The passionate music listeners sometimes ponder – what if there is a fantastic song out there, but we will never hear it because the performer is in some isolated corner of the world? On the other side of the coin, they might also consider – what if there is another outstanding song which has the power behind it of a major record label, but is never given the attention it needs to find an audience?
Two profound thoughts to mull over: in many cases, we will never know if some untapped talent is out there somewhere, waiting to be plucked like an apple from a tree. Unfortunate and tragic, you also have the compelling story of Lotti Golden, who, in 1969, was on the precipice of international stardom at the age of nineteen.
A unique young lady, Golden was bedazzled by music since a child, loving everything from The Doors to Motown artists, including The Supremes. Taking it all deep inside of her, Golden was already writing songs by the age of twelve and by sixteen was taken on as a staff songwriter for Bob Crewe’s Saturday Music. Simply astounding for such a young person, it is even more impressive considering Bob Crewe was one of the most ingenious songwriters/arrangers of the ‘60s era, having been behind many big hits, including the Four Seasons’ 1962 hit “Big Girls Don’t Cry,” 1964’s “Rag Doll,” among others. However, even with this notch in her belt, Golden was plotting for something more as a singer-songwriter.
Growing up in New York City, Golden experienced the counterculture of the 1960s era firsthand. Marked by danger but also featuring compelling forms of artistic expression, Golden had a formal and street education. Again, a perceptive young lady, Golden internalized the good, the bad, and the ugly, using them all as inspiration for her songs. Often, the best type of songs are from real-life experience, not concocted fantasies, and Golden was proof of that as she continued to write and bring the dark alleys of New York City to life in song.
Throughout high school, Golden continued to pursue her artistic dreams, with plans to study drama in addition to refining her songwriting skills. Then, as luck would have it, in the fall of 1967, she would be in the same elevator as Bob Crewe on her way to a recording session. Unknowing she was a staff writer for his Saturday Music, just one listen to Golden’s singing in the elevator car, and Crewe was immediately interested. Getting to talking, Golden revealed to Crewe she was a staff writer for his publishing company. Even more intrigued, Crewe became interested in Golden’s ideas and soon the two made plans to record an album together.
From here, Atlantic Records jumped in to sign Golden with plans to release her debut album, Motor-Cycle. A dream come true, a buzz began to surround Golden with press in major publications like Rolling Stone. Poised to be one of the biggest releases of 1969 (the same year of the Apollo 11 mission that landed the US on the moon, and the Woodstock music festival), somehow Motor-Cycle slipped through the cracks.
A true disservice to Golden, who had poured her heart and soul into the songs of Motor-Cycle for years, the album is best described as an eclectic music of Rock, Soul and R&B. Highlighted by Golden’s beautiful, emotional singing reminiscent of something the Supremes or Gladys Knight & the Pips might have recorded, the songs of Motor-Cycle were not made with radio in mind, but more artistic expression. With many of the tracks clocking in between five and eight-plus minutes, this was a refined collection that required devoted attention.
Featuring exceptional production by Bob Crewe, the songs are rich with colorful instrumentation; however, the boldest attraction is the then nineteen-year-old Golden’s voice and vivid storytelling. All but pushed aside by Atlantic Records, sadly, Motor-Cycle has lingered in obscurity, out of print for over fifty-five years. Although it has been a long time, Golden’s album has not been completely forgotten, as whispers about it circulated on the internet in the early 2000s. Then, for Record Store Day 2016, High Moon Records reissues the original Atlantic 7″ promotional single, “Sock It To Me Baby.” A special release, now in 2025, High Moon Records ups the ante with a full-blown re-release of Motor-Cycle.
Arriving on March 28, 2025, it marks the first time you can find the album in a physical format since it went out of print many decades earlier. Repressed to CD and Vinyl, you get the original nine tracks from Motor-Cycle matched with the original front and back artwork. This is fantastic in itself, and adding to it all is a 32-page book for the LP and a 48-page book for the digipack CD release, which offers thoughtful insight into Lotti Golden’s story and music. Beyond this, the booklets also feature archival articles, exclusive essays by Richard Hell and David Toop, and some compelling photographs.
Overall, the reissue of Motor-Cycle from High Moon Records is a must-have for anyone who appreciates music with a soul. A flame that could not be extinguished, you could say it this is a rebirth for Lotti Golden, but that would be unjust, because while she never attained the rightful spotlight years ago, she has remained a songwriting/producing force penning songs for many including the 1989 Taylor Dayne hit “With Every Beat of My Heart.” A truly extraordinary talent, it is highly recommended to learn more about Lotti Golden, with Cryptic Rock giving Motor-Cycle 5 out of 5 stars.
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