Oleta Adams Going On Record Private 1983

Oleta Adams Going On Record Private 1983 CAT #SRK13367

Oleta Adams was not a native to Kansas City as she spent her youth in/near Yakima, Washington. In the 1970's, she took her vocals to Los Angeles where she was reportedly met with failure. Per the advice of her signing coach, she moved to Kansas City in the 1980's and started to perform locally. Sounds like a shit idea, but amazingly, it worked.

While in KC, she self-financed two full length albums (one of which may be demo only), this being the one readily available. The LP was met with some local success, but did little to advance her career as a singer reaching outside of Kansas City. Going on Record is a well-done live LP recorded at the Music Hall in 1983. All but one of the tracks were written by Oleta and are fairly strong mid-80s soul. It'd fall into the modern soul and boogie scene, but the live recording keeps it from being anything someone would spin as a DJ. People want studio jams on the dance floor. Still, despite no slick studio production, the LP is an enjoyable listen showcasing a talented singer, pianist and songwriter.

The crazy part of Oleta's story is her eventual discovery and success. In 1985 she was discovered by Tears For Fears while performing as a singer and pianist in a hotel bar. Two years after seeing and meeting her, Tears For Fears invited her to perform on their album, The Seeds of Love. The song "Women in Chains" by Tears For Fears featured her in a duet (and Phil Collins on drums). It was a hit. She toured with Tears For Fears in 1990 as the opening act and a member of their stage group.

The success with Tears For Fears led her to a contract with Fontana. She had a fair amount of success as a solo artist throughout the early 90s. Becoming very successful in England and breaking into the U.S. with a Grammy nominated cover of Brenda Russell's "Get Here", which was a top 5 single in the early 90s. Of note, many of the songs featured here on Going on Record were later re-recorded for her major label albums.

Oleta Live with Tears For Fears

E.L. Overton I Am Here For You b/w Angel Neco Records 1984

E.L. Overton I Am Here For You b/w Angel Neco Records 1984 CAT# NC 1001

This little 7" has a lot going on and there's a lot to say about it.  Most of it, I'd like to save for related releases, however, those releases are so rare I might not have the chance.  This is also extremely rare.  Currently this little private press piece of Kansas City soul is bringing in $200 to $300 in top condition.  Someone is asking close to $1000 for it on discogs.com.  There's a growing disco/boogie collectors market and this fits in on the tail end of the scene, it's decent, but I think most the value stems from it's perceived rarity.  Neco Records, was just E.L. Overton's custom label, so it's likely there was only between 500-1000 copies to begin with.

It also has the benefit of being produced and co-written by Keith Montgomery.  Keith Montgomery and fellow musician, Eugene Smiley started K City Records in the late 70's in Kansas City.  A third songwriter, Albert White, was part of the K City team as well.  The small outfit wrote and produced a number of songs with Kansas City soul musicians and cut a few records on their K City label.  Those 45s are well-regarded in the modern boogie genre and sought after for their obscurity.

Further, going back to the late-70's, there was a local vocal group called Smoke in Kansas City.  The group cut two 45s and a full-length LP.  The sound was pure 70's soul, sounds vintage compared to the K City stuff.  One of the group's songwriters, Elmer Overton, is in fact the E.L. Overton featured here.  I can't say there's a lot of information out there on the web stating the same, but collectors are a crafty bunch and I think they've figured it out, likely increasing the value for this 45 even more.

The track people are after, "I Am Here For You," is better than average production for a limited budget.  The beat, solid.  The background vocals, well done.  The feel and groove, better than average mid-80's boogie.  However, E.L. Overton's vocals just don't match.  He's bordering on a baritone and this production screams for somebody up near falsetto.  It detracts from an otherwise great track, I bet people would shit themselves to get a hold of an instrumental version of it.

The B-side, "Angel," doesn't need to exist.  Sappy, sentimental, same low-end vocals.  Just doesn't go anywhere and isn't by any means a  heart-stirring or heart-warming ballad; comes off more as a bad pick up attempt.  Production though, on point.

I Am Here For You