Sammy Campbell, a northern soul icon, was plagued with a tumultuous musical career that left him in relative obscurity outside of “Job Opening” and a brief period recording as Tyrone Ashley. Born May 6th, 1941 in Plainfield NJ, Sammy grew up with nine siblings . His parents Frank and Isabel Campbell, born on slave plantations in Virginia, migrated to New Jersey in the 1930’s looking for work. The family had a strict upbringing, including mandatory 9am Sunday service every week at Church Of God In Christ on Liberty Street where Pastor Reverend Nubey presided over a raucous ministry of music including the talented Lovelace Watkins as their guitar player. Witnessing the traditional gospel of shouting, jumping, and percussive tambourines was a powerful experience for Sammy who wasn’t able to fully understand the religious fervor as a child. Too shy to sing in church besides a reluctant part in the children’s choir, once an underage adult Sammy vocally shined on the streets with The Del-Larks, a doo-wop group his brother David better known as “Sonny” formed in 1954. Other original members Louie Dickerson, second tenor; Alan Walker, baritone; Howard Herbie, bass; and the Campbells practiced in barbershops, train stations, and park bathrooms all places providing acoustical echo.
The Del-Larks quickly became popular throughout New Jersey, playing the Cotton Club in Carterette, Tyler’s Club in Rahway, Three Towers in Bridgewater, Victory Tavern in Elizabeth, Smitty’s Lounge in Linden, and Nessie’s in New Brunswick. Purely an acapella group they worked with house bands doing covers of The Spaniels, The Teenagers, Little Anthony & The Imperials as well as incorporating live improvisation. Ray Charles’ countrywestern stylings most notably “I Can’t Stop Loving You” were major influences on Sammy who often sang his idol’s compositions. One night they performed after Little Richard at the Melody Inn in Dover NJ. The only other New Jersey group contending on their level was The Parliament led by George Clinton.
The Del-Larks released their first singles in the late 50’s on several labels: East West, Ea-Jay, and Stop Records. By the 60’s, the group matured with a new roster of members: Ronald Taylor, lead second tenor; James Jeffers, first tenor; James Anderson, baritone; Mert Matthews, baritone and Raymond Davis, bass. A local entrepeneur, George Blackwell, without any agreement or rights, released the single “Listen To My Radio” bw “S.O.S. for Love” on Vision. After searching for a legitimate label, Sammy decided to create his own Queen City for “Job Opening (For An Experienced Heart Mender)” bw “Part 2” that turned into one of the biggest northern soul classics in England, although unbeknownst to Sammy for a whole decade. During this time Sammy had two brief solo efforts; the first with Galaxy Records which relocated him to Oakland CA one month for one single “Right To Love” bw “Hey La Ya Ya” and the second with Jamie Guyden’s Phil LA Of Soul in Philadelphia PA that resulted in his two best selling singles “I Want My Baby Back” bw “Let Me Be Your Man” and “Love Sweet Love” bw “Sing Your Song Sister” both making the R&B charts. Tyrone Ashley[Sammy] was billed at The Apollo in 1970, the same concert included Al Green, Wilson Pickett, Stylistics, Laura Lee, and Eddie Kendricks. Phil LA Of Soul shelved Sammy’s best sweet soul song at the time a version of Ed Townsend’s “For Your Love” which was finally released on CD by Truth & Soul Records in April 2007. Charlie Conrad, owner of House Of Music studio in East Orange NJ, introduced Sammy to Ian Levine who brought him abroad to record a new album in 1975. Sammy’s first exposure to the northern scene was an incredulous sight – thousands dancing individually all night to American soul. Even greater surprise when fans lined up at Blackpool Mecca with copies of “Job Opening” both counterfeits and originals for Sammy to sign. Ian completely disregarded Sammy’s input in the recording studio, concluding in a few mediocre productions. Being given little respect on his first visit, Sammy turned down Ian’s offer to return later in the year for another recording contract.
In 1978 Sammy’s new house in Highland Park, still in contract, was burned to the ground from an overheated furnace, melting the “Job Opening” masters with it. Moving back to Plainfield, Sammy started fresh by setting up his own studio “The Hut” in his backyard. Equipped with only a four track ¼” 3340 Tascam, Sammy worked with neighborhood friends to create his most lo-fi yet soulful songs to date. Billy Spruill and Eddie Hazel, formerly of The Parliament, played guitar; Eric Karr sang background; Kevin Hawkins and William Rogers alternated on keyboards; and Sammy used an early Korg drum machine. Spending his spare time making music, Sammy kept no organization of his tapes, leaving most unmarked and stored away in the attic for almost 30 years. Interested in discovering his own past, Sammy went to Joel Katz late 2006 to start the restoration process. After hearing the high distortion and poor quality plaguing vinyl re-issue labels today, Joel informed Sammy the task of proper treatment and the best sound could only be found with Hollygrove Records.
The Family Underground was one of New Orleans most prominent soul and funk bands of the seventies. Lead producers Roland Treaudo and Manuel Herrera Jr grew up on opposite sides of Hollygrove but with segregation policy they attended the same grade school where they first met. Born 1952, Roland was brought up in Stone Weasel Baptist Church with seven siblings and extended family members who made up half the small congregation. In strict sanctified tradition there were never any instruments save a minimally used organ. His uncle Clarence Treaudo led the way through vocal stylings marked by growls, grunts, harmonies, and pared emotions in religious worship. Born 1950 oldest of four siblings, for ten years Manuel went to St Lukes Episcopal Church a completely Hispanic congregation of mostly native Central Americans. The Spanish spoken was so steeped in indigenous tongue, much unintelligible for Manuel an altar boy. A pipe organ accompanied the church choir, the music conservatively stiff and white in character. Although having little honest expression in church, Manuel learned a sense of classical and harmonic tones that invariably led to perfecting his soulful yet reserved background singing.
They took music instruction in middle school and in 1965 had their first short-lived band the Delltones led by Thaddeus Griffin. During high school their band consisting of Hollygrove friends and classmates became known as the Fabulous Fantoms. Being underage Manuel’s father Herrera Sr chaperoned them to local venues, in 1968 they were already opening for many concerts in the Greater New Orleans area including acts by Lou Rawls, The Commodores, Dorothy Moore, Etta James, Bobby Womack, and Jackie Wilson. The Fabulous Fantoms were a local hit, the leader William Norflin signed a contract with Big Deal Records for one single "Mau Mau” bw “Get a Little Bit” their first release. In 2001 Tuff City label poorly compiled on CD many of their recording sessions done by New Orleans top engineer Cosmo Matassa in the early seventies. Mismanagement and failed negotiations caused the Fabulous Fantoms members to disband during a musical hiatus lasting several years.
1974 Roland and Manny now of legal age wasted no time rebounding bringing all but two original Fabulous Fantoms musicians back to create the Family Underground: drummer Winston Shy, his brother Parker Shy on bass, Milton Lewis on saxophone, guitarist Arthur V Bell, and Thomas Mitchell on trumpet. They quickly gained a Sunday residency at the all black nightclub Whitey’s Devil’s Den on Banks and Galvez Street in the heart of New Orleans business district. The party warmed up at midnight, Manuel rocking the grand piano, Roland and Parker going lead on mic, the heat drenched dancefloor exceeding capacity of 400 clubbers strong well into 4am Monday morning. For over 250 straight weeks Family Underground were so popular no promotion nor flyers were ever needed.
With their residency and frequent tours to Texas, Louisiana, Mississippi, Alabama, Georgia, and Florida while balancing life back in Hollygrove they had little time to record. In 1975 back in “Cos” Matassa’s Warehouse Studio they cut one single “Everybody Knows” bw “Let Me Feel Your Love” written by Tony Owens and produced by “Senator” Jones on Power Funksion Records. The following year they turned Isley Brothers’ “For The Love Of You” into a stripped down classic far superior to the original. Family Underground separated following the end of their five year Whitey’s Devil’s Den weekly. But Roland and Manuel immediately went to Ultrasonic Studio hiring musicians Nick Daniels on bass, Roy Joseph on guitar, Earl Smith Jr for background vocals, and drummer Willie Green. They cut the first five songs of “Once In A Lifetime” and included “All We Have Is A Song” and “Nowhere To Run” produced a year earlier by Willie Turbinton with the original band into a seven song demo looking to contract with a major label. Motown and Capitol turned them down, “too Earth Wind & Fire” was the response they got. Manuel and Roland gave the demo to local entrepreneur Eddie Stewart with an indie hip hop label who did nothing with it.
In the late eighties after many years had passed Eddie told Roland he burned the tapes. Another 15 years later never fully buying the story, Roland contacted Eddie’s widow early August 2005. Couple weeks of reconciling work schedules Roland made it to her house, the multi-tracks were gone but among a stack of discarded tapes Roland finds the production master and gives it to Manuel couple days before hurricane Katrina flooded New Orleans. While everything in his house and Hollygrove were destroyed, Manuel, essential personnel at Touro Infirmary hospital, remained safe with his wife Ruth and family. The one belonging Manuel brought was the master, not only saving Family Underground history but becoming the sole inspiration for Hollygrove Records.
