syl Johnson, Robert Cray and a few others who like Otis Redding excel at blending the beauty of soul with the raw emotion of the Blues. In these days of synthesisers and other electronic noises being passed off as music Robinson really is a throw back and long may he and Severn continue to provide us with the real deal.
Now then what about a 2011 joint project with both Robert Ward and Tad Robinson out front doing battle with each other, it’s a mouth-watering proposition.
I want to thank Rebecca and David at Severn Records who have responded so positively in my quest for information about Mr Robinson.
Brian Goucher (Oct 2010) 
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