A Review of Tears In My Eyes - Kenny Hamber and John Smith

Tears In My Eyes — Recounted by Kenny Hamber and John Smith

The market for soul related material at the moment does seem to be sadly focused on ill-designed badges with owls on, memories drawn from a specific era in a North West UK ballroom and the fashions that somehow have been mistakenly been given a soul creditation. With cringingly TV snippets and British films with a soul ‘Scene’ theme at their core, it’s refreshing to discover that some people are still spending time, effort and even money on recording the stories of the people that created the music and songs that are the lifeblood of our musical heartbeat.

Such is the latest offering from Kenny Hamber and John Smith. The book project was first hatched when Kenny and John met and became friends at The Prestatyn Weekenders, one of which Kenny appeared at, (2010). From those early discussions the pair decided that Kenny’s long and diverse career was worthy of documenting properly and here, three and a half years later is the final project. Researched by John and confirmed by Kenny himself over hours of interviews and supported by vintage material from the local Baltimore press it’s an insight to a singer whose story is worth listening to and probably reflects many of the Rare Soul rosta’s favourite sons and daughters’ similar experiences. Recalling events of fifty years ago, often not having thought about such things for almost as long is a laborious business sometimes fraught with misconceptions but John manages to steer the history of the era in the right direction and paints an atmospheric canvas of the golden era of our music.

Having interviewed Kenny Hamber myself I can vouch that the man is an indefatigable musical journeyman of the highest calibre. Having to commence his musical career in the projects of The Charm City (Baltimore), where he was born wasn’t the greatest start out of the starting blocks for a black youth with a penchant for songs by Little Willie John, Little Anthony And The Imperials, Lee Dorsey and Joe Tex et al. (1) As you’d expect John relates the early days of a young Kenny Hamber’s life revolving around singing on the stoops of their homes and the advent of the street corner harmonisers, which in hindsight as admitted by Kenny himself was probably to the detriment of his education. With Baltimore being almost devoid of any substantial professional soul community and certainly bereft of any notable studios at which to progress his career, Kenny became something of a travelling minstrel. (2)

As John relates though, Kenny’s career may not have exactly set the Billboard Charts alight but a career spanning 50 years and having appeared on shows with many of the golden era’s royalty acts including Jackie Wilson, Chubby Checker, Jerry Butler and Tommy Hunt. Weaved into Kenny’s story are snippets of the club-land night life of the era, often at which Kenny appeared and provided a good living for him. The Author also entwines the potted history of some of the legendary theatres of the area and of course the Royal Theatre situated in West Baltimore’s Pennsylvania Avenue features in the chapter dedicated to Baltimore’s thriving entertainment scene. The house band at the famed Chitlin’ Circuit auditorium were Tracy MacCleary and His Royal Men Of Rhythm and it was good to see them mentioned in the book. Too many of these unsung heroes of black music and especially the musician have seen their contributions ignored over the years and it’s great to see a band like the Royal Man Of Rhythm get some kudos. John also gives a good account of the Charm City’s radio history and introduces the reader to some of Baltimore’s AM stations and their personalities of the day. One of whom, Bill “Sparky” Mullen, would play a pivotal roil in the career of Kenny Hamber. The TV spin offs from American Bandstand also get a mention and Kenny’s appearances are duly noted.

In addition to charting the musical career of Kenny Hamber the book also, whether by design of by default, relates the history of Baltimore’s musical history and that of its more salubrious locations, Church gave way to clubs, which gave way to theatres and eventually the live entertainment scene gave way to huge auditoriums that squeezed the smaller more intimate venues out. John also includes a good account of the active radio involvement in music of the 60s, which eventually led to Kenny hooking up with Philadelphia’s WDAS radio star Jimmy Bishop. This musical liaison would of course lead to Kenny’s involvement with the Jamie Guyden owned Arctic imprint, on which he released two 45s including the much sought after outing, Kenny Hamber — “Ain’t Gonna Cry (Over One Girl) b/w Anything You Want” — Arctic 131.

It’s an interesting period in Kenny Hamber’s musical career and one which highlights the vagrancies and peaks and troughs of the music business, especially the black part of it during the late sixties. Recording studios, radio stations, theatres, black owned record labels, all intertwined with a period of turmoil for America’s black population, especially with the rise of the civil rights movement and sometimes talent wasn’t enough to see you reach your potential. For Gamble and Huff, another couple of aspiring black record guys up the road in Philly that found themselves at the vanguard of the changing music scene, life must have seemed pretty easy to Kenny who continued to move forward in his chosen profession, albeit at a slower pace than the aforementioned participants.

From Kenny’s humble beginnings he forged a full and lasting musical career which included a number of interactions with singing groups of the era and in fact as a member of a couple himself. (The Enchanters, The Hitchhikers). Still performing today with his Kenny Hamber Revue it’s a journey that’s not over yet. With dotted rendezvous on his musical journey including The Brooks Brothers, the radio DJ “Fat Daddy”, Philly producer Jesse James, Jerry “Swamp Dog” Williams, Kenny Gamble, his fellow Baltimorean Winfield Parker, and with John Smith guiding the reader through the radio hey days, the legendary club life and Carr’s Beach events of the era,

“Tears In My Eyes”, named after Kenny’s very first release on the tiny Zenette label, is a worthwhile addition to collection of books who’s readers are remotely interested in the lives, trials and tribulations of our musical heroes. With an eight page montage of vintage photos and show ads of the period to compliment the text, it gets a big thumbs up from me. Not easy to produce such niche market material nowadays, so pop along to either of these links or contact John Smith via PM on here and pick up a copy. His membership name is Robert. Tell him, I sentcha...

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Dave

Dave Moore : April 2014

Notes:

1. Despite Sonny Til And The Orioles being from Baltimore, the city never really delivered a national impact in relation to black music despite having a thriving jazz and entertainment scene.

2. The area of Baltimore, Maryland delivered a few record labels of note to fans of rare soul Bay Sound and Ru-Jac being the two main ones. Bay Sound lasted almost two years but only managed 13 releases, including sought after 45s by The Chaumonts and The Bleu Lights and what is probably the most sought after release Nicky C and the Chateaux — “Those Good Times b/w Try Some Soul” — Bay Sound 67012. The Rufus Mitchell/Jack Brown owned Ru-Jac imprint is probably the most famous of the RnB labels having lasted for over a decade resulting over 50 45 releases. Once again many are sought after by rare soul fans including a couple of outing by Winfield Parker, especially, Winfield Parker — “I Love You Just The Same b/w My Love” — Ru-Jac 0017 and the rarity actually penned by the label owners, The Caressors — “I Can’t Stay Away b/w Who Can It Be” — Ru-Jac

RoburtApr 08 2014 02:26 PM

Many thanks for the review Dave.

I have copies of the book here in the UK which I will be taking to soul events I attend this year (Sunday Chill-Out @ Horse & Groom in Doncaster on 20th April and Cleggy Weekender for instance).

Kenny also has copies in the US as shipping across the pond doesn't make economic sense.

Kenny will be performing in New York on Tuesday 22nd April (the Bert Berns book launch @ the Bitter End).

Matt Male, 45cellar and dancingcollector like Like

doowop78 Apr 11 2014 02:45 AM

Disc was recorded a few blocks from where i grew up in baltimore......

Rodney LeePeaceApr 14 2014 03:14 PM

It's in the post,so looking forward to this well done

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jocko Apr 14 2014 10:07 PM

Bought it directly from Blurb. their service is great as always.

Looks good, some nice pictures and looks meaty enough to get your teeth in.

Bit disappointing there are a few typos in Kenny's introduction, hopefully only there, pedantic I appreciate, but one of those things that I don't like in books. Maybe opportunity to correct it in Blurb as not sure if they print to order?