The Young Hearts


Band members                              Related acts

  line up 1 (1967-73)

- Charles Ingersoll -- lead and bass vocals 

- James Moore -- lead vocals (tenor and baritone) 

- Ronnie Preyer -- lead vocals (falsetto) 

- Bobby Solomon (RIP 1975)  -- vocals

 

  line up 2 ()

NEW - Earl Carter -- vocals (replaced Bobby Solomon)

- Charles Ingersoll -- lead and bass vocals 

- James Moore -- lead vocals (tenor and baritone) 

- Ronnie Preyer -- lead vocals (falsetto)

 

  line up 3 ()

- Charles Ingersoll -- lead and bass vocals 

NEW - Mark Purtney -- vocals (replaced Earl Carter)

- James Moore -- lead vocals (tenor and baritone) 

- Ronnie Preyer -- lead vocals (falsetto)

 

  line up 4 ()

- Charles Ingersoll -- lead and bass vocals 

- Ronnie Preyer -- lead vocals (falsetto)

 - Mark Purtney -- vocals

NEW - Broughan Williams -- vocals (replaced James Moore)

 

  line up 5 (1971-75)

- Charles Ingersoll -- lead and bass vocals 

- Ronnie Preyer -- lead vocals (falsetto)

NEW - Bobby Solomon (RIP 1975)  -- lead vocals

 

  supporting musicians:

- Vernon Bullock -- keyboards

- Tony Dumas -- bass

- Ray Johnson -- drums

- Bobby Warren -- lead guitar

 

  line up 6 (1975-77)

NEW - Frank Hayes (RIP 2007) -- vocals (replaced  

  Bobby Solomon)

- Charles Ingersoll -- lead and bass vocals 

- Ronnie Preyer -- lead vocals (falsetto)

 

 

 

 

- James Moore and the Pretenders

- The New Young Hearts

- Bobby Sanders (solo efforts)

- Van Clayton (Charles Ingersoll)

 

 


 

Genre: soul

Rating: *** (3 stars)

Title:  Sweet Soul Shakin'

Company: Minit

Catalog: LP-24016

Year: 1968

Country/State: Los Angeles, California

Grade (cover/record): VG+/VG+

Comments: --

Available: 2

Catalog ID: 4290

Price: $90.00

Cost: $66.00

 

Charles Ingersoll and Bobby Sanders met in the early 1960s while attending Los Angeles Dorsey High School.  Sharing a common interest in popular music, the two decided to form a vocal group, performing at parties, local dances and talent shows as The Extreems.  The Extreems they managed to record a couple of  45s for the LA based Dorey label, but broke up before they could enjoy any real recognition.  Ingersoll and Sanders continued to work together, singing as members of The Blossoms, as well as working as sessions singers.  Ingersoll even recorded a couple of solo sides under the moniker "Van Clayton".   Unfortunately, whatever commercial progress the two were making was brought to a halt when in 1964 Sanders was drafted.  Having completed his military service, in 1967 Sanders returned to L.A. where he decided to turn his attention to the business side of music.  Deciding there was more money to be made in managing and producing he quickly recruiting Earl Carter, long time friend Ingersoll, James Moore and Ronald Preyer for The Young Hearts

 

Within a matter of months Sanders had the group signed to the small Canterbury label, where they released an instantly obscure 1967 45 'Little Togetherness' b/w 'Beginning of the End' (Canterbury catalog number 506).  Dropped by Canterbury, the group recorded an equally rare 45 for Pick-a-Hit ('Oh I'll Never Be the Same' b/w 'Get Yourself Together' (Pick-a-Hit catalog number 102).

 

The group's luck began to change when they were picked up by Liberty Records' Minit subsidiary.  Released as a single the Preyer's lead 'Oh I'll Never Be the Same' b/w 'Get Yourself Together' (Minit catalog number 32039) quickly hit the R&B charts.  As was standard marketing procedure, Minit rushed the group back into the studio to record a supporting album.  Produced by Sanders, 1968's "Sweet Soul Shakin'" featured a mixture of material lifted from their earlier singles ('Beginning of the End' and 'Get Yourself Together') and new studio numbers.  Creatively none of the dozen tracks was a radical departure from late-1960s-styled soul groups - anyone into The Dells, The Dramatics, etc. would feel comfortable here.  On the other hand, Sanders' production was excellent and the group had more than its share of talent with all four members handling lead vocals.  Take these comments with a grain of salt, but perhaps due to the fact they were based in California, their sound was quite a but different from mid-1960s stuff coming out of Chicago, Detroit, or Memphis.  Tracks like 'Sweet Soul Shakin'' and the harpsichord-propelled ballad 'Girls' were very upbeat and 'bright' (yeah, I know that's a weird way to describe a sound).  To be honest, this stuff sounded like a precursor for  late-1960s Philly groups like The Dramatics.  Personal favorites include the title track (nice guitar courtesy of David T. Walker), the blazing 'Count Down (Here I Come)', 'Get Yourself Together' which sounded like it was ready made for a Robert Cray cover, and powered by Preyer's killer falsetto, one of the nicest peace-now tracks ever recorded 'Little Togetherness'.   All-in-all a fantastic and overlooked slice of soul that should appeal to lots of folks.

 

Minit enjoyed a string of minor R&B hits from the album, including:

 

- 1968's 'Oh I'll Never Be the Same' b/w 'Get Yourself Together' (Minit catalog number 32039)

- 1968's 'I've Got Love for My Baby" b/w ''Takin' Care of Business (Minit catalog number 32049)

- 1969's 'Sweet Soul Shakin' b/w 'Girls' (Minit catalog number 32057)

- 1969's 'Misty' b/w 'Count Down' (Minit catalog number 32066)


The group toured extensively, supporting a slew of Motown acts including The Miracles, The Supremes and The Temptations, but simply never made much commercial headway.


"Sweet Soul Shakin'" track listing:
(side 1)

1.) Sweet Soul Shakin'   (T. Turner - D. Cook) - 2:26

2.) Girls   (J. Moore - Ronnie Preyer - Charles Ingersoll - Earl Carter) - 2:45

3.) Get Yourself Together   (Bobby Sandersr) - 2:25

4.) The Beginning of the End   (B. Page) - 3:45

5.) Can't Get Enough   (O.K. Menson - Bobby Sanders) - 2:38

6.) Little Togetherness   (Bobby Sanders - J. Peters - W. Douglas) - 2:45

(side 2)

1.) I've Got Love for My Baby   (J. Moore - Ronnie Preyer - Charles Ingersoll - Earl Carter) - 3:05

2.) Misty   (E. Garner - J. Burke) - 3:05

3.) Count Down (Here I Come)   (J. Peters - J. Flanagan - Bobby Sanders) - 3:30

4.) Oh, I'll Never Be the Same   (Bobby Sanders - Anita Poree - C. Scarborough) - 

5.) I Found a New Love   (Bobby Sanders - J. Moore - R. Chesnuts) - 3:05

6.) Takin' Care of Business   (Bobby Sanders - J. Flanagan) - 3:00

 

So here's where it gets interesting and kind of sad.  After the album was released Sanders and the group underwent a nasty breakup, with Sanders subsequently going out and recruiting a new line up to record as the cleverly title The New Young Hearts.  Such clashes happen all the time, but the depth and length of the ensuing bitterness is uncommon.   Some 40+ years later group members are still pointing fingers at one another; witness a couple of on line postings I stumbled across.

 

- Bobby Sanders owns the name 'Younghearts' and is now working with a group of teens that are due to have a release using the name.

 

- Hi everybody, this is Charles Ingersoll original member of the Younghearts.  Sorry about the bad information you got from Bobby Sanders about the use of the Younghearts name.  We recorded one album with Bobby Sanders on Minit Records.  In 1969 we made a three way deal with Bobby [and] Minit to leave Minit and Bobby and in doing so we kept the rights to the Younghearts name.  The name had been copy written one year earller by myself.  The Younghearts went on to record four more albums for three different record companies.  Bobby went on to release several records using the names The New Younghearts and the King of Hearts.  These groups were comprised of once fill-in members of the original Younghearts and The Tempos.  Sorry to say but Bobby never got over the split.  The Younghearts today are still performing with the only original lead vocalist Ronald Preyer.  The other three members are alive but no longer performing. Thank you for your support , your friend always Charles Ingersoll   2004

 

As Ingersoll alluded to, Sanders competing group The New Young Hearts featured Shad Miller, Mark Putney, Peter Wayne, and Broughan Williams (aka Morris Williams).   In 1970 they signed a recording contract with the small L.A.-based ZEA label where the released a pair of instantly obscure 45s 

 

- 1970's 'The Young Hearts Get Lonely Too' b/w 'Why Did You Have To Go' (Zea catalog number 50001)

- 1971's 'When You Wish On a Star' b/w 'A Kittle Togetherness' (Zea catalog number 50004

 

The second single was subsequently reissued, credited to The Kings of Hearts:

 

- 1971's 'When You Wish On a Star' b/w 'A Kittle Togetherness' (Zea catalog number 50004

 

 

 


Genre: soul

Rating: *** (3 stars)

Title:  Do You Have the Time

Company: 20th Century Fox

Catalog: T-427

Year: 1972

Country/State: Los Angeles, California

Grade (cover/record): VG+/VG+

Comments: --

Available: 1

Catalog ID: 5993

Price: $120.00

 

By the time The Younghearts got around to releasing their third album the line-up had shrunk to a trio consisting of Charles Ingersoll, Ronald Preyer, and Bobby Solomon.  Produced and arranged by Vernon Bullock (who also wrote, or co-wrote all ten tracks), 1972's "Do You Have the Time" was a mixed success.  Musically it was far slicker than their earlier releases, with most of the collection wrapping the trio in heavy strings and orchestration.  On a positive note, the group remained blessed with three talented lead singers, each bringing slightly different strengths to the album - Ingersoll having the most conventional soul voice, Preyer's falsetto shining on some of the lighter, pop-flavored material, while Solomon fell somewhere in the middle ground.  Nothing on the set was earth shattering, but the overall results were pretty consistent and enjoyable.


"Do You Have the Time" track listing:
(side 1)

1.) Do You Have the Time (Parts 1 and 2)   (Vernon Bullock) - 6:20     rating: *** stars  

To be honest, given Preyer's extended, preachy opening monolog, the title track took awhile to kick into gear.  Adding to the problem, the song morphed from preachy vamp, to equally irritating scat segment.  Luckily, about two minutes into the performance the basic melody revealed itself.  A breezy, slightly jazzy track which showcased the trio's smooth harmonies over an uplifting lyric, the end result wasn't half bad, but would have been even better with a bit of judicious editing.  

2.) Stop What You're Doing Girl   (Vernon Bullock - Charles Ingersoll - Bobby Solomon - Ronald Preyer) - 4:25     rating: ** stars  

'Stop What You're Doing Girl' was a far more conventional slice of early-1970s group soul.  The problem with this one was that it took awhile for the melody to kick in (to say nothing of the criminally overlook chorus being wasted).  Add to that, slathering the song with an ocean of anonymous strings repeatedly threatened to drown the trio out.  

3.) I Said ... To Myself  (Vernon Bullock - B. Warren) - 4:12    rating: ** stars  

A professional, but ponderous ballad that you forgot the minute if was over, 'I Said ... To Myself ' was the first true  disappointment.  

4.) All the Love In the World  (Vernon Bullock - R. Robinson) - 2:30    rating: *** stars  

After all these years 'All the Love In the World' is still a mystery to me.  With Preyer on lead, it literally didn't sound anything like the rest of the album - almost a straightforward pop song.  This one actually sounded like something The 5th Dimension might gave recorded had Florence LaRue and Marilyn McCoo been replaced by a pair of guys.    

5.) Wildfire     (Vernon Bullock - Charles Ingersoll - Bobby Solomon - Ronald Preyer) - 3:00    rating: *** stars  
With a nice, slow old school steamy groove, 'Wildfire' was my pick for one of the standout performances.  

 

(side 2)

1.) Don't Crush My World  (Vernon Bullock - H. Pratt) - 3:47   rating: **** stars

'Don't Crush My World' started side two started with an upbeat, vaguely Gospel-flavored number.  Nice call-and-response arrangement that generated quite a bit of energy.    

2.) I'm Still Gonna Need You  (Vernon Bullock - Charles Ingersoll - Bobby Solomon - Ronald Preyer) - 5:17   rating: **** stars

Kicked along by a nifty harpsichord figure, 'I'm Still Gonna Need You' was probably the album's prettiest performance and served as a good example of the trio's solo and group harmony work.    

3.) Me and You   (Vernon Bullock - H. Pratt) - 4:12    rating: ** stars  

'Me and You' was a conventional and instantly forgettable ballad.  Hard to figure out why it was tapped as a single.   

4.) Look What Your Love Has Done For Me  (Vernon Bullock) - 3:17   rating: *** stars  

There wasn't a great deal to 'Look What Your Love Has Done For Me' - basically the title track repeated time after time, but to my ears the track was interesting for it's pseudo-disco-ish feel.  A full three or four years before disco hit the charts, Bullock gave this upbeat number the feel that would come to epitomize tons of disco-oriented material.    

5.) Do You Have the Time (S.K.A.T.T.)  (Vernon Bullock) - 2:18    rating: ** stars  

The album ended with an instrumental refrain of the title track.  Well, since it featured the group scatting, I guess technically it wasn't an instrumental.  Forgettable.

 

The album was tapped for a couple of singles:

 

 

- 1973's 'I'm Still Gonna Need You' b/w  'Don't Crush My World' (20th Century Fox catalog number TC-2008)

- 1973's 'All the Love In the World' b/w 'Do You Have the Time' (20th Century Fox catalog number TC-2054)

- 1973's 'Me and You' b/w Stop What You're Doing Girl' (20th Century Fox catalog number TC-2080)

 

Not as good as the debut, but a nice mid-career collection that you can still find on the cheap.

 

 

 

 

 

 

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