The Esquires

The Esquires originated as a vocal ensemble in Milwaukee, Wisconsin, during 1957 amid the peak of the R&B vocal-group era. Gilbert Moorer, brother Alvis, and sister Betty grew up in a household steeped in music; their father had performed with the gospel outfit the Friendly Five, and their mother was a pianist. While still attending high school, the three Moorers established the Esquires that same year.

Throughout the group’s initial period in Milwaukee, membership fluctuated considerably. Sam Pace joined in 1961 and Shawn Taylor arrived four years later, both remaining for an extended time, yet Betty Moorer exited during this stretch. By 1966 the quartet of Gilbert Moorer, Alvis Moorer, Sam Pace, and Shawn Taylor judged themselves prepared to pursue a recording contract and broader exposure. Relocating to Chicago, they first approached Curtis Mayfield, then overseeing the Windy C and Mayfield imprints, but met with rejection.

Further attempts to secure producers eventually connected them with Bill “Bunky” Sheppard, proprietor of the modest Chicago label Constellation, home to Gene Chandler and Nolan Chance among others. Sheppard responded favorably to the Gilbert Moorer composition “Get On Up,” which the group had already cut as a demo, and to the singers themselves. His enthusiasm also introduced bass vocalist Millard Edwards, already under contract to Constellation.

Sheppard planned to issue the Esquires on Constellation both independently and as backing vocalists for Edwards, yet the latter single’s lack of success, followed by Constellation’s collapse late in 1966, prompted adjustments. The first involved moving to the Bunky imprint Sheppard salvaged from Constellation’s remains; the second brought Millard Edwards into the Esquires’ permanent lineup.

Their debut single, “Get On Up,” finally surfaced on Bunky via national distribution through New York’s Scepter Records. The track achieved major success, reaching number three on the R&B chart and number eleven on the pop side. Overnight the Esquires, after a decade of preparation, emerged as one of 1967’s prominent R&B vocal acts.

The hit elevated the group from regional to national status, leading to appearances at Chicago’s Regal Theater and New York’s Apollo. During this period they also parted ways with Shawn Taylor, whom Sheppard viewed as undependable after repeated late arrivals. In October 1967 the Esquires released the follow-up “And Get Away,” likewise penned by Gilbert Moorer, which climbed to number nine R&B and number twenty-two pop. With two successes secured, their sole album appeared on Bunky Records. March 1968 brought the third single, “You Say,” to number forty-one R&B; three months later “Why Can’t I Stop” reached number forty-eight on the same chart.

After issuing a fifth single at the close of 1968, the Esquires departed Bunky for a direct Scepter contract, which placed them on the Wand subsidiary. The resulting singles “You’ve Got the Power” and “I Don’t Know” peaked at numbers twenty-nine and thirty-seven R&B, respectively.

A year with Scepter ended in 1969, after which they returned briefly to Sheppard before moving to Capitol in 1970 for the single “Reach Out.” That year also saw Millard Edwards depart and Shawn Taylor rejoin. On Lamarr Records the group scored again with “Girls in the City,” which rose to number eighteen in 1971.

Five chartless years followed, though performances continued. In 1976 they re-recorded their signature hit as “Get On Up ’76,” which entered the charts and concluded their recording output. For the subsequent two decades the Esquires remained a Milwaukee-based performing unit, with fresh members joining Gilbert and Alvis Moorer at intervals.

The two major hits, “Get On Up” and “And Get Away,” resurfaced in 1992 on Capricorn Records’ The Scepter Records Story. In 1998 England’s Westside label issued the CD Get on Up and Get Away, a thorough overview encompassing nearly all singles—hits included—from multiple labels plus selections from the original album.