Shirley Ellis-Sugar, Let's Shing-A-Ling / Soul Time With Shirley Ellis

While best known for her playground diddy, “The Name Game,” which took on a life of its own and made her a household name for a brief 1965 moment, Shirley had an extensive and wide-ranging career that stretched from 1954 to 1968.  Before leaving the music industry, the self-taught and unsung musician left on a strong note with this overlooked, but culminating 1967 Columbia album that put an exclamation mark on her career.

The opening number “Sugar, Let’s Shing-A-Ling” prompts the thought that as a dance, the shing-a-ling was probably not well known outside of discotheques and gyms of Northeast cities, until the Human Beinz mentioned it in their 1967 update of the Isley Brothers’  “Nobody But Me.” Following this grand entrance, is the swaying sweet soul of “Back Track” which was co-composed by fellow Columbia Records labelmate (at that time) Lou Christie. 

Her powerful composition “Soul Time” will get you right back on the dance floor and as can be predicted, it’s an enduring classic on the Northern Soul scene. “Soul Time” would also later be reworked by Madeline Bell, just a few months after Shriley’s release. It was also covered in 1968 by the Mystics-Hong Kong’s only ‘60s soul group comprised of musicians of Portuguese and Cantonese descent! While “Soul Time” only reached #67 in the U.S., Filipinos recognized the record has what it takes and more and it went all the way to #4 in the Philippines. 

French EP featuring the photography of Sandy Speiser

The album features stunning and striking photography from Sandy Speiser-an in-house photographer for Columbia Records who warrants further investigation. Also glaring, are the uncredited studio musicians and backing singers whose contributions are lost to the mysteries of history or until the surfacing of recording sessions contracts. Overall, contextual information is scant beyond the fact the album was produced & arranged by Charlie Calilleo. (On a side note, when Shirley performed live at New York’s Basin Street East in 1965, she was backed by Mitch Ryder’s Detroit Wheels who were called out for not knowing her material by Billboard’s Herb Wood in a live review.)

Jet Magazine-June 15, 1967

It might seem she ventured a little away from her stock-in-trade pop soul sounds on this album, however Ellis was always adventurous and not afraid to cross genres. The beauty from the Bronx first started singing with the jazz-calypso combo the Metronomes in 1954. A decade later, she realized her first hit with the unvarnished “The Nitty Gritty,” that successfully employed crowd sounds effects like “Fingertips-Part 2” by Little Stevie Wonder. George Harrison was said to be a fan of this live-wire record and it was later covered by the Hollies. She would follow by recording a dashing and Latin-inflected cover of “Stardust.” Yes, this album is a slight shift in direction and sophisticated turn towards the supper club scene, but it also showcases her aforementioned versatility. “How Lonely is Lonely” certainly spotlights Ellis' magnetic and compelling qualities that would certainly translate to 1966 Atlantic City. The adept singer also delivers a lush and lavish rendition of the irresistible 1965 Barbara Mason hit “ Yes, I’m Ready.” “Music and Memories” has been compared to Amy Winehouse. Their vocals do bear an uncanny resemblance as astutely pointed out by writer Harry Young. It’s also a refined work of production pop enhanced by female backing vocals and moving orchestration. Fittingly, the album fittingly closes on one her compositions “To Be or Not to Be.” She hits her full stride as both a composer and vocalist on this lovely song that works on all levels.

Let's Shing-A-Ling / Soul Time With Shirley Ellis was lost in the tidal wave of 1967 releases as it was far from the vanguard, but it has aged well to be a solid listen nonetheless. While it may have been only 2 calendar years between “The Name Game” and these recordings, there were seemingly decades of musical and technical changes packed between 1965 and 1967. Her third and final album does reflect some of these transformations and her name alone calls for listening for those who have only heard her big 3 oldies radio hits "The Nitty Gritty,” “The Clapping Song,” and “The Name Game.” Those who wish to further explore these additional aspects and dimensions, will encounter a compelling 30 minutes of Soul Time.

 

Photograph by Sandy Speiser