A new vinyl collection from Numero Group, “Eccentric Soul: The Cobra Label,” celebrates the San Antonio-based Cobra Records, a label that produced some of the most exciting and overlooked soul music of the 1960s. Explore the stories behind the label's founder, Abe Epstein, and the talented musicians who recorded there.
In the early 1960s, Abe “Abie” Epstein’s humble real estate office transformed into a vibrant recording studio at 735 North General McMullen Drive, becoming the epicenter of West Side rock ’n’ roll, R&B, and soul. Within its walls, teenage dreams took flight. A new vinyl collection from Numero Group , “ Eccentric Soul : The Cobra Label,” unearths some of the most exhilarating and innocent 45s released on Epstein's Cobra label between 1961 and 1967. A record release party is scheduled for 8 p.m.
Saturday at the Lighthouse Lounge, 1016 Cincinnati Ave. “He would be just ecstatic,” Epstein's widow Angela Epstein shared about the new compilation of recordings her husband produced. “Abie would go, ‘It’s been a long time coming.’ ” Cobra Records was home to beloved groups like the Royal Jesters and the Commands, but that merely scratches the surface. A single listen to the 28 tracks reveals that Sonny Ace & the Twisters, the Dreamliners, J. Jay & the Dell-Tones, Henry & His Kasuals, Little Henry & the Laveers, Mad Mods, and others were part of a burgeoning movement. Archivist Rae Cabello produced the collection and penned the liner notes. He emphasizes that these often-overlooked groups produced some of the most fundamental music of the era and deserve a closer examination. “People recognize the Sunny Ozunas (of the Sunglows and Sunliners) and the Royal Jesters, but there's also this other foundation that helped elevate it,” Cabello explained. “They all claim they were trying to mimic Black music, but it emerged as something fresh and innovative.”Nobody, especially the young musicians, envisioned themselves making history. “I had no idea what I was doing,” recalled singer and guitarist J. Jay Martinez, whose performances on songs like “The Best Man Cried” and “Just a Matter of Time” were incredibly dramatic and passionate. “I was fresh out of high school… I just sang it the way I felt it.” Luvine Elias was still in high school when he played organ on Royal Jesters recordings. “We just wanted to do something different,” Elias said. Epstein himself was just a bit older. The young real estate broker had once harbored dreams of being a singer and songwriter. In 1959, he recorded the self-penned “My Dream Girl” under the pseudonym Al Epp. However, real estate was the family business. Epstein decided to pursue his passion as a two-track studio owner, talent scout, and record producer. He added an extension to the back of his existing office to accommodate the burgeoning business. Antoinette “Toni” Cadena was there. She was Epstein’s first wife and often had the privilege of hearing the first playbacks, like when Rene & Rene recorded “Angelito” one Sunday night. Cadena assisted with bookkeeping and filling orders. It wasn't glamorous but it was exhilarating because “the studio was always buzzing,” she said. She was the same age as the teenagers making the records. “A lot of those kids worked during the day or were still going to school,” she recalled. Her former husband was navigating two worlds: real estate and his true calling — making music. The trappings of his success included his Triumph motorcycle, Corvette, and Cadillac El Dorado. However, Epstein Enterprises and Cobra Records remained down-to-earth affairs. The front room was small and dedicated to real estate business. There was a waiting area with chairs and a desk for a receptionist. A door led to Epstein’s smaller music office and a bathroom. A short hallway led to the studio. The recording equipment was straight ahead. A triangular vocal booth with windows was separate from the musicians. Celotex, a type of insulation, was used as soundproofing on the ceiling. The walls were dingy white and scuffed. Recording sessions took place at night. If things ran late, Epstein and the musicians often ended up at Mi Tierra. Cadena remembered her former husband’s jovial producing style and “his tremendous laugh.” That good humor proved helpful when someone made a mistake. “He wouldn’t get angry or curse at them or insult them. That wasn’t his way,” she said. Sylvia Wilburn of the Dreamliners remembers Epstein’s kindness, determination, and musical instincts. “Abie gave us the freedom (to be ourselves),” Wilburn said. Epstein had seen her singing group, which included Claire Peralta and Cecilia Silva. He inquired if they wanted to record a song and if they had any original compositions. She told him about a song she had written as a pre-teen, “Just Me and You.” Its mysterious melody was inspired by the score of a Lana Turner movie, “The Postman Always Rings Twice.” “I was embarrassed about that song. I didn’t have any confidence. I didn’t think it was any good,” she said. “I sang it for him, just a cappella, and he loved it.” The song, included in the new compilation, is epic, capturing the same teenage angst and drama as Lesley Gore’s “You Don’t Own Me” and the Shangri-Las’ “Remember (Walkin’ in the Sand).” In the studio, Epstein provided assistance with lyrics and arrangements. “He was the guy sitting behind the board directing everyone, or telling them what he expected,” Wilburn said.
Cobra Records Eccentric Soul San Antonio Music Soul Music 1960S Music Numero Group Abe Epstein Rare Records Texas Music History
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