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Soul Source music magazine feature.

STOP PRESS !
THE FIRST BLACKPOOL INTERNATIONAL SOUL FESTIVAL JUNE 17-19th 2016

The Winter Gardens in Blackpool has been described as “ the most magnificent palace of amusement in the world “ – quite a claim, but as you enter this 10,000 capacity venue it’s hard not to be impressed by the Victorian grandeur coupled with it’s state-of-the –art 21st century facilities .

For over 130 years has played host to world famous entertainers and many music events so it is with great pleasure that the location has been selected for the first Blackpool International Soul Festival which is set for the weekend of Friday – Sunday June 17th – 19th 2016.

Headlining at the event are no fewer than four iconic American soul artists, each of whom will be performing specially selected sets which reflect their most popular recordings on the UK soul scene.

Bettye LaVette One of the world's most celebrated soul singers , with an exclusive Northern Soul classics set , to include : "I feel good ( all over ) " , "Only your love can save me", "I'm Holding On" , " You'll wake... In addition to writing a sensational book about her life in music , Bettye has appeared for President Obama at the White House and is a regular on late night TV shows in the States. Bettye cut many superb songs in the 60s and 70s for labels including Atlantic, Karen , Calla and Epic , and will be performing these to provide an one-off “oldies” show at the festival.

Dee Dee Sharp was a teen hit-maker in the early 60s with big-sellers for the Cameo label, before she married producer Kenny Gamble and recorded many magnificent tracks between 1965-1978. Dee Dee will be singing her previously unissued version of “I’ll do anything” as well as Northern Soul anthems including “What kind of lady” and “Deep, dark secret” plus her sensational reading of the classic “Comin’ home baby”

Chicago has long been considered the home of soul music and no artist better exemplifies the 60s into the 70s “crossover” mellow sophistication than Bobby Hutton. His ABC recording from 1974 has long been considered one of Northern Soul’s most glorious discoveries “Lend a hand”. Bobby had previously recorded for Chess and then Philips and his show at the festival sees him perform many of these in demand songs for the very first time.

Finally, an exciting discovery – for over 40 years vocalist Gerri Granger had remained totally unaware that her 1971 recording for the American Bell label , “I go to pieces ( everytime )” had packed dancefloors all around the UK and had been reisissued due to demand , selling over 30,000 copies on a 45 and appearing on several compilation CDs. This will be Gerri’s first visit to the UK to perform for her legion of fans who also remember with love and affection her recordings in the mid 60’s for the Big Top label.

To guarantee that the acts all sound just like their records, the musical director will be Snake Davis who has a wealth of experience working with American Soul artists including Dionne Warwick, Frank Wilson, The Impressions, Ronnie McNeir , The Vibrations, Mitch Ryder, Willie Hutch, Barbara Lynn and The Originals!

In addition to the mouth-watering array of live acts, the Blackpool Soul Festival 2016 also boasts no less than 60 top UK DJs playing in 6 venues . With all styles of soul covered , from Motown and 60s club soul, 70s Phillysoul, rare groove, Jazz Funk, Classic and newly-discovered Northern Soul, Modern Soul “crossover”, soulful dance and today’s new “luxury soul” releases, plus Mod styles from the 60s with Ska and Jamaican soul..

Over the 3 days, there will be special tribute sessions to legendary venues including the Blackpool Mecca Highland Room, Manchester’s Twisted Wheel, Wigan Casino, The Manchester Ritz All Dayers “Angels” in Burnley and “Cassinelli’s”.

The event will also be featuring film shows , Q&A sessions and a scooter exhibition. Top soul merchandisers will be displaying their wares in the “Horseshoe” area.

The Blackpool Winter Gardens, with it’s ballrooms, restaurants and theatres and exhibition areas is the perfect location to host the first such event of it’s kind. The perfect meeting place for hordes of soul fans from all around the UK to come and celebrate all that’s been good in soul for the past 50 years.
Blackpool has many award-winning accommodation options , some of whom will be partnering the 3 day festival and offering “event and accommodation” bundle deals .

For more information about the Blackpool International Soul Festival, please visit the website :
http://www.blackpoolsoulfestival.co.uk

“Early bird” all weekend tickets are now on sale on either : 01253 629666 ( daytime) or 0844 856 1111 ( 24 hour, booking fee applies ).

The Blackpool International Soul Festival

By Guest in Event News · May 4, 201510 yr

Just on news Ben has passed away.

A true soulman.

RIP

artist sad news

By Guest Bigsoulman in News Archives · May 1, 201510 yr

The debut album by swedish group
Paola & The Mess Arounds
entitled "Silently Whispering I Love U"
has just been released!

Heavily Motown / northern soul influenced
stuff and includes plenty of great uptempo dancers.

The album is available for streaming on Spotify and YouTube.

It's also released on vinyl LP in an edition of 500 copies.

The LP can be ordered from me at the cost
of £20 (including worldwide shipping).
If interested, PM me for more info.

Here are three of the tunes:

By Sebastian in News Archives · April 27, 201510 yr

A quick highlight post, both of some recent artist publicity photos member added to the Soul Source Gallery and also the actual Gallery itself!
The publicity photos have been added into an album by longtime soul source member Brian P (Agent45)
26 being available to view including Marva Whitney, The Lords , Natural Four to name a few.
This selection adds nicely to the few hundred plus publicity photos already up in the Soul Source Gallery (120k+ images in total) and of course all you members can add to the 'artist' category or indeed add you own albums such as Brian has
Links
Brians Album
Artist Category
https://www.soul-source.co.uk/gallery/category/27-soul-artists/

Gallery index page
https://www.soul-source.co.uk/gallery/

By Mike in News Archives · April 19, 201510 yr

Cherry B from France is back with a new single, a new sound and fresh Northern vibes.

After a European Tour to promote her first soul album called "The Way I Am" released in 2014, she found her audience and met a spectacular soul man: Lee Fields (Truth & Soul Records). She went on tour with him in France. Now she is feeling ready to push her music the way she wants to perform and create her own soul music style, looking for a different and personal way to write and compose.

Springtime is time for Cherry B & The Sound Makers to reach and to start to collaborate with an unexpected UK signature - Andy Lewis. This amazing DJ and producer (member of UK indie legends Spearmint and now playing the bass with Paul Weller) created two fresh tracks with an up-tempo, true Northern feel and his studio expertise is exactly what Cherry B was looking for.

"No Answer (Andy Lewis Mixes)" ias a 2-track 7inch vinyl and 5-track digital EP.

Releases 27 / 04 / 2015

https://media.kudosdistribution.co.uk/lego092/clip/01.mp3

https://media.kudosdistribution.co.uk/lego092/clip/02.mp3

By Guest in News Archives · April 17, 201510 yr

Writer and Soul Source member Stuart Cosgrove features in a short film (8 mins), talking all about his latest project with pics and sounds...

The Scottish Broadcaster and writer Stuart Cosgrove speaks about his new book 'Detroit 67: The Year That Changed Soul', the story of the city of Detroit in the most dramatic and creative year in its history. Spanning the history of Motown, the breakup of The Supremes and the implosion of the most successful African-American record label ever - all set against a backdrop of urban riots, escalating war in Vietnam and police corruption.

detroit67.com

Available via all good book outlets, including Amazon:

amazon.co.uk/Detroit-67-Year-That-Changed/dp/0993107508

Directed, filmed and edited by Martin Conaghan for The Copydesk.
Interview by Gerry McDade.

Shot on the Canon 5D MkIII using the Canon 50mm f1.4 lens and edited with Adobe Premiere CC and Adobe Audition CC.

copydesk.co.uk

Music credits:
'Bari Track' by Doni Burdick © Sound Impression Records 1967
'The Big Chain' by Ronnie Savoy © MGM Records 1960
'No Mad Woman' by Jock Mitchell With The Fabulous Agent's © Golden Hit Records
'Heavenly Father' by The Supremes © Motown Records

Image credits:
SJ Carey © 2011, Ray Dumas © 2008, S.Sgt. Albert R. Simpson Department of Defense © 1967, Mark Goff © 1967, Derek Redmond and Paul Campbell © 1967, Experimento69, ac. de Nijs/Anefo, ABC Records.

All video material © The Copydesk 2015

Books
video

By Mike in News Archives · April 15, 201510 yr

SAD NEWS SOUL LEGEND PERCY SLEDGE RIP SOUL MAN
http://abcnews.go.com/Entertainment/percy-sledge-dies-73/story?id=30307601

added by site from BBC website

US soul singer Percy Sledge, famed for his song When a Man Loves a Woman, has died aged 73.
Steve Green from his talent agency Artists International Management Inc confirmed to the BBC that he had died at his home in Baton Rouge on Tuesday morning.
"He was one of my first acts, he was a terrific person and you don't find that in this business very often," said Green. "He was truly a standout."

http://www.bbc.co.uk/news/entertainment-arts-32301435

photo credit
http://www.flickr.com/photos/gtpugh/5118503811/in/photostream/

artist sad news

By Mickjay33 in News Archives · April 14, 201510 yr

6TS is proud to announce that the live acts for Cleethorpes this year will be singer/songwriter Sharon McMahan and Jock Mitchell. Both appearing in the UK for the first time.

Sharon will perform her own Northern and Modern Soul hits as well as giving us her version of songs she wrote for the likes of Barbara Lewis, Deon Jackson and Johnnie Mae Matthews at the height of Detroits mid 6os soul boom.

Jock is famous for his Northern blockbuster 'Not A Chance In A Million' and other classic Detroit tracks, but has many more songs in his repertoire several of which he features in his sensational soul show from his Florida base.

Both acts are thrilled to be coming to the UK to entertain and meet their European fans and another momentous weekender is assured for us all.

Ady

http://www.6ts.info for further 6TS news.

By Ady Croasdell in Event News · April 13, 201510 yr

It has been a few months since the last Soul Junction release but they are back with the first release of 2015 with more quality unissued 70’s. A new label design is also introduced giving the label a 60’s or 70’s look and feel.

Back to the music, the group in question for the latest release is the Dynamic Sounds Orchestra giving us two great unreleased mid 70’s soul sides. Both very different, the top side “Take Me Back” a great dancer with a lot going on as you would expect from a nine-piece group. Flip it over and we are treated to a nice ballad entitled “All I Wanna Do Is Love You”.

Two excellent mid 70’s Chicago Soul already receiving extensive radio play and a 45 expected to sell out like so many other Soul Junction releases, get it bought before it is too late.

The group do though have some history that should be of interest to Rare Soul avids as you will see from the press release.

Press Release: Dynamic Sounds Orchestra “Take Me Back/All I Wanna Do Is Love You” SJ1000

Release Date: Monday April 27th 2015

The Dynamic Sounds Orchestra was a nine-piece ensemble who would later become the backing and touring band for one of the windy city’s most famous soul groups, The Chi-Lites.

The Jerma release of Lil Gray, mother to The Dynamic Sounds Norwood Gray.

The original origins of the DSO had begun earlier in the mid 60’s when teenage bass player Norwood Gray Jr along with fellow guitarist Anthony Barnes held performances using several different drummers as a three-piece combo under the name of The Dynamic Sounds. Norwood was the eldest son of female vocalist, Lil Gray who during the mid 60’s recorded three 45 releases “Are You Fooling” (101), “Out Of Nowhere” (102) and “One Day Your Gonna Get Burned (103) for Ulysses Samuel Warren’s Jerma records label. Norwood himself would also later play bass on U.S. Warren’s collectable funk album “For A Few Funky Dues More” which appeared on Warrens other label logo Chytowns (2001).

During 1970 Norwood was invited to play on a session that also featured a brass section that included Charles ‘Butch’ Cater (Trombone), Milton Thomas (Soprano and Tenor Saxophone), Louis Minter (Alto Saxophone) and the late Kevin Thompson (Trumpet). It was from this chance meeting that the concept of the Dynamic Sounds Orchestra was born. Further musicians were added to the line-up, Clifford Conley (Guitar), Ronald Scott (Keyboards), Dennis Howell (Drums) and finally Otis Gould (Conga Drums and Percussion). With the now retired (from her own performing career) Lil Gray assuming the role of the group’s manager.

Top row - Left to right
Milton Thomas (Saxophones), Kevin Thompson (Trumpet), Clifford Conley (Guitar
Middle row - left to right
Norwood Gray Jr. (Bass), Louis Minter (Saxophone), Otis Gould (Percussion)

Bottom row - left to right
Ronald Scott (Keyboards), Charles Carter (Trombone), Dennis Howell (Drums)(lower right hand corner)

From early 1972 till 1978 several different permutations of the DSO (at one point containing 13 members) supported the vocal talents of Chi-Lites, Marshall Thompson, Robert ‘Squirrel’ Lester, Creadel ‘Red’ Jones and Eugene Record, as well as later additional members along the Chi-Lites meteoric rise to world stardom. When Eugene Record left to pursue a solo career in 1976, some of the members of the DSO also followed him to Warner Brothers and are featured on the three albums that he recorded there. Eugene also produced an album for former ‘Lost Generation member Lorrell Simon entitled “Mellow, Mellow, Right On” again with musical accompaniment provided by some members of the DSO.

When Eugene Record later returned to the Chi-Lites line up he again called on some of the former members of the DSO to provide the orchestration on the 1982 Chi-Sound album project “Me And You” which featured the popular 12”/7”single release “Hot On A Thing (Called Love)”, a US R&B number 15 chart entry.

Back in 1976 the DSO using some of their earnings from their time with the Chi-Lites embarked upon an album project of their own although they never quite finished the project, also due in part to a later house fire, which destroyed their master tapes. The band later disbanded in 1978, but still remained in contact while following their, own careers and lives. Fortunately for us, a later discovery of a cassette tape of the unfinished DSO sessions by Otis Gould would lead to the groups lost masters eventually being heard by a wider audience. Otis painstakingly set about re- mastering the tracks, which he eventually released via several internet based outlets.

Through one of Soul Junction’s Chicago A&R contacts, this project was brought to our attention and two subsequent DSO tracks have been licensed, so before you, you have the uplifting dance track “Take Me Back” backed with the excellent sweet soul ballad “All I Wanna Do Is Love You” both finally gaining a vinyl release (SJ1000), its intended format at the time of its conception.

To this day all the members of the DSO have remained in contact with the exception of their trumpet player Kevin Thompson. Kevin lost his life during a house fire at his Chicago home, initially safely exiting the building he was then severely injured when he re-entered the building to save his beloved instruments, later dying from his injuries. His spirit is sorely missed. Kevin was also the lead vocalist on “Take Me Back”.

Both Clifford Conley and Dennis Howell relocated to the West Coast. Dennis did eventually return to his native Chicago where he still occasionally plays with The Chi-Lites. Clifford currently resides in Altadena. CA. where he still plays within a band at his local church.

Percussionist Otis Gould following the breakup of the DSO moved south to Atlanta, GA, to pursue a career in Education. Now a retired school administer he has just recently completed a two year tour with the Broadway show ‘Ain’t Misbehavin’. Otis is also the driving force behind the reclamation of the DSO’s previously unissued material.

Trombonist Charles Carter still resides in Chicago where he still plays with an Earth, Wind and Fire tribute act by the name of ‘Shinning Star’.

Alto-Saxophonist Louis Minter too still lives and works in the Windy City as a car salesman, he too continues to perform, some of his performances at the ‘Apostolic Church Of God’ can be found on You Tube.

The final member of DSO’s brass section Tenor and Soprano Saxophonist, Milton Thomas now resides in Ypsilanti, MI. Although now suffering from a deterioration in his hearing. He still continues to play in between his day job in the construction industry.

Keyboardist Ronald Scott later became an ordained minister at The Beyond The Veil Ministries. He is also an undertaker for Scott Funeral Services and continues to write and play around Chicago.

The final surviving group member, bass player Norwood Gray Jr still lives with his family in Chicago. In 1980 Norwood graduated with a degree in electrical engineering that allowed him to enjoy a long and successful career with HP Computers, from whom he is now retired. Sadly his mother Lil Gray passed away in 2000 due to heart failure.

Words By: David Welding.

With acknowledgements to: Norwood Gray Jr, Otis Gould, Clifford Conley, Ronald Scott, Dennis Howell, Charles Carter, Milton Thomas and Louis Minter.
Photograph courtesy of: Otis Gould.

https://www.soul-source.co.uk/uploads/select_1428841060__dso_edited_clip.mp3

Buy this and previous Soul Junction releases direct from Soul Junction or the usual stockists: http://www.souljunctionrecords.co.uk/buydirect.html

By Chalky in News Archives · April 12, 201510 yr

Bold Breed: Mood for Love / Let Me Down Easy
Tramp Records
Release: 20/04/2015

Another fine example of funky-soul at its very best. While the A-side is highly regarded within the northern soul scene, the B-side is the tune why funk 45 collectors are after this beauty. Both sides were recorded in the early 1970s and pressed on a small press run on 45rpm single. Original copies are nowadays very hard to find and due to the outstanding quality sought after by record collectors worldwide.

Mood For Love.mp3

Let Me Down Easy.mp3

By Guest in News Archives · April 10, 201510 yr

BBC Radio Manchester is celebrating the legendary sound of Northern Soul with a new weekly show.

The commission follows a number of well-received special programmes and will be presented by local DJ, Richard Searling.

Searling has worked behind the counters of North West record shops as well as appearing at the turntables of venues including the Wigan Casino All Nighters and the Manchester Ritz Ballroom All Dayers.

“It’s a testament to both the enduring appeal and current appetite for northern soul music that we’re able to bring BBC Radio Manchester listeners a regular, weekly dose of the very best of this mesmerising musical style” he said.

rest of info via here

http://www.prolificnorth.co.uk/2015/04/bbc-radio-manchester-adds-a-bit-of-northern-soul/

By Mike in News Archives · April 9, 201510 yr

Bob Collins and the Fabulous Five
By E. Mark Windle.
Bob Collins and the Fabulous Five from Greensboro, NC were a popular frat party booking throughout the Carolinas and Virginia. Venues in the 1960s included the Polo Club (Winston, Salem), the Casino (Nags Head, NC) and the National Guard Armoury (Greenville, NC). Their largest mainstream hit in the mid 1960s was “If I Didn’t Have a Dime” a.k.a. “Jukebox”, a previous minor hit for Gene Pitney. Their version was released on the Greensboro label Jokers 3. The band was originally formed in 1961 and continued until 2007. It had at least twenty-five members in its long history.
From a northern soul perspective, “Inventory on Heartaches” (Main Line ML1367) and its flip “One and Only Girl’ both written by Donny Trexler are of most interest. Both tracks stand up as top quality up-tempo northern dancers, possibly with “Inventory” having the beach edge with its catchy phrasing and “One and Only Girl” taking a grittier soul duo type approach.
The first time “Inventory on Heartaches” was introduced to the northern scene is unclear. Kev Roberts reports that he came across the record in 1981 whilst living in the US. However Butch got his first copy around the same time from collectors Dave Withers and Rod Shard, and then located a second copy about a year later, which he thinks was given to Rob Marriot in exchange for a copy of The Hyperions “Why Do You Wanna Treat Me the Way You Do”. All parties agree that “Inventory on Heartaches” was never really given the initial exposure on the northern scene that it deserved. At the time, the flip was better known, albeit played as an Eddie and Ernie “cover up” by Rob Marriot.
This situation seems to have reversed in latter years however. “Inventory on Heartache” was reissued in the US in 1990 on vinyl and a year later on “Grand Strand Gold Volume 3” (Ripete CD). Further releases occurred as part of the CD box set sold along with the publication of Greg Haynes’ Heeey Baby Days book in 2006 and in the UK two years later on the beach / northern soul related CD “Ain’t Nothin’ Like Shaggin’ ” (Goldsoul). Marion Carter from Ripete further reported that the label re-recorded another version of the song in the late 1990's by some original members of the Fabulous Five including Donny Trexler, although Bob himself was not involved in the project. The original Main Line label was just one activity of the Main Line distributing company based in Cleveland. The company distributed appliances, appliance parts – and records. The label logo was the same as that used by the business in all its activities. Main Line was part owned by RCA. The label even utilised the services of legendary Detroit writer and arranger Dale Warren at one point for a recording by local Cleveland band Selective Service.
Tracking down band members was a challenge. Bob Collins who (contrary to previous reports) sang lead on “Inventory on Heartaches” is now retired from singing and has moved from Myrtle Beach to High Point NC. However, Donny Trexler, band founder and writer of both sides of the Main Line release still performs at venues along Myrtle Beach and was available for interview.

Donny was the founder, writer, guitarist and vocalist for The Fabulous Five between 1961 and 1968. He began his singing career at a tender age in Summerfield, near Greensboro, NC. He initially sang in church, and at eight years old performed with Joe Stone and the Dixie Mountain Boys, a blue grass band. In 1958 Donny was hooked on rock and roll and taught himself guitar. At high school aged 14, he formed a five piece band called Donny and the Blue Jets (the name of the school football team), and then joined another group which eventually evolved into the Fabulous Five. As well as his time with The Fabulous Five, he recorded throughout the seventies with his wife in two long running beach bands. In November 2000 Donny was presented with the Carolina Beach Music Academy Award for lifetime achievement, inducted into the South Carolina Rhythm and Blues Hall of Fame a year later and received the Palmetto Award from the local Governor Hodges. In 2007 he was nominated for Carolina Beach Music Awards (CBMA) Instrumentalist of the Year Award. Donny and Susan now live and work in north Myrtle Beach.
“I wrote "Inventory On Heartaches" and "One And Only Girl" in 1967; at that time the Fabulous Five had been a group for about six or seven years." Donny says. "The group started around 1960 as The Sixteens in a club called Henry's Danceland in Stokesdale, NC near Greensboro, NC I was an original member. The Sixteens took on Bob Collins as a drummer in the summer of 1960 and then the group was renamed Chuck Tilley and The Fabulous Five in January of 1961. Bob Collins became the lead singer in late January 1962 when the group dismissed Chuck Tilley. We performed in clubs, for fraternity parties, for debutante parties and in many other venues throughout the south-east U.S. We opened for groups like The Impressions, Anthony and the Imperials, the Tams, Wilson Pickett and many more in the 60s. In 1966 we recorded “If I Didn't Have A Dime (Jukebox)”, on which I sang the lead. That song was a great success for us and still is for me.”
“Regarding the other band members, there were many throughout the years. When “Inventory” was recorded in January 1968 they were Bob Collins (lead vocals), Tommy Tucker (saxophone), Allen Brewer (bass), Lenny Collins (on drums, and no relation to Bob), John Cook (keyboards) and Donny Trexler (lead guitar). I stay in touch with Allen and John but not much contact with anyone else. Tommy Tucker died in 2008 and I heard that Lenny Collins isn't doing too well health-wise. I left the group in late February 1968 to start another group called the Music Era. We were on Atlantic Records and had an upbeat remake of “What The World Needs Now”, the old Jackie DeShannon tune. I wrote the flip side called "I Can't Take It." The Music Era disbanded in late December 1968 because of the military draft. I then joined The Okaysion's and played with them (MW: as lead singer and on guitar) until spring 1972. My wife, Susan, and I started a group called Swing in September 1972 that lasted 16 years. We even did a remake of "Inventory On Heartaches" in 2005 with Susan Trexler on lead vocals. That was a number one song in beach music at that time. I still do five or six gigs a week and Susan sings with me sometimes.”
Billy Ray Smith, drummer with the band between 1978-1980, provided some insight into the whereabouts and current activities of some of the former band members:
“I was with a group called The Shapparells at the time and became Bob’s drummer when that position came open. At that time the only original members left were Bob and John Cook on keyboards. During that period, beach music and blue eyed soul were still popular around the college campuses so we did a lot of those up and down the east coast. We also continued to play the beach clubs and festivals with all the other beach bands. These festivals are still popular today with several still going on annually in Virginia and the Carolinas. The band I am currently with, The Impacts, contains three former members of The Fabulous Five: John Cook, Randy Case, and myself. We do the old Fabulous Five tune “Jukebox” in most of our shows. We get a lot of requests for it because people know we're the closest thing to the original Fabulous Five left now. Randy Case joined the Five in 1977 and stayed for about a year. The band disbanded in 2007 and John Cook joined The Impacts later that year. John has appeared in many bands through the years doing guest spots or just playing where he could when bands he was with were taking time off. He has MS and playing music is about the only way he is able to make any money so he tries to stay busy. Unfortunately, his years of performing haven't provided much of a retirement fund. He had taken some time away from The Impacts this year but is scheduled to rejoin us in June. I am afraid his age (now 68) and the illness are starting to take a toll on him so please keep him in your prayers. Again thanks for remembering us.”
Copyright E. Mark Windle 2013.
References
Billy Ray Smith. Personal coms. April and May 2012.
Donny Trexler. Personal coms. May 2012.
George Gell. Personal coms. May and July 2012.
Kev Roberts. Personal coms. June 2012.
Ripete Records. Marion Carter. Personal coms. May 2012.
Mark Dobson. Personal coms. June 2012.
Susan Trexler. Personal coms. May 2012.
Website: htto://www.theimpactsband.com
Website: http://livemusicjunkie.blogspot.co.uk/2008/09/donny-trexler-comes-of-age.html
Website: http://www.donnyandsusantrexler.com/about.html

By Windlesoul in Articles · April 2, 201510 yr

The latest in an occasional series of 'looks' at northern/rare soul clubs/events...

Paul Conroy has passed on the latest Soul Toon news for the rest of 2015...

The Lancastrian suite Gateshead is home to Soul Toon Alldayers and Allnighters

Alldayers are lined up here at the Fed in the "Soul Toon" for April 11th and the summer sees a August 1st event.
But as well as the alldayers we will also be holding on Saturday 23rd May our inaugural Northern Soul Allnighter!

All three events will consist of three rooms
Northern Soul in The Lancastrian Suite, Modern Soul in The Ramside Suite and 60's newies and underplayed via The Ramside Suite.

All three rooms will consist of National DJ's such as Richard Searling, Ginger Taylor, Sean Chapman, Nige Brown, Roger Banks, Horse Mick H, Andy Dyson Terry Jones to name a few amiably assisted by North East Djs Davy Mason, Toma, Harry Crosby and Tonge and guests.

Since the inception of the Soul Toon Alldayers they have gone from strength to strength attracting travellers' nationwide from Brighton, Newquay, London, Nottingham, Manchester, Yorkshire to Edinburgh, Dundee, Glasgow and Aberdeen with attendances being over 1000

On May 23rd this year there will be the first Northern Soul Allnighter at the venue!
It has been many years since the last allnighter on Tyneside and has taken over 20 years of persuasion but the management finally relented, so fingers crossed it will be a huge success and will hopefully pave the way for many more at this outstanding venue

All the best

Paul Conroy

Alldayer Info

Allnighter Info

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By Paul Conroy in Event News · April 1, 201510 yr

So sad to have to report that Billy passed away 1am Chicago time this morning.
Thanks for the music Billy, Mandy and I are proud to have known you

Paul Woosnam

artist sad news

By Soul Shrews in News Archives · March 31, 201510 yr

Nuneaton Co-op celebrates its 9th Anniversary next firday
Doing my first ever dancing competition to celebrate..

£50 to the winner!!

no 2nd no 3rd just £50 to the winner....

3 records then a final one to decide...

Good luck!

Mark Freeman

Macaroni Penguins at Cooper Bay, South Georgia on Flickr

By Wiganer1 in News Archives · March 27, 201510 yr

Forgive typos please, using my phone rather than a computer tongue emoticon

Skegness weekender and where to start? I could begin with a gushing wordy review of the music, venue, promoters, value for money, DJS, committed PROPER soul fans.... but I've done that many times in the past, and somethings are a given, and ever consistent. This is Skeg, the dancers dance, that's what they've come here for, novel idea that hopefully will catch on at nighters across the country. Wierdly, they smile and appear to be enjoying themselves, almost certainly part of that feeling of belonging which prevails, but then what would you expect from an event, where the promoters Donna Dean, Micheal D Cooper and David Raistrick meet you as you go in. Through the night they'll ask whether you're enjoying yourself, maybe a few other events might follow this template but that's asking a lot of northern's stand perfectly still evolvement, with the notable exception of Cleethorpes!! The most refreshing thing? There is a lack of Billy Bigbolloxity politics, Skeg clashed with another event, there was no wringing of hands, or snide digs, just acceptance that this occurs, and a willingness to try and avoid similar happening in the future. So much for not being wordy lol.

Musically, Soul Sam, Arthur Fenn, Bob Snow, Dick Krop, Steve Guarnori,Andy Powell, amongst many others, create the "Behave, all in the same venue, at the same time" wonderment, and this really is testament to their quality that I need say nothing more on that topic.

So to the thing I really want to get off my chest. In the era of "The fast buck, and fuck the punters", a venue that actively keeps piss heads out, and shows true ethical nous. Numbers were down, couldn't be missed really, an opportunity to swell the crowd with 40 local topers would have been gleefully accepted at lesser venues, NOT HERE!!! They were turned away, we were put first, and that is the definition of ethics in my book, and one of the things that will keep me returning. This one act was so appreciated, and I can say hand on heart, that whilst we as punters chatted about the numbers, not a single person said that they DIDN'T enjoy the weekender. A lot is written about the state of the soul scene, but looking at it objectively, mostly by people with an agenda. Their own venue, their own egos are clearly in play, and IMO they are only paying lip service to the northern scene. A lot like to "be seen" at whatever flavour venue is fashionable, it's incredibly shallow, The Grand Central, Skegness is an oasis, on the arid tundra, FFS quench your thirst properly!!

Oh, I danced a lot

event-reviews

By Winnie :-) in Articles · March 25, 201510 yr

The Generation
By Mark Windle
This Wilmington, North Carolina band was largely composed of high school students. Their sole 45 release was a very competent beach cover of The O’Jay’s Minit classic “Hold on” on a local Wilmington label in 1968. As The O’Jays version was already a northern soul classic, it was perhaps not surprising that The Generation’s take (Mockingbird MR 1010) would also find favour on the British soul scene. An up-tempo soul dancer, this track is not dissimilar to The O’Jays, other than the blue-eyed vocal presence and a short organ break characteristic of many beach bands. Wigan Casino DJ Richard Searling originally acquired it from John Anderson at Soul Bowl in 1976 and was first to play this on the UK scene. The track was covered up as The Soul Generation – a risky cover up name perhaps, yet its true identity remained unknown to the scene for at least 18 months and it was even released with the cover up name on UK RCA’s northern soul reissue label (Grapevine GRP 131).
Band members were Eddie Miller (rhythm guitar, lead vocal), his brother Bobby Miller (bass guitar, backing vocal), Robert Bordeaux (lead guitar, backing vocal), Chuck Shipton (keyboards) and Randy Luther (drums). Eddie Miller, lead singer for The Generation, still performs today with the Jamie Band throughout the Carolinas. He describes the band’s influences at the time as a mix of the British Invasion and soul – The Beatles, The Who, The Rolling Stones and The Moody Blues, but also Sam and Dave, The Spencer Davis Group, Wilson Pickett and Ray Charles. He also remembered recording “Hold On”.
The Mockingbird label was the brainchild of ‘Doc’ Johnson, a Wilmington local who had his own recording studio and label. The studio and label slogan was “Listen to the Mockingbird”. There were a couple of other soul orientated releases on Doc Johnson’s label, including the 1969 release by King Louie and the Court Jesters (MR 1007) “I’ve Been Down So Long” a deep soul ballad, with the funk flip “Broadway Up Tight” (King went on a year later to cut sessions, unreleased at the time, at Reflection Recording Studios in Charlotte, NC, backed by what was essentially The Tempests). The Generation were together for two years, from the spring of 1967 until 1969.

“Eddie, Robert, Bobby and I originally attended New Hanover High School” says Chuck Shipton. “Randy Luther had graduated High School in Statesville NC and came to Wrightsville Beach. He became our drummer in 1967. In 1968 Hoggard High School was opened and Bobby and Eddie went there. Randy was our leader and influenced our music more toward Motown and soul. He picked “Hold On” to be recorded at Dr. Hubert Johnson’s recording studio around 1967/68. Mockingbird was the studio label. Doc Johnson was a doctor in Wilmington who had a love for music and enjoyed recording as a hobby. He had built a recording studio in a single car size garage on the back of his house at basement level. It had a small control room in it, say 5 by 10 feet, and an old 16 track reel to reel recorder. A local DJ called Jay Howard was the sound engineer and did the mixing on a 16 channel tube type mixer. We recorded the rhythm tracks for “Hold On” in two takes. The vocals were added later. “Lonely Sea” (originally done by the Ventures) was Dr. Johnson’s favourite even though it was on the “B”side. We did several takes because Doc wanted the drums to do a large symbol crash like the waves crashing. I thought it was over the top because the crash was so overpowering, but we did it the way Doc wanted because he wasn’t charging us studio time. Jay Howard was the prime time DJ on WGNI radio station and he played our record all the time. He even used “Lonely Sea” for a lead in to the news.”
“We were booked by Jack Ford Theatrical Agency out of Tampa, Florida. In June 1968 we went on tour. My mother has film of the band playing in the Battle of the Bands in Wilmington 1968. The Generation played 30 days in Myrtle Beach, SC at the Bowery, a bar on the boardwalk of Myrtle Beach. We then did Clearwater, Florida where we played at the Bon Ton Club with “Strawberry Alarm Clock” and did other gigs around Tampa. In Florida, we had a disagreement and The Generation broke up in August 1968. When we returned to Wilmington we formed the Fifth Generation with a new drummer (Mickey Watson) and new lead guitar (Stacy Jackson). We were together through the summer of 1969 and were booked by Ted Hall’s Hit Attractions. Eventually Bobby joined the military and I got married. Eddie, Stacy, and Mickey got a new bass player (Bobby Stover) and formed Jamie. I went with the Brass Park in the fall of 1969. We had a reunion of The Generation, Soul Six, and Brass Park October 2010 and played for a High School reunion at Wrightsville beach recently.”
Bobby Miller has passed away. Eddie has remained in contact with the other three members. Chuck shared this email from Randy Luther:
“Hey, Chuck and Robert! It's been a long, long time. I hope you guys are doing well. I am the world's worst at keeping in touch with people. I have seen Eddie a couple times over the years, but I didn't even know where you guys are. I was saddened to hear that Bobby passed away. Who would have thought that "Hold On" would have reached England in the 70s, much less that someone still has interest in it and the band today. Very cool. I am curious about how many copies have been sold and who released it on a different label. I still have a copy of "Hold On" and the original recording contract we signed with Doc Johnson. I stopped playing professionally in 1978. I have done a few gigs and a couple of recording sessions since, but I got kinda of burned out on the business part of music in general, and especially the New York scene. I played with some great players and bands though. I have a fantastic drum studio in my home now, and I still play a couple of hours a day. My style and technique have developed over the years into something I am very proud of. I even got some great reviews from Rolling Stone magazine when I was with Warner Brothers in New York. These days I mostly stick with blues and R&B. I have fond memories of playing with you guys in The Generation. The music we played was clean, tight and fun.”
Copyright E. Mark Windle 2013.
References
Chuck Shipton. Personal coms. June, August, October 2012.
Eddie Miller. Personal coms. July 2012.
Emily Marriott. Personal coms. June and August 2012.
Sandy Williams. Personal coms. June 2012.

By Windlesoul in Articles · March 20, 201510 yr

Evenining All

Following a phone call this afternoon from the owner, we have been informed that there is an issue with the club's license which will take four weeks to resolve.

What that means is that we have had to cancel the Grumpy session on Saturday 4th April. Having considered last minute options and possible alternatives, gutted though we are, we've decided that this is the most sensible course of action. Rest assured though, this is just a temporary and unforseen blip; we'll be back with a proper bang in July for the anniversary!

We'll obviously contact as many folk as possible directly but would be really grateful if anyone who knows someone who was intent on coming along in April could let them know the score via email, text, Facebook or whatever. (We usually have a lot of folk who travel a fair distance and would hate anyone to have a wasted journey or to incur any unnecessary expense).

So, gutted of course but right back and banging in July as promised

Cheers

By Philt in Event News · March 18, 201510 yr

GEORGE McGREGOR - Detroit's busiest drummer.

There can't be many people who have seen active military service as a teenager in Korea, played music for some of the most famous doyens and despots in the world, yet enjoyed a long and distinguished career as a musician and record producer in one of the most creative eras of popular music ever. George McGregor has. Over five decades, beginning in the mid 1950s, he played drums on everything from marching bands to Motown with a technical proficiency and distinctive style that made him one of the premier military beaters, and one of the most in-demand recording session players in Detroit. His song writing and production prowess was featured on hundreds of recordings, for a wide variety of artists, locally and nationally, and he provided percussion panache on thousands of commercials, radio and tv jingles and movie soundtracks. McGregor's recollections of his time in the pop music 'business' are candid, direct and brutally honest, and provide a tantalising insight into the seamier aspects of the people, places and practices that characterized his time amidst the frenzied drive for commercial success in Detroit throughout the 1960s and 1970s.

His interest in music began in his early teens at Hutchins Junior High School on the west side of Detroit. “Popcorn Wylie, Barrett Strong, Smokey and Aretha all went to my school at that time and Paul Riser is my cousin, so there was a lot of interest in music back then. In 1955 I helped start the first ever black drum corps in the nation. We were called the Detroit Thunderbirds and we came third in a national competition. By the time I was ready to graduate in 1958, one of my teachers, Mr. William Rocky, who played flute with the Detroit Symphony, suggested I join the military to develop my talents further. He wrote letters to the military band people in Washington, D.C. recommending me to them. He had taught me how to write orchestrations from when I was fifteen, so he knew my talent.” McGregor was enrolled at the U.S.Naval School of Music in Washington and began studying percussion. “I was proud to have joined the programme 'cause usually you had to already have a Bachelor's degree to get in. I wasn't there long before they shipped me to off to Missouri for my basic training and then I was sent to Korea as a combat soldier, and a member of the band. I was in the DMZ ( De Militarized Zone) in combat for a while, then they sent me back to Seoul to play in the main band full time. We played for Dwight D.Eisenhower, Haile Selassie, Sheng Kai Shek, Hoe Chi Min and many other dignitaries at these big diplomatic ceremonies over there. I came back to the States in 1960 and was based in DC again. That's when we played for John F. Kennedy and the Russian leader Nikita Khrushchev but there was a lot of discrimination in the military back then and I didn't like it, even though I could have had a career with them.” He decided to resign from the military and gained an honourable discharge in 1962 before heading back home to Detroit. “I knew what was going on 'cause I'd heard all these hit songs on the radio and on jukeboxes and I knew they were being played by all the cats I had grown up with. It was an easy decision.”

The Don Davis Trio l to r George McGregor, Don Davis and Clarence McCleod

Ironically, George McGregor's first employment back in Detroit wasn't in music at all. “I got a job selling insurance for $300 a week. I was earning $100 playing clubs plus I started doing recording sessions too. I could read music and write charts so there was plenty of work. The first recording session I did was for Johnnie Mae Matthews on Timmy Shaw – 'Send you back to Georgia' but then I did a lot for Mike Hanks - Lee Rogers, The Peps, Dee Edwards and others. Rudy Robinson was around then and he was a great guy to work with. I always got along with Mike Hanks – he was easy going. He always had a frown on his face but it was a cover. He would give everything he had away. That's when I met Don Davis. We had a trio I started with him and a piano player called Clarence McCleod. We would play in clubs throughout the city and sometimes out in Michigan. I didn't want my name up front so I called it the Don Davis Trio. Don was a very accomplished guitarist, he had studied under Wes Montgomery, but didn't have the confidence. He didn't realise how good he was. He did a lot of sessions as a guitarist around the recording studios. Don got me over to Thelma Records run by Mr. and Mrs. Coleman. It was named after their daughter who had been married to Berry Gordy. I did sessions for Emanuel Laskey, Martha Starr and their other artists. Don Mancha, Kingfish and Clay McMurray were around then. I did quite few sessions for Earnest Burt too. He had Magic City Records. I liked Earnest. In fact, I was with him the night he was killed. He had dropped me off after a session and was going off to a party. He was all over town with different women and was meeting this woman he knew. I guess they got into it and her son got involved and shot him.” The camaraderie among musicians was high throughout McGregor's tenure, even if it did get out of hand on at least one occasion. “We had an uncommon love between us and we did tease each other. We were like big kids with sibling rivalry. I can't think of one musician who killed another one. Joe Hunter was shot once out at Belle Isle and they said it was Dave Hamilton, but it couldn't have been 'cause Dave pulled him out of the water. I think some other guy did it and ran off.” McGregor's real animosity is reserved for club owners and their underhand methods of pay avoidance. “Most club owners were assholes who would do whatever they could to try and trim your money down. They would tell us that the crowd was too small, or the crowd didn't like what we were playing - all kinds of excuses like that. Guns were drawn on occasions, I can tell you that! It was different with the guys who owned and ran the studios – they knew that if they didn't pay us we wouldn't work for them again, and the word would get out.”

By 1965 George McGregor was one of the busiest drummers in Detroit not to work for Motown. “I did a couple of sessions in the late 60s for them. That's me on 'Ain't no mountain high enough' and 'Ain't nothing like the real thing'for Marvin and Tammi, but I didn't need them 'cause I was so busy with everything else. I did most of Edwin Starr's things with Motown 'cause Edwin didn't like to record at their studio on Grand Boulevard – he liked Golden World and would record there. Back in '63 I was with Eddie 'Bongo' (Brown) when he introduced me to Mickey Stevenson. Eddie told him I was a drummer and that I could write good songs too. Mickey told me that if I brought any songs to him that he would get 75% and I would get the rest, so I told him to kiss my ass. I was tight with Benny Benjamin and he told me that they didn't want me there 'cause they didn't like my style but I didn't care. Later on, I became good friends with Kim Weston who told me how important Mickey was to the whole Motown thing. Berry Gordy could have never done it without him 'cause Mickey knew the business and most of the key players in it through his mom, Kitty Stevenson, who was a performer and had taken him on the road with her since he was a kid in the 40s and 50s and introduced him around. The rest of them didn't know what they were doing. Mickey was the man on the street. It was Mickey that brought in most of the musicians, writers and key people to the operation.” The completion of the Golden World recording facility on Davison added an even wider dimension to the recording scene in the city. “In 1964 Mr. Wingate spent $500,000 of his own money to build that studio and it gave us all a platform to work from. Mr. Wingate was a 'numbers man' – he made a lot of money from illicit gambling and then he put his money into music and he built the Twenty Grand motel later too. I guess it was so that he could 'clean' his money. He was a good guy to work for though – he was very generous and would always pay us in cash. I remember one time when the studio piano, which was real old and on it's last legs, had just been tuned before a session and Earl (Van Dyke) came in to use it. Earl's style was to really hammer the keys and after a few minutes of him playing it, it was out of tune again. Earl just stood up and walked out. So Mr. Wingate said to this assistant who used to follow him around 'Go and dig me up some money'. So, about an hour later this guy comes back in with a couple of what looked like coffee tins and gives them to Mr. Wingate. He opened the first one and started pulling huge rolls of $1000 bills out but I guess the damp had got to them, wherever he had buried them, and they were all chewed away and couldn't be used. Same with the other one. He sends the guy out again and when he came back the money was OK. He peeled off $4000 out of the tins and sent me and Mike Terry out to buy a new piano. True story. You have to remember that back then, in many of the black communities, the 'numbers man' was the banker to a lot of people 'cause the banks wouldn't let us open accounts. So the 'numbers man' would lend people money to open record stores or other kinds of small businesses. They would help people out with rent and food sometimes too.”

l to r George McGregor, Eddie Willis, Wilson Williams, Bob Babbitt

McGregor's foray into the recording scene intensified as the success levels rose.“I became the studio drummer at Golden World and they used me on most of their stuff, unless they wanted a different sound, when they might bring Uriel or Pistol in. I was getting a lot of sessions over at United Sound too, and played on a lot of Ollie McLaughlin's stuff, Brunswick stuff that Sonny Sanders would bring to Detroit and a lot of 'outside' productions. A lot of the big companies wanted to cash in on the success of Motown, so they would send their people to record with us. I applied to join the Detroit Symphony Orchestra around that time 'cause I felt so confident in all aspects of my playing, but they didn't even send me an application. There was a lot of racial segregation back then, even in music. We were getting $10 a side when the DSO people were getting $69 every three hours. Yet we were all paying the same Union dues. Our Union was Local number 5 and it didn't do a lot to help us. I remember when 'Cool Jerk' hit and we were expecting to get royalties on it but they said they couldn't find the contracts. I got paid $10 for that session and that was it! I never got a royalty cheque on any of the tunes I played on, whether they were hits or not.” Pop music was not the only recording work many of the musicians in Detroit made money from. “We did a lot of work for Artie Fields on jingles and tv or radio commercials and vibe player Jack Brokensa was a great writer of movie scores, so we would do that too – usually at United. That was probably the most fun and the most challenging to all of us. We were all accomplished musicians and we liked being challenged. Most of the pop music stuff was real easy and we could stroll through it pretty quickly – that why producers from all over liked working with us - we would save them studio time money.”

He gained notoriety as a song writer and producer too, as the 1960s progressed, but only after an initial struggle. “When I came back to Detroit I caught hell from the likes of George Clinton, Al Kent and Don Davis 'cause they wouldn't let me get my songs through. I was trying to write music using the full range of components, like I'd been taught at the Military Academy – the type of stuff Paul Riser was doing with violas and cellos as well as strings. They were just writing what I called 'Bubble gum pop'. Tobi Lark told me that they knew that if I was given a real chance I would have taken off – that's why they were blocking me. LeBaron Taylor was in my corner. He introduced me to Thom Bell, when he was in town one time, and told him that I wrote the type of material Burt Bacharach was writing. He (Bell) told me that I should go to either New York or LA to get a better chance.” McGregor's loyalty was to Detroit however. “LeBaron gave me a chance so I gave him 'Hit and run' that he cut on Rose Batiste.I wrote that alone but other people's names were always showing up on my songs – I would write with Cody Black but he didn't add anything to that song. I produced that song too – alone. It almost came to blows when I found out that Don Davis had put his name on it as producer and also added 'Under supervision' of him and Lebaron. I was SO mad. 'I'm satisfied' ended up on the San Remo strings but that one came about 'cause we used to play it live at the Frolic Club as the Don Davis Trio. We went to the studio one night and cut it.

I also did a couple of my things on Barbara Mercer over at Golden World too. Mr. Wingate gave me that chance. I wrote 'Happiness is here' on her and 'Just penciled in.' They didn't like 'Happiness' is here' when it was finished so I bought the track from Mr. Wingate for $500 and later, when Dave Hamilton got some investment on his label, did it on Tobi Lark. General Motors were interested in the track. They were thinking of using it on a Chevy commercial but it didn't happen. 'Just penciled in' ended up at Motown. When Mr. Wingate sold everything to Berry Gordy it was kinda chaotic around the Golden World building and people snatched tapes. Don Davis took that one and sold it to Motown.”

By 1967 he had achieved a breakthrough of sorts by being hired as Musical Director for Sidra (pronounced 'see - drah') Records. “Sidra was owned by two white guys, Ray Jackson and Joe Casey, and a black guy Joe Brown. Joe Casey's kids recorded for us. They were called Ronnie and Robyn. They gave me a chance to recruit artists, write and produce, so I got right to it. We had the Precisions, Barbara Mercer, Timmy Willis and I used Mike Terry to arrange. The first thing we cut on the Precisions was 'Such misery' which did OK locally and then we had 'Why girl'. Our tactics were to see what kinda thing Motown were putting out on the Temps and then do the opposite – if they put a ballad out we would put something out up tempo. If they put something funkier, we would put something smooth out, and it was working. It was driving them crazy over there. Paul Williams and Otis (Williams) of the Temps told me this themselves. On the third release we kinda got hijacked 'cause Mike Valvano and Charlie Basaline came in and convinced the owners to cut one of their songs 'If this is love (I'd rather be lonely)' on the group. It should never have been released as the A side – we should have gone with 'You'll soon be gone'. We lost momentum. I was told later that Motown had paid Mike and Charlie $10,000 to go over to us to wreck the system, by putting their song out on them. The Precisions were as good as the Temps and should have been a lot bigger than they were. In the end, there was a lot of politicking that destroyed us – I guess that's what Motown wanted.” Despite the disappointments, Sidra material did earn money for the company and did produce small scale hits, including 'Mr. Soul Satisfaction' for Timmy Willis. “I liked working with him and wrote a few things just for him. We did 'Such misery' on Timmy first but then decided to put it out on the Precisions to kinda launch them. 'Mr. Soul Satisfaction' did well for us – I wrote that one alone too.” Another Sidra artist to benefit from the talents of Messrs. Terry and McGregor was Barbara Mercer. “We bought up her contract from Mr. Wingate and wrote especially for her. Me, Mike Terry and Doris McNeil, who was really good with lyrics, did some songs on her. We cut 'Call on me' and 'So real' at Sidra with another tune called 'In my window', which we didn't put out. I usually liked to record three tunes at a session and then choose the best two for release. Mike did great arrangements on those tunes. They put it out locally first, then Capitol picked it up nationally so we did a different mix on it. We were disappointed it didn't do better.”

Despite the eventual demise of the Sidra/Drew operation, McGregor continued to write songs, play on sessions and produce new projects. “I wrote a song called 'Geni and the magic lamp' which I wanted to put with Aretha Franklin because I knew some of her people, but Don Davis took it and cut it on Mavis Staples first. I produced the track on a girl LeBaron Taylor brought in, Terri Bryant, but Pat Lewis sang on the demo version first. That's why Don gave her a writer's credit I think and George Clinton got a credit too but I don't know what he did on it! Don was an asshole with things like this and did it to a lot of other people too.” The move to writing and producing created several key changes in the way he approached recording. “If I produced a session I usually would not play drums on it 'cause I couldn't see the big picture and might miss something on the recording. At that time, we would cut the session first and then shop it to different companies later. If I came up with songs I would assemble the musicians on the understanding that if I got a deal they would get a share of it for playing. We had a real tight bond and trusted each other so there was a lot of honesty among us. We supported each other. I would usually go to New York to get a deal 'cause that was the closest, and best, place to get to the record companies. I got a deal with Tobi Lark at Cotillion, Bettye Lavette at Epic, Ruby Andrews at ABC, Gwen Owens at Jubilee and later got Rena Scott with Epic too on my songs.” McGregor got the chance to coordinate recording for another production company when he was approached by Uptight Productions. “That was owned by Marvin Figgens and Arnold Wright. They had made some money and wanted to get into the business but didn't really know how to go about it. That's why they brought me in. It was quite common at that time for local, successful, businessmen to invest in music, and the rewards could be great if they got hits. We had Gaslight, which was Oliver Cheatham's group, who cut three of my songs 'I'm only a man' , 'Just because of you' and 'I'm gonna get you'. The company really liked 'I'm only a man' and put the same recording out again under a different group name – Butch and the Newports. 'Butch' was Oliver Cheatham's nickname. Then we had Little Rena Scott, who recorded 'I just can't forget that boy', 'Testify' and ' I finally found a love'. We got all of those tunes with Epic. I also did a tune that I wrote with Almeta Latimore called 'La la' but we went down to Memphis to record 'cause I wanted a different sound. We went to Stax. She was a good writer and had a hell of a voice.”

George McGregor's direct contribution to one of the most creative periods in popular music is significant. He played on, literally, hundreds of songs, wrote and produced scores more and became an influential presence in all aspects of the Detroit recording industry. Detroit's busiest drummer!

Ed and Sue Wolfrum all rights reserved 2015

A small sample of the many great Detroit records on which George McGregor played drums.

EDWIN STARR You're my mellow, Back Street, SOS, Headline news.
DARRELL BANKS/JJ BARNES Our love (is in the pocket)
THERESA LINDSEY Prepared to love you
LITTLE CARL CARLTON Competition ain't nothing
DENA BARNES If you ever walk out of my life
DOTTIE & MILLIE Talking about my baby, Nothing in this world
TOBI LARK Happiness is here, Challenge my love
EMANUEL LASKEY Peace loving man, Don't lead me on baby, Sweet lies.
FABULOUS PEPS My love looks good on you, Speak your peace.
PEOPLE'S CHOICE Saving my love for you
ANN PERRY That's the way he is
ROSE BATISTE Hit and run, I miss my baby, Holding hands
GENE CHANDLER Mr. Big shot
JACKIE WILSON Higher and higher, Whispers.
TONY & TYRONE Please operator
LOLLIPOPS Loving good feeling
FASCINATIONS Girls are out to get you
DEON JACKSON That's what you do to me.
LEAH DAWSON My mechanical man
BILLY KENNEDY Sweet things, Groovy generation.
STANLEY MITCHELL Get it baby

...and so many more

Rob 'The renegade' Moss
March 2015
http://www.hayleyrecords.co.uk

By Rob Moss in Articles · March 17, 201510 yr

Date Of Induction: 01 November 2014 Category : Male Vocal Group
The Masqueraders, have spanned a recording career of over 50 years and still enjoy the original line up of members from their beginnings half a century ago. Their story and history is one of musical struggle. Only their determination, sheer toil, perseverance and belief in what they were capable of held them together over these years. To have stayed together for such a length of time is almost unique. Groups like The Four Tops, The OJays, The Dells, etc have an equal claim to longevity but the major difference between these groups and The Masqueraders is that The Masqueraders achieved it without the commercial break out usually associated with a long successful career. They have written and released enough records to make collecting their output a whole hobby in itself. Most of their catalogue of records are guaranteed floor fillers, some of them forty years from their musical birth. A catalogue of 25 singles and 3 LP's, not too bad for a group that never really hit the big time in terms of commercial chart success.
Formed in their home town of Dallas, Texas whilst in the 8th grade at TC Haskell School during the late 50`s, school friends Robert Wrightsil and Charlie Moore got together with Johnny and Lawrence Davis to form a singing quartet. Charlie Moore was doing lead vocals with Robert, Johnny and Lawrence performing tenor support, a bass vocalist was needed and Charlie Gibson was recruited into the position. Little Charlie, as he was known, was so little he would regularly have to stand on a case of Coca Cola during their performances.
The Group decided on the name The Stairs and their ability to sing other groups material, some of which they could perform even better than the originals incorporating their tightly knit harmonies slowly but surely built them a reputation in and around their home town leading to a full diary of engagements at local clubs and lounges.
The Stairs first venture into the recording studio was late 1959, where they recorded their very first track for a local entrepreneur Alvin Howard for his Sound Town set up with a version of a song previously recorded by another group and released as, The Saucers — “Flossie Mae b/w Hi-Oom” — Kick100 . The subsequent tracks done for Mr Howard, “I Got A Girl And Her Name is Flossie Mae” and “The Caveman” failed to make it onto wax though.
At the dawn of the swingin’ sixties the group underwent a drastic line-up change when first, after a minor disagreement, the brothers, Lawrence and Johnny left the group, then in 1961 Little Charles also left, having enlisted in the US Army.
The remaining members were now the two original members Robert and Charlie and whilst on the lookout for new members they came across Lee Westley Jones, who was then working as a car valet. Lee had a voice that would fit snugly into the position of lead or tenor and was under consideration as a member. By a stroke of luck though, the group’s next member had recently returned back to Dallas from living out of town and Harold Larry Thomas (known as Sundance), stumbled upon the Stairs practicing their harmonies and recalls that they sounded so good, that initially he thought he was listening to a record!
That chance meeting later turned into an offer to join the group and the duo became a trio but were still actively searching for new members. David “Cowboy” Sanders Jr. who was, at the time, like many other black kids looking to get afoot on the musical ladder, was singing ‘under the street lamps’, with a small, similar group of guys to The Stairs. The groups met and sang together and it was this meeting that resulted in two member of Sanders`s group joining the newly renamed New Drifters as they had come to be known. It was also at this point Orberdean Deloney (AKA Deano) stepped in to replace Harold Thomas as he decided to join the US Marines Corps. Willie Charles Gray stepped in to Little Charles position when he left for the Army in 61 and David Sanders joined the group later that same year when the group began gigging as the New Drifters.
Willie Charles Gray soon left to join one of the hottest acts in the neighborhood — Les Watson and the Panthers. They recorded a very obscure album for Jarrett Boren which was purported to be a live concert from Dallas’ Blackout Club and which contained the band’s version of recent popular R&B tunes like, “Stand By Me”, The Coasters “Young Blood” and “You’re So Fine” by The Falcons. Les Watson and The Panthers also delivered a number of great 45s including the brilliant mid tempo outing — Les Watson — “Soul Man Blues b/w No Peace No Rest” — Pompeii 66689 and a raucus uptempo version of The 5 Royales hit with, - Charles Gray, Les Watson and The Panthers Don’t Do It b/w I Found Love — Village 103 . Willie Charles Gray himself would also release a noteworthy solo 45, Willie Charles Gray — “I’m Gonna Be A Winner b/w Here I Go Again” — Mercury 72608, a great mid-tempo popcorn sounding outing that has received sporadic plays over the years.

At this time the group where touring local clubs and the group members were Robert Wrightsil, Charlie Moore, David Sanders and Deano Deloney, Lee Wesley Jones was also still around but only during rehearsals. The guys would often turn up at gigs under the guise of the latest group that was enjoying a hit, sing the current hit songs and the crowds were none the wiser. As this ruse was pretty successful, they changed their name to… The Masqueraders.
Early in 1964, the group went back in the studio for their second attempt at releasing a 45. The release was a cover of a Curtis Mayfield penned track, first recorded by Gene Chandler on Vee Jay which became a minor hit in Chicago area in late 1963. The track was released on Scotty McKays MK imprint and was credited to The Masqueraders. (1) but, probably due to Mr McKay’s limited funds and distribution the 45, The Masqueraders — “Man’s Temptations b/w Let’s Dance” — MK 101, slipped by unnoticed by the record buying public.

Their second visit to the studio`s in early 1965 would deliver their first Northern soul dance floor filler, this time for Alvin Howard and his newly formed label Soultown logo. The tracks were written by group members Jones, Moore and Thomas and the line-up that recorded them consisted of Lee Jones, Robert Wrightsil, Charlie Moore, Little Charlie Gibson (who by now had re-joined the group for a short spell) and Harold Thomas. With Howard mistakenly omitting The 'e' and ‘r’ from the group’s name The Masquaders — “Talk About A Woman b/w That’s The Same Thing” — Soultown 201, featuring Lee Jones’ impassioned lead vocal highlights the groups forte which is a tight, harmonious gospel tinged sound and the 45 became a much sought after disc on the Northern soul circuit, due to the popularity of ‘That’s The Same Thing’.

Group member David Sanders was also singing at the time with other outfits around the Dallas area performing gospel, blues and RnB but didn’t perform or record as a soloist.
With no commercial action on the horizon outside of Dallas, Alvin Howard had been up in Detroit and had included a visit to Motown where he arranged an audition for the group with Mickey Stevenson, Gordy’s then ‘go to’ A&R guy. A now, more permanent lineup of Robert Wrightsil, Charlie Moore, Harold Thomas, David Sanders and Lee Jones, made their famous trip to Detroit in the spring of 1965, with just enough cash to pay for a one way flight. However, on arrival at Hitsville, the group members were left somewhat hanging when they were told that Stevenson had just moved out to the West Coast. (2) They did however, audition unsuccessfully for James Dean who advised them that Motown already had a full roster of male singing combos via The Temptations, Four Tops etc.

With no return flight tickets or any means of returning home the guys needed a place to stay and, with only $15 in their communal pockets made their way to the YMCA in order to form a plan of action. With two guys paying the accommodation fee and the other three sneaking into the room unnoticed. The Masqueraders spent their first night in the Motor City. A city that, unknown to them would, a decade later, ensure that their soulful recording legacy would be hunted down and treasured by fans a continent away. The group had heard of the famous 20 Grand Club at 14th and Warren and decided that they would make their way, try and get a singing opportunity and raise some much needed cash. I guess it seemed as good a plan as any. (3)
While making their way to the 20 Grand along 14th Street, they encountered a large two story house with a sign declaring “La Beat” and a microphone in the large from bay window. The building looked like it might be a recording studio and so they decided to try their luck as they had nothing to lose. Unfortunately the owner wasn’t around so the guys sang for someone they remember being called Ted Wilson who was impressed enough to invite them back when the owner… Lou Beatty was around. They made a note of the buildings location and continued on to the 20 Grand where, after bad start to the day, their luck finally changed and they were given opportunity on stage. Their performance was greeted positively by the audience who turned that appreciation into hard cash by throwing money on stage for the guys. Maybe Detroit wasn’t so bad after all, a successful gig, money for rooms and an audition booked at a recording studio at 6070-6076 14 St!
The group returned bright and early to be greeted by Lou Beatty himself who, suitably impressed by their performance signed them to his La Beat label with its fantastic bongo drum logos and allocated them an apartment in the basement of one of the motels he owned. (4) Their first single on La Beat in 1966 was penned and produced by the label owner himself and, The Masqueraders - A Family Pt 1 b/w A Family Pt 2” — La Beat 6605, has often been overshadowed by their later releases but is a more then noteworthy effort as the guys deliver their splendid harmonies over a maybe some-what dated soundtrack. The flip is a doo wop inspired version of the same song that extols the virtues of how a man has a responsibility to hold his family together. Beatty managed to licence the 45 to Capitol’s Tower subsidiary and it gained a further release as Tower # 281 in October 1966 but this 45 also resulted in poor sales.
The following single couldn’t have been more different and was written by a couple of people we currently know very little about, (guitarist Curtis Trusel and drummer Johnny Mills), who I presume are part of the LPTs as they also wrote Lester Tipton’s “This Won’t Change” (La Beat # 6607) and Nelson Sanders’, “Love Is Here To Stay” (La Beat # 6608)) both of which are fantastic slices of 60s Detroit soul. The Masqueraders — “I’m Gonna Make It b/w How” — La Beat 6606 delivered a double sider of differing musical stylings but both have at the heart of them the lifeblood of sixties Detroit dance music, a strong beat and harmonies of stupendous quality. The top side is a mid tempo musical battering ram with the guys performing over a crashing backbeat augmented by chanking guitar riffs whilst the flip is more of the same but this time pitched up a little more and much smoother vocal inflections and a call and response technique that the guys employ with great aplomb. The Detroit signature ‘pinging’ percussion and guitar riffs present on so many mid-sixties 45s are a delight and the 45 has rightly stayed on DJs playlists over the years and as such is much sought after disc too.

The Masqueraders would go on to release a further six 45s for Lou Beatty’s Detroit set up, but the numbering system of the 45s leaves a lot to be desired almost 50 years later as the catelogue includes two 45s that contained instrumental versions of the vocal sides of the 45s, The Masqueraders — “Be Happy For Me b/w Be Happy For Me (Instr)” — La Beat 6701 and The Masqueraders “Together That’s The Only Way b/w Together That’s The only Way (Instr)” — La Beat 6701 that shared the cat # with the slightly earlier release which combined the vocal versions back to back on The Masqueraders — “Together That’s The Only Way b/w Be Happy For Me” — La Beat 6701. Confused? You should be. The final release on La Beat, The Masqueraders — “I Got The Power b/w Together That’s The Only Way” — La Beat 6704/5 combines a powerhouse of a dancer on the topside written by two members of The Brothers Of Soul is a song full of up-tempo harmonies, drum fills, a fantastic horn break and some of the longest ‘Ooohs and Aaahs’ ever to grace a 45 with a Lou Beatty penned dancer! The Brothers Of Soul aka Fred Bridges, Richard Knight, (later replaced by Ben Knight) and Bobby Eaton wrote and recorded some of Detroit's most iconic soul songs and in 2011, Fred Bridges and Bobby Eaton appeared at the West Indian Club in Coventry in a live show organised by Rob Moss of UK's Hayley Records and delighted the audience with a repertoire of their musical legacy.
Lou Beatty himself could write, his interest in music went further than just a vehicle to generate revenue, it’s a shame he couldn’t quite achieve that break out hit he needed to put his efforts onto the national stage. In addition to their own releases The Masqueraders would also support the other artists within the production set up as backing singers and can be heard on 45s by Al Williams and James Shorter.

After twelve months in Detroit there was still no satisfactory commercial payback for their efforts and they felt that they weren’t progressing as they should in their careers. It’s a familiar story of great, well performed product, but lacking the marketing muscle of Gordy’s empire and that little slice of luck it simply wasn’t forthcoming. It was time for the guys to search out new musical pastures. This time they looked Southwards to a city that was by now, emerging as a powerhouse player in terms of soul music.
Memphis was a hip happening city in 1967 as far as music was concerned. Stax records were riding high with Booker T Jones and the MGs and The Mar Keys horns providing a musical platform for Isaac Hayes and David Porter’s gritty, down home rough-hewn soul that provided a foil to the Motown sheen with its stylish use of rhythmic beats, Jones’ innovative Hammond organ work and a tight well drilled rhythm section that included Steve Cropper, Donald ‘Duck’ Dunn and Al Jackson. In addition Willie Mitchell had established his Royal Recording Studio in an old renovated movie theater in South Memphis using the famed Hi Rhythm Section house-band and had been made a vice president of the city’s Hi Records. He, along with Al Green, was shifting bucket loads of 45s as the label blossomed in the sixties. (5) If Memphis was where it was happening then Memphis was where The Masqueraders were headed.

The Stax company were indirectly responsible for the recording opportunity afforded the group on their arrival on the Mississippi. The studio the guys would end up recording in, was owned by Chips Moman who had financed the studio at 827 Thomas St, which he named American Sound Studio, with money he won in a lawsuit against Stax record owners Jim Stewart and Estelle Axton. The case arose from litigation instigated by Moman in connection with the Booker T and The MGs ‘Green Onions’ smash hit. (6) Lincoln Wayne ‘Chips’ Moman arrived in Memphis aged 14 from his native La Grange, Georgia and was already a seasoned guitarist. His initial entry into the music business came via Dorsey and Johnny Burnett for whom he was employed as a studio session player and he would also play on Aretha Franklin’s early Atlantic sessions. In 1962 he established American Sound Studios with his first partner, Seymour Rosenberg and in 1964 he partnered up with Don Crews, a former farmer from Arkansas who became the business catalyst for the studio.
In similar fashion to Berry Gordy, STAX and Rick Hall (FAME), Moman surrounded himself with the some of the best musicians he could find and established a house band at American Sound nicknamed Americas New Rhythm Section aka The 827 St Band and, as their fame spread they would later become known as ‘The Memphis Boys’. These young musicians, like other legendary groupings, would ply their trade predominantly in the studio, take the US Charts by storm and like the other house bands mentioned, go largely unnoticed by the general record buying public.

To compliment the American Sound Studio, Moman started his own label, AGP (American Group Productions), established his own publishing company, Pacemaker Music and would eventually gain legendary status after he produced Elvis' 1969 album “From Elvis In Memphis”, and his 1970 LP release, "Elvis Back In Memphis".
After auditioning for Chips Moman, Moman gave The Masqueraders a contract, and signed the group with Penthouse, the predecessor to his AGP logo. Through the late '60s, whilst Moman was producing hit records for Atlantic on acts such as Wilson Pickett, The Masqueraders took their chance to rub shoulders with such musical luminaries as Elvis, Wilson Pickett, and Joe Simon to name a few. They also provided backing vocals on many more great records recorded at America Sound. One of their claims to fame was to sing backing for Arthur Conley’s hit “Sweet Soul Music” A good proportion of their earnings at the time was made by singing background and writing songs for themselves and others. One track that members of the group wrote was Roosevelt Grier — “C'Mon Cupid b/w High Society Woman —Amy 11015, that delivers a great up-tempo organ driven dancer coupled with an out and out ballad, complete with a Southern styled twangy guitar that was also was produced by Moman and Cogbill. The Pama logo in UK picked up the rights and that particular Roosevelt Grier 45 gained a release on that label in UK. (Pama # 784). Of course Rosey Grier would become something of a Northern Soul hero in his own right with the ex American football star releasing 45s not just on the AGP label but also on Rik and Mike Hanks’ Detroit based D Town imprint.

The Masqueraders next 45 to be placed before the public was penned by group members Harold Thomas and Lee Jones and recorded at American Studios having been produced by Chips Moman and comprised a sweet soul ballad with a grittier performance on the flip, The Masqueraders - “Let's Face Facts b/w I Don’t Want Nobody to Lead Me On” — Wand 1168. Chips secured a lease to New York’s Wand imprint when label owner Florence Greenberg was visiting the American Sound location with Ronnie Milsap who was signed to her label, Ronnie would record at the studio and it was during these meetings that Chips successfully punted The Masqueraders recordings to Florence.

The follow up 45, also leased to Ms Greenberg’s label, would go on to became a hugely successful dancer on the Northern soul scene a decade later coupling a slow, passionately delivered group penned (Thomas/Jones), ballad with one of the group’s evergreen dancers, The Masqueraders — Sweet Lovin’ Woman b/w Do You Love Me Baby — Wand 1172. The flip, written by group members Rightsil, Jones and Moore was produced by Tommy Cogbill, the same guy who played bass guitar on Elvis’ fantastic “Suspicous Minds” outing and is, for many of their Northern soul fans, their finest hour with its undeniably American Sound signature drum and rhythm guitar combo providing a great platform for the guys vocal abilities.
Sandwiched in between the two Wand 45s the group also released a single for Larry Uttal’s Amy label. Due to the contractual obligations in place with Wand the groups outing went under a pseudonym as, Lee Jones And The Sound Of Soul — “This Heart Is Haunted b/w On The Other Side” — Amy 11008. Both sides were written and produced by American Sound Studio staff that included Southern soul legends: Spooner Oldham and Dan Penn. The flip contains a desperately melancholy tale of abandonment, with a sparse production that leaves the vocals as the main effort. And it’s an effort steeped in a heavy Gospel vibe that the guys pull off 100% .

Larry Utall, the head honcho at New York-based Amy/Bell/Mala family of labels, and previously of Madison Records, then later of Private Stock Records, offered to release more tracks on the group. And the group tried to get Moman to record a track they had written, but he wasn’t overly impressed. Once again it was Tommy Cogbill who produced the track which in the end was part of a deal done with Uttal that saw the group’s material released on Bell Records. The Masqueraders - “I Ain't Got To Love Nobody Else b/w I Got It” — Bell 733 delivered a sweet soul outing that ranks up with anything else within that particular genre and is choc full of the quality vocals the group so regularly delivered. Set at a high tenor, there’s no gritty testifying being done here, it’s a weeping, sensitive performance from all round. Soaring choruses, interspersing verses telling a tale of powerful love helped make this the most successful outing in the group’s lengthy career in terms of sales pushing the 45 to # 7on the RnB Chart and #57 on the Billboard Pop equivalent. After almost a decade of quality singing…The Masqueraders were on the Charts!

Their tenure at Bell would also deliver one of those great crossover 45s that, until the term was coined, sat in a kind of limbo as far as its musical pigeon hole was concerned. The Masqueraders — “How Big Is Big b/w Please Take Me Back” — Bell 847 is a differently styled recording to what Amerian Sound were producing at the time in 1968. Almost acoustic sounding, its sparse backing track relies on the quality vocals to instill the atmosphere to the song, which is a sweet ballad and that they manage to achieve this is a testament to The Masqueraders artistry. Lilting lead vocals supported by distant sounding voices that Tom Coghill got perfect over that acoustic guitar and a gentle, gossamer piece of drumming make this a quality piece that every collector should have filed under M.
Given that many of the staff at American Sound had Elvis connections it should come as no surprise that the group released an Elvis song. The Masqueraders — Steamroller b/w Brotherhood — Bell 932 isn’t really suited to the talents of the group as this James Taylor penned song was actually composed as an out and out blues song and as both Taylor’s and Elvis’ version highlights it's best performed as such. The Masqueraders version attempts to create that down home, southern growl that conjures up the smell of fried chicken and collard greens but The Masqueraders vocal skills lie in a more sweetened sound. Fortunately they would return to their comfort zone with the next release.
Having charted with Bell #733 Chips, probably with an eye on a better payday released the next 45 from the group on his own AGP, (American Group Productions) and The Masqueraders — “I’m Just An Average Guy b/w I Ain’t Gonna Stop” — AGP 108 was the first of two great sweet soul outings on Momar’s logo who had secured Uttal’s distribution via Bell despite a spat between the two over the group’s releases (Uttal was trying to establish Bell as a major player in RnB market at the time and was probably miffed that the group were appearing on a different label). Lee Jones plaintive lead on “I’m Just An Average Guy” and the quality of the group’s supporting efforts are performances that deserved much more success than they actually delivered having stalled at #34 on the RnB Chart in the early weeks of 1969. The 45 is another that nestles on every discerning soul music collectors shelves and is a fine example of what soul music is all about extracting a fantastic secular performance without displacing the voices that remain in steeped in a Gospel traditional sound. It’s a fantastic 45!

Despite erratic chart placings the group saw an increase in live bookings, especially on the back of “I Ain’t Got To Love Nobody Else” and their live gigs took in some of the iconic stages of the Chitlin’ Circuit including New York’s Apollo. One notable appearance on a Houston TV station the group appeared on a TV show promoting the OJays show, the groups performing at different clubs on the same night. The Masqueraders must have suitably impressed the TV audience as they broke the attendance record for their gig whilst the OJays suffered the ignomy of a poor audience.
In an attempt to placate Larry Uttal, Moman agreed to put the group back with Bell Records, but it was too little too late, Larry was already making plans to sell Bell Records making Bell the flagship label for Columbia Pictures and Screen Gems Television. Amy and Mala had been shut down and the company’s main focus now, was a brand new PREFAB group, THE PARTRIDGE FAMILY.
Chips Moman and Don Crews, saw their partnership in American Group Productions hit the rocks when they suffered a major bust up. AGP ceased to exist as a label by early 1970, after only 26 releases. Bell had withdrawn for distributing the logo and by 1971, Atlantic was no longer a client, and Chips was becoming increasingly aggravated at what he saw as a lack of appreciation. After something the prestigious 'Memphis Music Awards' completely ignored, his studio and its unparalleled string of hit records two years in a row, he couldn't take it anymore, and he closed American Sound down for good in 1972.
In addition to these events, the Masqueraders suffered line-up changes as some members experienced personal problems, but waiting in the wings was a young singer the guys had met that would slot in and sometimes take the lead. The group incorporated him into their live shows as an added soloist but sometimes the group would also perform as a six man outfit. Sam Hutchins would eventually become a fully-fledged Masquerader often standing in for Lee Jones.
By this time the Masqueraders had long gone back to Dallas, and most had taken regular day jobs. But their hearts were still with the music, and releasing a number of tracks on their own label Stairways (after the original group name The Stairs.) the down side was the cash to promote the track which they didn’t have. The first release was a ballad called “Let Me Show The World I Love You”, which had as its backing track , “Masquerader's Theme” which was used on the flip. The next was an nice crossover style uptempo track “The Truth Is Free”(Pt.1 b/w Pt.2), again with contributions from all the group members in the songs composition. The third single was a combination of the first two. (A song known as “Wear My Ring” is actually “Let Me Show The World I Love You”). Though locally they did pretty well, the distribution/promotional side of the music industry was new to the group, hence the three releases flopped.

They still had their awesome harmonious sound intact though, in fact, if anything it had matured and developed even more, so in 1973 the group returned to Memphis, minus Lee who had a change of religion and name to Lee Hatim, that reflected his conversion to Islam. With Lee being replaced by Sam Hutchins they hooked up with Willie Mitchell to record two singles at Mitchell’s Royal Studios for his Hi label. Robert ‘Darryl’ Carter, had met the group while he was previously working at American Sound and was instrumental in getting them back in the studio. One of Darryl Carter’s claim to fame was that he had cut hits in all three major studio`s in Memphis, The Masqueraders first met up with Darryl At American Studio`s back in 68/69. A twist of fate had drawn them to Willie Mitchell’s Hi Records as Darryl and Willie had been talking about new acts and The Masqueraders had been discussed. Willie passed the Masqueraders onto Darryl to produce and write some tracks on. The first single selected from the Royal Studio session offered a group penned outing, The Masqueraders - “Let The Love Bells Ring b/w Now That I've Found You” — Hi 2251, which paired up two ballads, one a result of the group’s collaboration and one written by Daryl Carter himself.

The A side is really when the sound of the group changed slightly with Sam Hutchin’s lilting lead tenor delivering a more gospel feel to the proceedings, now a prominent feature. The follow up single The Masqueraders - Wake Up Fool b/w Now That I've Found You — Hi 2264 kept the same flipside but this time paired it with a similar styled ballad. Once again, any noteworthy commercial success continued to elude the guys and by 1974 they were again looking for a fresh outlet for their work.
Lee Jones returned to the fold but Charlie Moore stepped down due to ill health, so in 1974 the line-up was Robert Wrightsil, Harold Thomas, David Sanders, Lee Hatim (Jones) and Sam Hutchins. In the mid 70s they hooked up with another Memphis based legend Isaac Hayes who had established Hot Buttered Soul, (HBS), with a distribution deal done with AB and they cut 2 LP's (“Everybody Wanna Live On” (ABC #921)and “Love Anonymous” (ABC #962) ) and released 3 singles. At the time Hayes was spending more time promoting himself to give the Masqueraders the promotion they deserved, but saying that this was more than likely the Masquerader’s most successful time in the business. The first single in ’75 was a newly arranged, unrecognizable cover of the 1962 Shirelles hit, (authored by Bacharach-Davis-Williams), “Baby It’s You — Scepter1227 ” (# 76 RnB). This soulful slowie was backed with an almost inspirational beater called “Listen”, which was written by the group.
The groups album debut came in 1975 with “Everybody Wanna Live On” which benefitted from the subtle and innovative production values of Isaac Hayes recorded at Hot Buttered Soul recording studio in Memphis and orchestrated by Lester Snell. Rhythm and horns were provided by The Movement, strings and other horns by Memphis Symphony Orchestra and all the songs, except “Baby It’s You”, were written by The Masqueraders. The title track is a powerful dance track boasts Lee Hatim`s (Jones)’ patented robust vocals. Although the group excelled at mid-tempo material, like the hooky “Please Don’t Try (To Take Me Up to the Sky),” what typified the Masqueraders alliance with Hayes were the mature and thoughtful ballads. The stand out track on the album “(Call Me) The Traveling Man,” boasting both a poignant arrangement and a perfect performance from Lee Hatim (Jones), and the rest of the group. “(My Love For You Is) Honest And True” and “Your Sweet Love Is a Blessing”, also exhibit the group’s strong harmonies and vocal commitment. “Everybody Wanna Live On” represents the sublime pairing of the right group with a sympathetic producer, and the results are highly skilled. The next single they picked was the classy ballad pairing once again entitled, The Masqueraders — “Sweet Sweetening b/w Call Me) The Traveling Man” — HBS 12157 which jostled around the lower regions of the US Charts, (# 32-soul / #101-pop), whilst the third single from Hayes production set up, was another quality sweet ballad, the Masqueraders - “Your Sweet Love Is A Blessing b/w “Please Don’t Try (To Take Me Away To The Sky)”, but it too slipped by unnoticed.
Two years later the second HBS album, “Love Anonymous” was recorded, but didn't produce any singles. Again produced by Hayes, arranged by Hayes and Lester Snell, recorded at HBS studio and backed by Movement and the Memphis Strings you’d have expected a better commercial showing but unfortunately that wasn’t the case. No singles were culled from the album and the group were released by Hayes who was experiencing financial pressures with the production company.

Whilst contracted to HBS, the group were still performing live gigs and at one such event in Philadelphia they encountered one of the city’s leading musical architects, Mr Kenny Gamble who, in a conversation backstage invited them to record with his Philly International entourage at 309 Broad St. Unfortunately, when the guys approached Isaac Hayes with the idea, the Memphis based producer protected his interests and vetoed any collaboration. Shortly after this the group were left hanging with no recording contract to hold them back and Kenny Gamble and Leon Huff had moved onto other projects.
In the latter part of the 70s the group recorded a number of songs for the little known Pathfinder Records but no singles ever made it to a release stage and sadly remain firmly in the can. Finally, at the onset of the 80s, they secured a deal with Bang Records (7)
Their final album was produced by James Stroud and recorded in Atlanta, Georgia. All nine tracks were written by the group, most of them by Lee Hatim (Jones). There are two melodic, sweet soul sides nestled amongst the remaining disco and funk slanted material “Into Your Soul” and “The Sake Of Pride”. The album itself never made the shelves but a couple of its tracks did
An uptempo disco outing, “Desire” that hit the charts (RnB # 38) in early 1980, but the follow-up, a gently bouncing disco dancer titled “Starry Love” then flopped, which also meant bye-bye to the company.
In the 80s, after almost 20 non-stop years of trying to ‘make it’ the group members looked towards obtaining ‘day jobs’, with Lee and Sam who started driving trucks, Harold took a job in the postal service and Robert had a beauty salon and a store, which currently operates as a club these days. David continued performing and kept the spirit of the group alive hoping someday that the slice of luck required to make it would eventually manifest itself and The Masqueraders time in the spotlight would at last materialise
In The 90`s Robert Harold and David released a few tracks on their own TNT (Texas N Tennesse) label.. the group still did backing for various act including James Carr. The Group have made a comeback in the way that there is no pressure to produce but to enjoy performing and those chances are coming regularly from all over the USA…with regular stints in Beale Street Memphis.
In 2006, the UK soul fraternity were treated to one of those special moments in time that occur very rarely in life. The Northern Soul heroes that are The Masqueraders appeared live on stage at The Prestatyn Weekender in North Wales. That sentence alone would be enough to deserve inscribing in stone but not only did they appear but they stole the show and stole it in a fashion that only true artists ever can. In front of 2000 devoted fans The Masqueraders performed their repertoire of lush, sweet, harmonic outings alongside their Northern soul iconic ones and received rapturous appreciation for their efforts. To have seen the guys up there, on stage, ‘doin’ their thing’ live with such panache, after hearing their initial recordings almost 30 years earlier was a true highlight of the Prestatyn experience. WHODATHUNKIT?
The Masqueraders are a group whose 45s have given so much pleasure to so many fans but who, in their own backyard at least, never quite managed to achieve the success they truly deserved. True Northern Soul Heroes which is why we are honoured to see them inducted to our Northern Soul Hall Of Fame, especially as Inaugural Inductees.

Kev Spittle and Dave Moore

Thanks, Notes and References:

A. Many thanks to Greg Tormo for his permission to use snippets from his excellent piece on the group at his website at http://solidhitsoul.com/raders.html

1. Scotty McKay was Dallas born singer who managed to enjoy a musical career that encompassed a myriad of labels and genres. Born in 1937 as Max K Lipscomb he grew into a good looking confident guy and was one of the early matinee idols on Ace Records that Philadelphia’s Bernie Lowe would corner the market in. Scotty also had a claim to fame in that he was for a while a member of Gene Vincent’s backing group The Blue Caps. He passed away 17 March 1991.

2. Mickey Stevenson was the husband of Kim Weston and the husband and wife team would form Peoples Records, (not to be confused with James Brown’s logo for the same name), and would eventually negotiate a deal that took Ms Weston to MGM for a reported fee of $1million. As part of that deal Stevenson would be tasked by MGM to try and establish their Venture subsidiary label as a soul imprint.

3. Anecdote from Greg Tormos interview with The Masqueraders at http://solidhitsoul.com/raders.html

4. Lou Beatty was something of an entrepreneur in Detroit having a finger in a number of business ventures including construction, real estate and motels in addition to the aspiration to be the next Berry Gordy. The Masqueraders would seem an ideal act to embrace by La Beat in an effort to create the labels version of The Temptations who at the time were arguably the biggest singing group in the country. The records made by Beatty not just on the La Beat logo but also on the Carrie label, a venture with another black entrepreneur James Hendrix and the Cool School imprint have all become sought after discs over the years.

5. Hi records was first established in 1957 by 4 partners all of whom had links to the areas rich rock n roll history, Ray Lewis was a rockabilly singer who had previously recorded for Sam Phillips’ Sun Records, Joe Cuoghi was a record store owner, Bill Cantrell and Quinton Claunch had already been long time producers for Sun Records and Joe Cuoghi’s lawyer was a silent partner in the venture. Lots of people associated with the hey-day of rock n roll would pass through the doors of the Royal Recording Studio including guys like Ace Cannon and Bill Black.

6. Chips Momar began his record producing career in Los Angeles’ Gold Star Studios where he was a session guitarist. After playing in gene Vincent’s backing group he gravitated to Memphis where he hooked up with the embryonic Satellite Records, the first incarnation of Stax. Grabbing the bull by the horns he established himself as the company’s premier producer and contributed to a number of early hits for the company on William Bell, Carla Thomas, Booker T and The MGs and The May Keys. After the dispute with Stax, Momar went on to create a studio that at one stage could boast that in one particular week, 25% of the Billboard Top 20 45s were actually recorded at his studio! In the late 60s he became associated with Atlantic records and his studio pumped out 120 smash hits on Aretha Franklin, Wilson Pickett James Carr, Joe Tex, The Box Tops, Dusty Springfield etc. His greatest songwriting achievement is arguably the song he created with Dan Penn (Of FAME), for James Carr… the deep soul classic, “Dark End Of The Street”.

7. Bang Records was the brainchild of Bert Berns, Armet Ertegun, Nesuhi Ertegun and Jerry Wexler (Gerald) The name of the label is taken from their first names B.A.N.G.

Discography:

The Stairs:

Brown Eyed Handsome Man — South Town

Cave-Man Love — South Town

Flossy Mae — South Town

The Masqueraders:

Man's Temptation b/w Dancing Doll — M-K 101

Talk About A Woman b/w That's The Same Thing — Soul Town 201

The Family (Part 1) b/w The Family (Part 2) — La Beat 6605

The Family (Part 1) b/w The Family (Part 2) — Tower 281

I'm Gonna Make It b/w How — La Beat 6606

Together That's The Only Way b/w Be Happy For Me — La Beat 6701

Be Happy For Me b/w Be Happy For Me (Instrumental) — La Beat 6701

The L. P. T.'s / The L. P. T. Orchestra — Together That’s The Only Way (vocal) b/w That’s The Only Way — La Beat 6701 (A Side vocal ‘Be Happy For Me’ by Masqueraders)

(Work) Together That's The Only Way b/w One More Chance — La Beat 6702

Together, That's The Only Way (Vocal) b/w Together, That's The Only Way (Instrumental) - La Beat 6702 (mislabelled as Be Happy For Me (Both sides)

I Got The Power b/w (Work) Together That's The Only Way — La Beat 6704/5

I Don't Want Nobody To Lead Me On b/w Let's Face Facts — Wand 1168

Lee Jones & The Sounds Of Soul

This Heart Is Haunted / On The Other Side — Amy 11008

The Masqueraders:

Do You Love Me Baby b/w Sweet Loving Woman — Wand 1172

I Ain't Got To Love Nobody Else / I Got It — Bell 733

How Big Is Big b/w Please Take Me Back — Bell 874

Steamroller b/w Brotherhood — Bell 932

I'm Just An Average Guy b/w I Ain't Gonna Stop — AGP 108

The Grass Was Green b/w Say It — AGP 114

Love Peace And Understanding b/w Tell Me You Love Me — AGP 122

Let Me Show The World I Love You b/w Masquerader's Theme — Stairway71A

Let Me Show The World I Love You b/w The Truth Is Here — Stairway 72A

The Truth Is Free b/w The Truth Is Free (Part 2) — Stairway 72B

Let The Love Bells Ring b/w Now That I've Found You — Hi 2251

Wake Up Fool b/w Now That I've Found You — Hi 2264

Baby It's You b/w Listen — HBS 12141

Sweet Sweetening b/w (Call Me) The Traveling Man — HBS 12157

Please Don't Try b/w Your Love Is A Sweet Blessing — HBS 12190

Desire b/w Into Your Soul — Bang 4806

Starry Love b/w It's So Nice — Bang 4812

Merry Christmas b/w (Instrumental) — TNT

When Old Man Trouble Calls b/w (Instrumental) TNT

hall of fame

By Dave Moore in Articles · March 10, 201510 yr

The Delacardos

By Mark Windle

The Delacardos were an all black vocal and instrumental group from Charlotte NC, who formed initially at high school. They made at least nine records between 1959 and 1967, some of which received national release on major labels. Vocalists were Vernon Hill, Chris Harris, Harold Ford and Robert Gates and later George Morris. Publicity shots generally featured the vocalists only, but regular musicians included Luther Maxwell (tenor saxophone and band leader), Amos Williams (guitar), Ronnie Grier (bass), Dallas Steele (drums), Timothy Donald (baritone saxophone), and on piano and guitar, Jeremiah Shepherd and James Knight. Ronnie Grier wrote most of their sides which appeared on Atlantic. The Delacardos were managed by Will Rhyne, and newspaper reports from the early sixties indicate that they were a popular live act at high schools, rock and roll revues and on the college circuit.

The group have long attracted the attention of doo-wop record collectors for their first release in 1959, “Letter to a School Girl” (Elgey 1001) and beach music enthusiasts for “Hold Back the Tears” (United Artists; UA 310), recorded two years later. For northern soul fans, there is their 1966 Q-City / Atlantic release “She’s the One I Love” (45-2368); the original version before Lee Tillman and the Secrets (a Baton Rouge, Louisiana group whose take also had plays on the UK scene). The local Q-City format is a much tougher find than the national release. A further up-tempo Atlantic release from the same year (and possibly the same session) “I Know I’m Not Much” (45-2389) has also been of longstanding interest to soul fans.

A previously unlisted demo of The Delacardos’ “Dance Gypsy Dance” (Dimension 1040) has surfaced recently via collector Bob Abrahamian. This quality early Impressions style mid-tempo dancer was written by Vernon Hill and arranged and produced by Gene Redd. Redd came from good musical stock. His father was a sax player, bandleader and A&R man for King Records, who also worked with James Brown between 1956 and 1963. Redd Jnr. was a prolific supervisor and writer and for many soul artists, many of northern interest. In the mid sixties he was part time producer along with George Kerr and George Clinton for the Jobete office in New York. Rumour has it that it was the unwanted Motown product from here which found its way onto the Stephanye label such as Roy Handy, Shirley Scott and The Prophets. Redd went on to set up his on label Red Coach in 1973 which gave us The Carstairs classic “It Really Hurts Me Girl”. This Delacardos number though is of course a much earlier affair, likely November 1964. It appears that “Dance Gypsy Dance” failed to get past the demo stage from currently available information.

The Delacardos’ pre-Atlantic recordings were made in the studio garage of Bob Richardson in Charlotte. Bob’s first successful recording as an engineer was on The Delacardos’ 1962 release “On the Beach” on Imperial. Nat Speir and his Rivieras recorded in Bob’s studio when The Delacardos were still there about a year or so later, and knew them well:

“To us white teenagers they sounded like the black groups of the late 50s to early 60s. They favoured the early Isley Brothers and sounded that way, but there was originality too. Vocally they were perfect. Their tenor lead Chris Harris had a smooth vocal and the band had a world class fiery tenor sax man, Luther Maxwell. He was my first up-close sax hero. They impressed. I think it might have been Bob Richardson who placed them with Atlantic. The Delacardos had some excellent national releases, not only “She’s the One I Love”. We became good friends early. Both bands recorded a couple of years before this one in Bob Richardson's garage studio and their drummer taught my brother about funky drumming. Luther Maxwell was the best tenor sax player around - a stylist with power and drive. He was a King Curtis type in those days but his tone was lighter. How did some of these minority guys get to be so good so young? I learned that there were two black high schools, both with most excellent legendary band directors. Black sax players received better instruction and encouragement than most whites.”

Around this time Bob Richardson was also the Mercury label south east rep. By the mid to late sixties he worked with music publisher Bill Lowery to set up a studio in an old schoolhouse in Atlanta, GA and subsequently engineered a string of hits for Billy Joe Royal, The Swinging Medallions and The Classics IV. This studio was the precursor of the famed Atlanta Mastersound studio which in the seventies and eighties was one of the most technologically advanced facility of its kind, attracting artists such as James Brown and Isaac Hayes.

Regarding The Delacardos' Atlantic tracks, Ronnie Grier confirms that “She’s the One I Love” was recorded at Arthur Smith Studios in Charlotte, NC in 1966. The lead singer on this one (and the flip) was George ‘Bubba’ Morris with Odell Grier on guitar and Ronnie Grier on bass guitar. The Q-City release was a Carolina label but credits Phil Walden and Redwal Music for publishing and distribution, as does the Atlantic release for publishing. Redwal Music was the culmination of an earlier extremely successful R&B Walden was a student at Mercer University he had set up his own company to promote Otis Redding (whom he had met a couple of years earlier) and over 40 other R&B acts. Phil and his brother Alan were determined to promote Otis as far as they could. In 1965 on the back of the success of the “Otis Blue” album, they set up Jotis Records, and with that, the Redwal production, a publishing and management arm. The Jotis label itself spawned only four releases by Arthur Conley, and two minor artists Billy Young (an army acquaintance of Phil when he was drafted for two years) and Loretta Williams, a singer who backed Otis on tour. However the activities of Redwal extended beyond Jotis, and they represented a whole host of future stars including Bobby Womack, James Carr, Clarence Carter and Tyrone Davis. Often Otis would produce and work directly with some of these artists. The Waldens already knew The Delacardos from the early sixties, when they promoted the band as a live act at a local club alongside Maurice Williams and the Zodiacs.

“In the sixties the members of The Delacardos generally drifted away or went to work or college ” says Nat Speir. “There was a story that their (original) lead singer got hard up for cash and was caught stealing a safe. I think he eventually got an early parole. Don't know what happened to most of the other guys - except for Luther. He got out of show business about 1972 or 1973. By then he was working for Western Electric. Luther took advantage of social and business changes and worked hard and moved up and up in the local office. By the late 1960s he had bought a house on Providence Road, eight to ten miles south of town in white rich folk country. He retired not long ago, a wealthy man. His children went to the best colleges and he lived in what was once an all white south Charlotte neighbourhood. Ronnie kept going musically, making recordings with his daughter at home in his studio, doing early hip hop.”

Van Coble of The Tempests reports that most of the musicians, with the exception of Amos Williams and Ronnie Grier, are now deceased. Sadly Luther Maxwell passed away during the preparation of this project.

Copyright E. Mark Windle 2013.

References

Bob Abrahamian. Personal coms. November 2012.
Van Coble. Personal coms. August, November 2012.
Ronnie Grier. Personal coms. August to November 2012.
Ted Hall. Personal coms. October, November 2012.
Nat Speir. Personal coms. July, August, November 2012.
http://www.gearslutz.com/board/so-much-gear-so-little-time/4000-rip-atlanta-studio-pioneer.html

http://swampland.com/articles/view/title:alan_walden

By Windlesoul in Articles · March 7, 201510 yr

News of an upcoming documentary via an interview with the director Mark Moormann talking about making movies, recording history, and the legacy of Henry Stone.
The Record Man Documentary: Henry Stone's Story Is the Story of Miami Music History
From 1948 to 2014, Henry Stone ruled the Florida music industry with an iron fist, a wad of cash, and a warehouse full of vinyl.
Whether forming a label with James Brown or racking up as many back to back number-one Billboard pop hits as the Beatles, he made his mark on global culture.
The new documentary about his life and work is called The Record Man, and its world premiere will occur at Miami International Film Festival 2015. Here's what director Mark Moormann had to say about making movies, recording history, and the legacy of Henry Stone.
http://blogs.miaminewtimes.com/crossfade/2015/03/henry-stone_interview_record-man_documentary_miami-international-film-festival_2015.php
The trailer video

http://blogs.miaminewtimes.com/crossfade/2015/03/henry-stone_interview_record-man_documentary_miami-international-film-festival_2015.php

By Mike in News Archives · March 5, 201510 yr

Date of Induction: 1 November 2014 Category: Female Group

The story of the Marvelettes is a fascinating insight into the early beginnings of the black musical scene in Detroit that would export ‘The Sound Of Young America’ to the rest of the world. With Berry Gordy’s embryonic record company starting to emerge as a major player on the city’s musical landscape, the songs of the Marvelettes resonated with a whole slew of categories of music fans, from Pop music lovers to staunch soul collectors, many of their waxings have not only stood the test of time but have garnered new fans along the way. One of Berry Gordy’s earliest successes on his own label and a group that probably financed the development of a few more, The Marvelettes, rose to the very highest echelons of the music industry as very young teenagers even prior to graduating from the Inkster High School but that pinnacle was only enjoyed fleetingly and the group seemed to be side-lined for a while until Smokey Robinson came to their rescue with a series of songs that rekindled their careers and solidified their position in soul music history. A position that is highlighted here, as they become the inaugural Inductee for our Hall Of Fame Female Groups.

So how did a group of young impressionable teenage girls come to be Motown’s first #1 hit artists? The answer lays in a story that starts in a small town in Wayne County, lying approximately 15 miles West of Detroit, along Michigan Avenue. It was here, in a small town named after a successful Scottish immigrant from the Shetland Islands, Robert Inkster who owned the local sawmill in the mid 1800s, that five young teenage girls with a penchant for group harmony singing first got together while students at the local Inkster High School. Gladys Horton, Katherine Anderson , Georgeanna Tillman, Juanita Cowart, and Georgia Dobbins were classmates at the school, Gladys being a year younger than the others and it was in order to compete in the school’s annual talent show, organised by the Inkster High School Music Teacher Dr Romeo Phillips, that Gladys searched around for fellow singers and the youngsters took their first steps towards a professional career.

Gladys Catherine Horton was born on 30 May 1945 in Gainesville Florida, to parents originally from the West Indies. Given up for adoption at the tender age of nine months old, she spent much of her formative years in foster homes before settling with the Jones family on Harriet Street, Inskter. Church played a large role in her early musical experience and she became a regular with the Millenarian Specials, her local church choir. At fourteen years old she and three school friends’ Jeanette and Juanita McClaflin and Rosemary Wells, formed a singing quartet named The Del-Rhythmetts and even managed to get Joe Van Batte, a local record store owner to record them. (1) The release, The De-Rhythmetts — “I Need Your Love b/w Chic A Boomer” — JVB 500 which was recorded in 1959 and is a real old school attempt at a doo wop ballad, slid into obscurity without causing so much as a ripple in the market but did receive some local airplay which must have thrilled the young ladies. The single sparse guitar accompaniment on the A side is augmented by a pretty mean tenor sax player and the flip has an equally adept flautist involved, so maybe some-one showed a little faith in the youngsters.

Katherine Elaine Anderson was born 16 January 1944 in Ann Arbor, Michigan the eldest of four siblings and credits her parents and Grandparents with instilling a love of singing. Raised in Inkster she too was a member of her local church youth choir and was singing as early as elementary school. Katherine also studied ballet as a youngster.

Wyanetta Cowart was born 8 January 1944 in Rockport Mississippi once again as the eldest child and soon moved to Inkster with her parents. Her early musical influences were Billie Holiday and Sarah Vaughan.

Georgeanna Marie Tillman was born 5 February 1944 in Inkster and named after her father George whilst Georgia Marie Dobbins was born a few months later on 8 May 1944 in Carthage Arkansas and moved to Inkster at aged four when her family moved into the Willow Run Projects between Ann Arbor and Detroit, after her father took advantage of homes specially constructed for World War Two veterans, having served his country in The Pacific. She too was a fan of Sarah Vaughan and sang in the Willow Run Baptist Church choir. Another notable Willow Run Choir member at the time, who would make a name for himself, was Nick Ashford of Ashford and Simpson fame. The young Georgeanna was also a trombonist in the school band and as a teenager she was a member of a local singing group first named The Teen Hoppers and later The Shamrocks. The girls in there pretty green dresses must have been a sight for sore eyes. When the Dobbins family had to vacate their home when the Willow Run Projects were demolished they move to Inkster and Georgeanna became a student at the High School there. Georgia had been part of a number of singing groups that had previously won the annual competition and had already graduated when Gladys approached her to join the group for one last entry.

“I already had a mind to ask Georgia to be part of my group. I knew she was the key to our success. She was not only smart but she was kind and sympathetic to us freshmen She was also very attractive, all the girls looked up to her, wanting to be like her.“ — Gladys Horton (2)

The five young hopefuls started their rehearsal routine and finally settled on the name ‘The Casinyets’ a play on the phrase ‘Can’t Sing Yet’. The competition had, as its prize, three auditions for the new record company owned by a certain Berry Gordy and operating out of 2648 West Grand Boulevard in Detroit but the Casinyets hopes were dashed when, using a piano player from school as backing, they came fourth, despite believing they had done enough to emerge victorious. That could so well have been the end of the story but in one of those moments in life when karma plays its part to the full, one of the school counsellors Ms Shirley Sharpley commiserated with the girls and was convinced by them to call Motown and see if an audition could be organised. Motown agreed to hear the girls sing and they, along with Ms Sharpley and via a late arrival due to a flat tire, arrived at ‘Hitsville’ in April 1961 to be met by Motowns A&R supremo, Robert Bateman.

The girls auditioned, using songs by The Chantels and The Shirelles, they had rehearsed for the school’s competition and on the conclusion of the session were identified as having great potential but needed original material. Berry Gordy himself attended one of the songs, with Georgia on lead vocal and told them to come back when they had their own material. The hunt was on for a song.

On restarting their rehearsals back at Georgeanna’s house in Inkster, Georgia introduced an acquaintance of hers, a local pianist named William Garrett. Garrett had played behind a number of girl groups from Inkster High and had written a few songs into the bargain. On investigation of his self-penned material, Georgia identified the rough draft of a blues song he had started as having the potential to become a girl group song, based upon the tale of a young girl separated from her beau but patiently waiting for a letter from him. Georgia took the lyrics home and readjusted them whilst working on a melody to the song which struck a chord with the teenager, as she too at that time was awaiting a letter from her guy who was currently in the US Navy. Within a couple of days, Georgia was singing the song to the rest of the girls who all thought it was a cute song and started rehearsing it with a view to returning to Hitsville as instructed.

The girls duly arrived back on the steps of West Grand Boulevard a month later, song in hand and auditioned for Robert Bateman once again, this time with Eddie and Brian Holland also present. The end result was that they all thought they had a hit in the making and plans were made to further rehearse and record the song. Meanwhile the girls were renamed The Marvelettes after Berry Gordy formed the opinion that they were ‘marvellous’ and contracts were drawn up. The quintet of little country girls from Inkster had finally got a record contract. Well… not quite.

Because of the tender ages of the group, the contracts were legally required to be co-signed by a guardian and in Georgia Dobbins case her father refused. The family were raised as church going people and the thought of singing in nightclubs and entertaining venues was a difficult thing for her father to contemplate his daughter doing. In addition Georgia’s mother was ill and had been ill most of her life so the family depended on Georgia who was the eldest of the seven siblings, the others being her six younger brothers. A decision was made that Georgia would leave the group, heart-breaking as it was for the young teenager. The decision hit Georgia hard and it was another seventeen years before she sang publicly again.

The group were almost reduced to a trio when Katherine Anderson’s parents also hesitated before signing as guardians for their daughter. Their issue was much the same as Mr Dobbins’ in that their daughter was about to enter a world about which they knew very little but after lengthy family discussions they recognised the opportunity for their offspring and put pen to paper.

With the Inskter quintet now with signed contracts, a song but reduced to a quartet the search was on for a replacement lead voice and Gladys was selected. That left a vacancy for a fifth Marvelette, a vacancy that was filled by yet another Inkster youngster who lived only two blocks from three of the girls own homes. Initially reluctant to take part Wanda LaFaye Young, an Inkster native having been born into her large family there on 9 August 1943 and graduated the same High School as the remainder of the group having been a choir member, finally relented under pressure from Gladys and the line-up for the initial Marvelettes outing was complete. With Robert Bateman and Brian Holland placed in charge of production of the newly signed group they, along with Freddie Gorman who at that time was still a mail man in the city’s postal service, tinkered with the song enough to be allotted a credit as the songwriters and the stage was set for the girls first recording session. With The Supremes’ Florence Ballard helping Gladys between takes and a young singer named Marvin Gaye on the drums, the recording was to deliver a fantastic start for The Marvelettes and Berry Gordy’s company’s first #1 Pop Chartopper. (3)

The Marvelettes — “Please Mr Postman b/w So Long Baby” — Tamla 54046 passed the company’s muster and was released on August 21 and within two weeks was making ripples beyond the Motor City. On September 4th the 45 entered the Billboard Charts and fourteen weeks later it hit the #1 spot. The name of The Marvelettes and their Detroit based Tamla label was on the lips of every record buying teenager in the US. What happened next was that the girls were subject to a whirlwind as they became in demand. The success of the song gave Gordy’s company a good slice of impetus and in order to make the most of that they needed the girls to record an album using the title of the song, (which they did) and present themselves to their public on stage, heightening the image of the company and increasing the record buying public’s awareness of Gordy’s labels. Only one week after hitting the #1 spot with the 45 the company released their album The Marvelettes — “Please Mr Postman” — Tamla LP #228.

One complication as far as live performances were concerned was that the girls, apart from Wanda, were all underage. In addition Gladys, as an orphan, was a ward of the court and would need a legal guardian appointed. Despite these obstacles, the girls, excused from school and with Gladys now the responsibility of Mr and Mrs Edwards, Berry’s sister and Brother In Law, were soon integrated into current Motown Live Shows which consisted of Eddie Holland, Marv Johnson, Mary Wells and The Miracles and became the star of the show. Studying between shows, the girls tread the boards of such famous theatres as Washington DC’s Howard Theater, The Royal in Baltimore and of course The Apollo in New York’s Harlem. With The Marvelettes star on a meteoric rise they’d gone from five inexperienced teenage schoolgirls to the biggest selling group with a #1 Top hit and a tour schedule all in a matter of a few months! It was time now to consolidate that success and the company had just the thing to do it with. A follow up single that they released just as, “Please Mr Postman” peaked.

With Philly’s Chubby Checker’s 1960 version of the Hank Ballard original having spawned a myriad of successful imitations, that dance craze of the era, ‘The Twist’ was at its height as teenagers across the US took to their dance-floors to gyrate to the latest version of the theme. Like most other record companies, Motown were no strangers to limpeting onto the latest dance craze and had already tested the waters with a couple of outings on the Motown logo from a group called The Twisting Kings. (4) The Marvelettes second release, The Marvelettes — Twisting Postman b/w I Want A Guy — Tamla 54054, extended the theme of the postman from their initial outing, with a young girl sat patiently for him to deliver the letter from her guy. Only this time he seems hell bent on dancin’ round his route! The 45 was coupled with a song that The Supremes had already recorded the previous March but had seen fail to make any impact commercially. Although the group’s second release couldn’t recreate a #1 chart-topping smash it did reach #13 on the RnB Chart and narrowly miss a Top 30 spot on the pop equivalent when it peaked at #34. An appearance on the 5th March episode of America Bandstand hosted by Dick Clark, during which the Inkster High School football team’s (The Vikings), game was postponed to allow the students to watch their classmates on TV, no doubt encouraged sales and the girls were now a regular feature of the theaters as they continued appearing with the other star acts of the Motown stable of labels. (5)

The year 1962, continued to see the girls careers flourish when they released their third single The Marvelettes — Playboy b/w All The Love I’ve Got — Tamla 45060 which bludgeoned its way to a Top 10 position on both charts (#4 RnB/#7 Pop). Once again the 45 credits Bateman, Holland, Mickey Stevenson and Gladys Horton but Gladys insists that the song came from her pen alone and is a song on which Gladys advises her suitor to stay away from her door as she has his ticket marked as a guy who plays around. The group now had a signature style of sound that, although built on the en vogue girl group sound had, by fluke or design, identified them as the sound of Motown alongside Mary Wells and The Miracles.

In the balmy summer days of 1962 The Marvelettes released their fourth 45 in just over a year, The Marvelettes — “Beechwood 4-5789 b/w Someday, Someway” — Tamla 54065, a song co penned by Marvin Gaye just prior to him achieving his own solo success as a singer on which Gladys Horton sets her sights on a guy and in an effort to get to know him better gives him her telephone number with the instructions to call her anytime. The girls’ vocals were actually sung over a pre-recorded backing tape which Mickey Stevenson had produced whilst they had been on the road. This unusual but necessary process, due to the time the girls spent on the road didn’t detract from the final outing as the 45, once it hit the record shops zipped into the Billboard Hot 100 RnB Chart where it made #7 and secured a #17 spot on the industry leading magazine’s pop equivalent. The girls were by now well established and a third album was released to coincide with their chart entry, (a second one having been released the previous April to try and extend the life of Twistin’ Postman’s popularity: The Marvelettes - Smash Hits Of ‘62 — Tamla 229), (6) The Marvelettes — Playboy — Tamla 231 was a disappointment in terms of sales and failed to chart, as indeed had the previous one. It did however, at last feature the ladies on the cover which is something the first two didn’t.

Flying in the face of poor album sales the group’s popularity continued to grow but not all the girls however were enjoying their time in the limelight and Wyanetta Cowart, who suffered from what could be described as a nervous breakdown, took the decision to withdraw from the spotlight and return to a quiter, more structured lifestyle that she felt more comfortable with. A naturally quiet teenager, having been thrust into a world of recording sessions, choreography lessons, live appearances on stage and TV and surrounded by strangers, she came to realise that the hectic pressure cooker of the entertainment world wasn’t quite the glittering life she had envisioned. And so the group became a quartet. It’s probably worth noting that The Marvelettes were the first really successful group that Motown had. The legendary Artists Talent and Management structures that Gordy would embrace as the company grew, utilising the skills of the likes of Cholly Atkins, Miss Maxine Powell etc weren’t yet in place and the company left the group much to its own devices when learning the skills of hair, make up, choreography, etc.

In the autumn of 1962, Berry Gordy, probably soured on by the receipts of the initial out of town live shows the company had arranged for its artists, had his company put together its first full blown Motown Revue Tour that saw him convince Henry Wynne, who headed up the major black entertainment booking agency: Supersonic Attractions, that a tour consisting of a large group of Motown based acts had a great chance of generating good amounts of revenue. (7) Planned by his sister Esther, managed by Thomas ‘Beans’ Bowles, (one of the company’s first musicians) and utilising a band put together by Choker Campbell, 45 artists, musicians, and assorted staff embarked on what would became a remarkable chapter in the history of Motown as well as the members of the tour.

Encompassing the Southern States it would be many of the tour members first sojourn into the segregated States of Alabama, Mississippi, Georgia and Louisiana and was fraught with tension as their bus was similar to the ones used by the Freedom Riders of the 60s (8) The Marvelettes’ experience of The Motown Revue of 1962 led to their eyes being opened to the racially separated infrastructure of the Southern States.

“Although I had been in The South, I had never experienced the racism to the magnitude that I did when I went on that Motown Tour. It’s a different ballgame when you’re in a little country town, because all you’re going to and all your visiting is that little country town. However, when you’re visiting many of the major cities in the South, then the experiences are greater. And it became very, very … frightening.” — Katherine Anderson

Playing to packed houses every night the girls endured the hardships of being on tour in The South, focusing on using their performances to lighten their experiences with the toilet facilities, the lack of changing rooms, not being able to stop safely for gas, or even at a restaurant of their choosing and ended the tour on 17 December before heading back to Detroit which allowed for spending time with their families during the festive holiday. Detroit’s Fox Theatre appearances permitting of course!
As the Motown Revue embarked the girls released their next 45, The Marvelettes — Strange I Know b/w Too Strong To be Strung Along - Tamla 54072 which may well have been the final chapter in the boyfriend/missing letter tale of their previous outings. Set at a pedestrian pace once again it is Gladys on lead as she tells the story of moving on with her life as her previous love seems determined to ignore her via any means including letters or calls. The song was ideal in that it gave the girls a brief respite when performing as all their other hits had been uptempo ones. The record buying public liked the song enough to propel it to a #10 spot on the RnB Chart but it stalled at #49 on the Pop equivalent, the first time a Marvelettes release hadn’t made the Billboard Hot 100 Top 40.

The next release from the group in the Spring of 1963 featured a double, split lead vocal from Gladys and Wanda on a song that would also see (possibly for the first time), an undisputed Holland - Dozier - Holland writing credit. (9) The Marvelettes — “Locking Up My Heart b/w Forever” — Tamla 54077, gave listeners a glimpse of the song writing team’s penchant for strong beats, sax breaks and drum fills although they weren’t quite into their stride on this tale of a heartbroken lover that’s decided enough is enough. The flip of the 45 actually gained enough radio play to entice record buyers to buy it for that side too and both sides wwere allocated a similar chart position. The A side making #25 RnB and the flip #24 whilst both sides made #44 on the Pop Chart.

The Marvelettes continued to record and release 45s throughout 1963, all stumbling in the lower reaches of the nation’s charts and even the addition of Smokey Robinson as a songwriter couldn’t generate the success they had previously enjoyed. Of course this was the period when Gordy took to pushing his new girl group The Supremes headed by a headstrong and ambitious young Diana Ross which probably impacted on the further development of The Marvelettes. The girls were even released under a pseudonym on The Darnells — Too Hurt To Cry, Too Much In Love To Say Goodbye — b/w Come On Home - Tamla 7024 which they didn’t realise until they heard themselves on the radio! Although their popularity as a girl group seemed to be waning, on the romance side of things, two of our heroines sealed the matrimonial knot with Wanda Young marrying Bobby Rogers of The Miracles and Georgeanna Tillman becoming the wife of Billy Gordon of The Contours. Motown really was keeping it all in the family!

1964 saw the group release a further trio of 45s bringing their releases to a total of 14, (including the Darnells and 2 sided T#54077 discs), proof if it were required that the Hitsville music making machine was gathering momentum now and churning out song after song on acts whilst having artist record the same songs as each other too. With the song-writing and production talents of Holland Dozier Holland, Smokey Robinson, and Norman Whitfield (10), in full swing the stage was set for the company to dominate the radio airwaves and the musical charts. With Martha and The Vandellas flying high and The Supremes breaking internationally The Marvelettes had some real competition and some would say that their ‘girl group’ image was looking a little dated but the third of those 1964 releases sent the group back into the charts. The Marvelettes — “Too Many Fish In The Sea b/w a Need For Love” — Tamla 54105 was the result of an early song-writing collaboration between Eddie Holland and Norman Whitfield and Mr Whitfield produced a powerhouse of upbeat, uptempo dance soul that would see Wanda’s lead now to the fore, something that would remain for the rest of their recording career. The 45 is also noteworthy due to the fact that Georgeanna Tillman would make her last appearance on a Marvelettes 45 as poor health would mean she had no choice but to leave the group shortly after its release. Georgeanna was diagnosed with sickle cell anemia and systemic lupus a chronic disease that led to an overactive immune system and leads to extreme fatigue in the sufferer. In Georgeanna’s case this was intensified due to the strains of being on the road, bad eating habits, irregular sleeping patterns etc. The usually happy go lucky Georgeanna would stay within the Motown ‘family’ though and took up a position as a secretary within the Hitsville ranks. The quartet had now become a trio.

As Merseysides Fab Four led the assault on the US charts by what became known as the Brit Invasion and the girl group phenomenon enjoyed by the likes of The Shirelles, The Crystals, The Marvelettes etc finally waned the group released a hard driving, less innocent sounding dancer that has always struck a chord with their UK soul fans, The Marvelettes — I’ll Keep Holding On — b/w No Time For Tears — Tamla 54116 which Wanda now established as the lead vocalist delivered with a punchy, almost aggressive style not heard on previous Marvelettes outings. The girls performance matched the Mickey Stevenson produced backing track that had that 1965, driving Funk Brothers signature sound brimming with drum fills, a strong bass line and metronome like tambourine enhancements. Stevenson had such faith in the song that, faced with awaiting the return of the girls from their live schedule to the studio on West Grand Boulevard, he had the Funk Brothers record the track alone and flew with the tape to New York and had them overdub the vocals there before returning to Motown’s famous Quality Control meeting and receiving the go ahead for the release. It proved to be a good decision as the 45 made #11 on the RnB Chart.

In the summer of that year the group released another 45 that would come to help define them when, The Marvelettes — “Danger and Heartbreak Dead Ahead b/w Your Cheating Ways” — Tamla 54120, a song penned by Clarence Paul, Ivy Jo Hunter and Mickey Stevenson that once again Wanda performs lead on. A signature Motown 45 overflowing with the all the musical components that built the company, tight musicianship incorporating a solid bassline, tambourine on the backbeat, drum fills a go go, a great piano riff and effervescent horn interludes and of course, it’s all augmented by the fantastic supporting harmonies by The Andantes. The 45 went to equal its predecessor in terms of RnB commercial success when it too peaked at #11 on the RnB Chart but flailed around in the lower regions of the Pop equivalent stumbling at #61. The song did however, become a favourite of the group’s live stage shows as they built it into their repertoire using neon placards as they performed in a black light environment.

One event that seems to highlight how The Marvelettes were maybe slipping from Motown’s priorities is the fact that in the same year (1965) Motown undertook their landmark Motown Revue of UK that resulted in the TV Show ‘The Sounds Of Motown’, hosted by UK soul songstress Dusty Springfield but the name of The Marvelettes was missing from the roster. In addition, the flow of albums by the group that had been established back in 1961 had dried up, despite the reasonable success of their recent 45s. I guess with The Four Tops, The Temptations and especially The Supremes now regularly elbow-ing the competition out for the top Chart spots it was inevitable that groups would find themselves in a tiered hierarchy. Motown’s investment in its artists was by now though, in full flow and The Marvelettes were part of the Artist Development division system that saw them benefit from the skills of Cholly Atkins and Miss Maxine Powell, the two main mentors to Gordy’s artistic roster. Mr Atkins being a premium dance instructor and Miss Powell, an ex ‘finishing school’ owner ran courses that developed the personal skills in the artists. Of course by the time Gordy had these structures in place The Marvelettes were already seasoned stage hands etc.

With Gordy’s proteges The Supremes, now fully fledged International stars, leading the charge, the country’s premium nightspots like New York’s The Copacabana and The Lincoln Center were where Motown used show tunes, cover versions, hits of their own and a dynamic stage show to forge it’s place in the mainstream white entertainment world but this was an opportunity that The Marvekletees, probably due to being still viewed as a ‘girl group’ and a link to a world left behind by Motown. It was anything but doom and gloom as far as the music was concerned however and Smokey Robinson delivered the vehicle that would revive their chart activity. The Marvelettes — “Don’t Mess With Bill b/w Anything You Wanna Do” — Tamla 54126, furnished Wanda with the opportunity to employ a more racy, somewhat seductive side to her singing as she laments the behaviour of her lover whilst warning other suitors about him. Initially Robinson had to fight tooth and nail to get the song through the quality control meeting as many at Motown thought the mid paced, adult themed song may be a little too much for fans of the group. Smokey eventually won out and the song was released in November. A great, laid back backing track from the Funk Brothers, full of strategic vibes and a passionate sax solo half way through gave the girls the platform to return them to the Top 10 of Billboard’s Pop Charts peaking at #7 and going even higher on the RnB listing, making the #3 spot. The success of ‘Don’t Mess With Bill’ provided the impetus for a Greatest Hits album which would prove to be the group’s best selling LP when it reached #4 (RnB).

Smokey’s appreciation of the girl’s now mature sound was again to play a part in getting the group’s performances onto wax and into the market. The Marvelettes — “The Hunter Gets Captured By The Game b/w I Think I Can Change You” — Tamla 54143 coupled two Robinson penned songs that he also performed the studio productions on. Once again it’s a laid back performance starting with a lamentable harmonica intro from the Funks that Smokey ensures is subdued enough to bring out the best in Wanda’s sultry vocal as she relays the story of how she set out to capture her man but he turned the tables and captured her. Released between Christmas and New Year in 1966 fans of the group pushed sales of the 45 and by early spring the following year it had delivered the outing to #2 RnB and #13 Pop in the trade papers. Hot on the heels of this release came a strange one, strange for Motown at least. Rarely did the company look outside for material which isn’t really surprising when you look at their song-writing roster but the next release by the ladies came from the open of a Northern Soul hero who is also an inaugural Inductee in our Hall Of Fame : Van McCoy.

Originally a minor hit for Ruby and The Romantics in 1964 Van McCoy’s song would not only maintain the group’s presence in the US Charts but would deliver a bona fide hit in UK too when it reached #13 on the BBC’s Top 40. The Marvelettes — “When You’re Young And In Love b/w The Day You Take One You Have To The Other” — Tamla 54150, opens with a majestic drum roll, piano and fading string introduction that gives way to Wanda’s interpretation of what would become a classic. The whole song is awash with an orchestral feel that producers James Dean and William Witherspoon pull off with great aplomb. Although Gladys and Katherine aren’t on the recording the ever present Andantes deliver the perfect style and substance that resulted in #3 RnB and #23 Pop placings for the group in the early summer of 1967.

The Marvelettes were about to say goodbye to Gladys Horton who had by now married trumpeter Sammy Coleman and was expecting their first child. (11). Whereas before when Georgeanna and Wyanetta had exited the line up the remaining members simply carried on Katherine and Wanda needed a third voice and after a length of inactivity from Motown and on the advice of Harvey Fuqua they successfully auditioned Ann Bogan who became their latest member. (Ann Bogan’s story can be found as part of the Soul Source Inductee page of The Andantes, a group with which she also sang). After a period of rehearsal, and striking while the musical iron was hot via their last 2 releases, the trio were off on a tour of the military bases of Germany where Ann appeared as a Marvelette for the first time. On their return to Detroit it was back to the snakepit for a another recording session with Smokey Robinson, their first one without Gladys and with Ann. If they were worried about the vocal dynamics changing, they needn’t have done, as The Marvelettes — “My Baby Must Be A Magician b/w I Need Someone” — Tamla 54158, displayed all the Marvelettes hallmarks of previous hits and, with its opening sliding guitar glide courtesy of Marvin Tarplin (12) and Temptations member, Melvin Franklin’s unique deep bass vocal contribution, put them at #8 RnB and #17 Pop in the spring of 1968. They had, by this stage been gracing the musical charts of America for 7 years.

Three singles followed in 1968 all of them fluttering around the lower regions of the charts but none matching their previous outings. Smokey furnished “Here I am Baby” (T-54166), a song first recorded by Barbara Mcnair a year earlier and Nick Ashford and Valerie Simpson contributed “Destination Anywhere” (T- 54171) which were all great efforts but couldn’t sustain the sales for the group that their earlier hits had.

1969 would deliver a tragic blow to Wanda when her younger sister La Mona was brutally shot and murdered by her brother in law who mistook her for Wanda’s other sibling Dora. By this time Wanda was also beginning to suffer from the effects of drugs and alcohol and those closest to her believe that something happened on the European Tour that instigated her spiral into experimenting with substances. Whatever the catalyst, the usually bubbly and effervescent young singer became difficult to manage and the writing was on the wall for the trio.

In September 1969 the group released a noteworthy rendition of a classic song previously recorded by a number of soul acts including The Spinners and Baby Washington as The Marvelettes — “That’s How Heartaches Are Made b/w Rainy Mourning” — Tamla 54186, a song that saw Clay McMurray on production duties and an outing that derived more success than it achieved as it sank without trace. In 1970, they released another Smokey produced 45 with, The Marvelettes — “Marionette b/w After All” — Tamla 54198 which suffered a similar fate and in January 1972, after a gap of almost eighteen months in which Wanda’s addiction became more severe and the girl’s stopped not only recording but also touring and the releases of The Marvelettes concluded with The Marvelettes — “A Breathtaking Guy b/w You’re The One For Me” — Tamla 54213.

For Northern Soul fans that’s not quite the end of the story though. Nestled as the opening song on Side 2 of their eighth LP, (The Marvelettes - Sophisticated Soul — Tamla # 286), sits a recording that would maybe have a right to claim to be the most played Northern soul outing that the group recorded. “Your Love Can Save Me” was a song written by Nick Ashford and Valerie Simpson that any soul fan around in the mid -70s will instantly recognise a floor filler of the time that for many years was believed to be only available on this particular LP. However, there is indeed a 7 inch version of the song as it appears on a promo only EP (#286) that includes 4 songs, all taken from the LP. As a promo item it’s a strange one. Motown rarely promoted their LPs in this way and were quite happy to concentrate on promoting other groups at the time. Still, it gives the collector something to chase 40 years later eh?

The closing song on Side 1 of the very same LP “Reaching For Something That I Can Have” is also a song that received played on the Northern soul circuit and only appeared in limited 7 inch format, this time on a UK released 45 in 1973 (TMG #701). Over the years many unreleased songs from the Motown vaults have seen the light of day and The Marvelettes are no exception. Songs as diverse as the doo wop inspired “Grass Is Greener (On The Other Side)” through to the inspirational Northern dancer “The Boy From Crosstown” have all come to light over the years and are available on CDs. For those that have that completist’s collectors gene to satiate there are also a couple of rather cool items to look out for too. When Gordy used the Mini LP route to promote their full blown equivalents The Marvelettes were included in the list and their ‘pink’ album came out as a 7inch EP with six tracks culled from the LP. In addition, “Please Mr Postman” was also issued amongst the novelty Topps cardboard pic discs with a great photo of the ladies on the playing side and a bio on the flip.

Georgeanna Tillman Gordon, who had suffered with sickle cell anaemia and lupus, sadly passed away at her Mothers Inkster home on 7 January 1980, after battling her illness since she had been forced to leave the group in 1965. She was a tragically young 35 years old.

The Marvelettes as a group, in its various compositions, recorded at Hitsville USA for over a decade, had experienced a #1 Smash hit, had toured extensively at home and overseas, delivered some amazingly danceable records and left a legacy that few groups of the era can match, that’s why we at Soul Source are extremely proud to induct them into our Hall Of Fame as part of our Inaugural Inductees.

Dave Moore — February 2015

Notes and References:
Joe Van Battle owned a record store at 3530 Hastings Street Inkster and was a local record producer who recorded his earliest recordings in a small studio in the back of the shop which was situated on what is now an on ramp for the I-94 freeway. Joe’s label, which specialised in Jazz, Gospel and early RnB is famous for introducing the world to such luminaries as John Lee Hooker, Memphis Slim and the Rev C L Franklin’s young daughter Aretha. The label would eventually change its name to Battle and move its operation to New York in 1962 when it was bought out by Bill Grauer who also owned Riverside Records and would continue releasing 45s until as late as 1964. Quote from The Marvelettes:Motown’s Mystery Girl Group by Marc Taylor, dated 2004. IBSN0965232859. In the early years of Gordy’s empire the company wasn’t registered with the Recording Industry Association of America, (R.I.A.A) and so there was no access to identify exactly how many copies of records were sold in order to certify Gold Records to companies/artists. The Twisting Kings were in fact various members of the Motown house band: The Funk Brothers. As well as the two 45s they released on Motown, they also recorded an album as The Twisting Kings — Twistin’ Around The World — Motown #501 which was a series of impromptu, (or at least they sound impromptu), twist jams from the legendary musicians. On that particular broadcast of American Bandstand, Wyanetta, when asked where the girls were from, unintentionally commented that Detroit was a suburb of Inkster which resulted in her receiving quite a bit of teasing from her peers. The Marvelettes - The Smash Hits Of ‘62 - (Tamla #229), was released with two separate jacket/covers, the first one with the aforementioned title but this was then re-released a few months later as the newly retitled “The Marveletts Sing”, with the group’s name incorrectly spelt. Why? Your guess is as good as mine. Henry Wynne was a black, street savvy, entrepreneur whose company, Supersonic Attractions made good use of the now established string of theaters, venues and lounges that became known as The Chitlin’ Circuit. In 1960, he purchased The Royal Peacock in Atlanta, Georgia and was responsible for bringing acts such as Otis Redding, Wilson Pickett, Ike And Tina Turner and the Motown acts to the Southern United States. Freedom Riders was the collective name given to people who rode the interstate buses into the Southern States to challenge the non-enforced law that made segregated buses illegal. US Law at the time made segregated interstate buses illegal but many States ignored the ruling and maintained the Jim Crow Law. The Freedom Riders played a large part in civil rights movement, acting as the catalyst for many more protests throughout the country. There is some ambiguity as to which 45 first saw the real appearance of the legendary writing team of Holland —Dozier - Holland in that Lamont Dozier’s, “Dearest One” outing, on Mel-O-Dy (# 102) also has the credit but it’s not clear whether Lamont actually wrote part of the song. A point of interest is that the flip to The Marvelettes — “You’re My Remedy b/w A Little Bit Of Sympathy, A Little Bit Of Love” — Tamla 54097 was composed by Eddie Holland, Lamont Dozier and a certain Mr Tony Hestor. Of course Tony Hester would go on to gain cult status amongst Northern Soul fans as his work with Popcorn Wylie, Don Davis and The Dramatics as well as his own recordings testify. Sammy Coleman was once the trumpeter for Joe Tex’s backing group. Marv Tarplin was the long-time guitarist to Smokey Robinson and their relationship went back to the early days of the Motown company’s formation. So integral was Tarplin to the group that he even appeared on the pic cover to The Miracles — “I Like it Like That” — Tamla 54098 and “The Fabulous Miracles LP” (# 238) Discography:

The Marvelettes - Please Mr. Postman / So Long Baby — Tamla 54046
The Marvelettes - Twistin' Postman / I Want A Guy — Tamla 54054
The Marvelettes - Playboy / All The Love I've Lost — Tamla 54060
The Marvelettes - Beechwood 4-5789 b/w Someday, Someway — Tamla 54065
The Marvelettes - Strange I Know b/w Too Strong To Be Strung Along - 54072
The Marvelettes - Locking Up My Heart b/w Forever - 54077
The Marvelettes - Tie A String Around My Finger b/w My Daddy Knows Best — Tamla 54082
The Marvelettes- As Long As I Know He's Mine b/w Little Girl Blue - 54088
The Marvelettes - He's A Good Guy (Yes He Is) b/w Goddess Of Love — Tamla 54091
The Marvelettes - Yes He Is b/w Blank — Tamla 54091
The Marvelettes - You're My Remedy b/w A Little Bit Of Sympathy, A Little Bit Of Love — Tamla 54097
The Marvelettes - Too Many Fish In The Sea b/w A Need For Love — Tamla 54105
The Marvelettes - I'll Keep Holding On b/w No Time For Tears — Tamla 54116
The Marvelettes - Danger, Heartbreak Dead Ahead / Your Cheating Ways — Tamla 54120
The Marvelettes - Don't Mess With Bill b/w Anything You Wanna Do — Tamla 54126
The Marvelettes - You're The One b/w Paper Boy — Tamla 54131
The Marvelettes - When The Hunter Gets Captured By The Game b/w I Think I Can Change You — Tamla 54143
The Marvelettes - When You're Young And In Love / The Day You Take One, You Have To Take The Other — Tamla 54150
The Marvelettes - My Baby Must Be A Magician b/w I Need Someone — Tamla 54158
The Marvelettes - Destination: Anywhere b/w What's Easy For Two Is So Hard For One - 54171
The Marvelettes - I'm Gonna Hold On Long As I Can b/w Don't Make Hurting Me A Habit — Tamla 54177
The Marvelettes - That's How Heartaches Are Made b/w Rainy Morning — Tamla 54186
The Marvelettes - Marionette b/w After All — Tamla 54198
The Marvelettes - A Breath Taking Guy b/w You're The One For Me Baby — Tamla 54213

hall of fame

By Dave Moore in Articles · March 5, 201510 yr

The Tempests

By E. Mark Windle

The Tempests were a very popular band from around Charlotte NC, which ran from 1963 to the mid seventies, with frequent personnel changes (up to twenty five members in its history). They were an all white line up except for their lead vocalists. The earliest version named The Tempest Band recorded “Love Have Mercy”on Atlantic, with Mike Williams on vocals. At this time they were under the management of female DJ and entrepreneur Hattie Leeper before Williams went solo to record the Vietnam war deep soul classic “Lonely Soldier” again on Atlantic. The Tempests’ lead vocalists during their later period on Smash included Hazel Martin who joined between 1966 and 1968 and then Otis Smith who recorded one single with them.

A number of their tracks on 45 received plays or are known to the northern scene, particularly “Would You Believe” (Smash S-2094), “What You Gonna Do” (Smash S-2126) and “Can’t Get You Out Of My Mind” (S-2126). The summer 1968 Smash LP “Would You Believe”, however, is the collector's piece, having been released in mono, stereo and a promo format, and was even given a Dutch release by Philips.

Tracks on the LP include “Would You Believe”, “Ain’t No Big Thing”, “Happiness”, “Aint That Enough”, “I Cried For You”, “Someday”, “Can’t Get You Out Of My Mind”, “I Don’t Want To Lose Her”, “What You Gonna Do”, “You Don’t Know Like I Know” and “You (Are The Star I Wish On)”. Whilst albums don’t usually seek particular attention from the northern soul scene, this one certainly does, not only because of the quality of tracks throughout but also because two tracks of major interest (“Someday” and “I Don’t Want To Lose Her”) were not released on 45 format. In 2012 a previously unseen Mercury acetate of “Someday”, was offered for sale on eBay, causing some discussion regarding its authenticity on the rare soul website Soul Source. The acetate now appears to be confirmed as genuine and resides in a UK collection.

“Someday”, a moody mid tempo dancer - and at that slightly at odds with most of the other songs on the LP — suited the early eighties northern soul scene perfectly when musical appreciation took a slower tempo approach with a craving for beat ballads and mid tempo dancers. “Someday” was played out in the UK by Guy Hennigan at Stafford Top of the World in 1985, covered up as Bobby Paris. Guy had this confession to make:

”Martin Meyler from Crewe for some strange reason gave it to Keb (rather than me!) to cut an acetate of “Someday” from it. Anyway Keb turns up at my flat in Derby on the Friday night before the Stafford all nighter with the cut and as normal over the next 24 hours we did some swaps and sales. One of the trades involved me getting another cut of The Tempests, which I had said to Keb to cover-up as Bobby Paris, and also to play it that night at Top of the World. However, I was on before him that night (we used to switch around). Not only did I play Keb’s copy of the disc....I played it twice. It went massive that night, just off those two plays. Even though Keb played it later in his spot, I got the credit for breaking it. It was very competitive in that period between DJs, and in particular between Keb and I. But I can justify my sharp trick of stealing Dargie's thunder on that one, with the simple fact that it sounded so much better after I'd introduced it! Ha....you know what, he has never really forgiven me to this day!”

“I Don’t Want To Lose Her” was also played out on the northern scene, covered up this time as Cecil Washington. Van Coble, bass player for The Tempests, was located for interview for the book "It's Better to Cry" and talks of the beginnings of the band and the period leading up to their recording contract:

“Mark here goes. I'm not much of a story teller. The band was started by two brothers, Mike and Roger Branch, in the very early 60's. Just a mess around band sorta. The backing of Mike Williams, produced by DJ Hattie Leeper at Arthur Smith’s Studio in Charlotte NC, got them started in shooting for a record contract, but they were told they needed to add some better musicians than the ones that played on these recordings. By 1966, the band line-up was Nelson Lemmond (drums), Roger Branch (guitar), Mike Branch (keyboard), me on bass guitar, Tom Brawley (flute & baritone saxophone), Gerald Schrum (tenor saxophone), Rick White (tenor saxophone), Ronnie Smith and Jim Butt (trumpet). At other points in The Tempests’ life, Ray Alexander, Bill McPhearson and Eddie Grimes all played trumpet. Our influences were The Tams, James Brown, Sam and Dave, most Stax stuff, James and Bobby Purify, Muscle Shoals music etc. By the time we got this line-up working good together the sax player Rick White met up with Dave Joy, from York, SC, who had a friend in Falls Church, VA. He was a manager / record producer named Ted Bodnar. Ted liked our music. We needed a lead singer and Roger's Dad, who was a police officer on the Charlotte force, was asked to see if he could locate a singer named Hazel Walker. He came back with Hazel Martin. A true blessing for us."

“Things were now solidified with our producer Ted Bodnar. We signed contracts individually and started recording first at Edgebrook Studios in DC and the balance of the recording was done at Arthur Smith Studios in Charlotte. Roger, Mike, Hazel and I wrote most of the songs we recorded, while Jim Butt did the horn arrangements.”

Liner notes by Poker Record’s Dave Flynn and David Timperley on the 2007 reissue of the Smash album referred to the label releases and the bands initial recording success:

“The next step was landing a major record company deal; enter Smash Records — a subsidiary of the mighty Mercury set-up. With that sort of professional clout behind them, this was the ideal opportunity for The Tempests to make a dent in the charts and potentially hit the big time, aided specifically by the nationwide muscle that Mercury boasted. By this point the band extensively featured Hazel Martin. Hazel - who was their fourth singer - had a powerful and distinctive style that enriched the band perfectly and during August 1967 they made an impact with the up tempo “Would You Believe”. It peaked at number 127 in the US Bubbling Under chart. Smash wanted to build on this momentum so an album of the same name quickly followed. Every track featured the winning combination of Mike Branch’s searing organ work, Hazel’s pleading vocal and some totally awesome brass work; everything blazing full on and powering its way high in the mix. Three more 45s followed on the Smash imprint during 1967 and 1968 (MW: “What You Gonna Do”, “Out of My Life” and “In the Cold Light of Day”). Throughout this exciting period, the band performed with many other bands including The Four Tops and The Tams.”

Van Coble continued the story for me:

“During this time we were booking through Hit Attractions’ Harvey Grasty. We played fraternity row parties from Mississippi to Delaware, local clubs like The Cellar, big show and dances at Charlotte's Park Center and the Coliseum, plus USO Shows; we stayed quite busy. In all our travels in the south and southeast we never encountered any racial problems because we were an integrated band, either at motels or restaurants. Go figure, but its true. We were treated well by all. During this time we played so many shows with The Tams we became good friends with Joe Pope, Sleepy, Horace and the guys, shared many a drink with them; they preferred brandy if memory serves me right! The bookings with The Tams were called The Tams and The Temps. The radio stations that broke “Would You Believe” were Big Ways Top Forty Charlotte Station, others from Mississippi and all along the eastern seaboard including WABC in New York City. Our first two 45s were well received on the eastern seaboard and down south but we just couldn't get airplay on the west coast. I guess weak promo guys couldn't get it done. I never saw any numbers on the LP sales, I know I bought some in a department store in Florida for $1.99 each in the early 70s. That's why Nelson Lemmond and myself were really pleased when we found out about Northern Soul, that's great!”

“After the release of “Would You Believe” we signed with the Premier Talent Agency out of New York City for concert and package shows. They ran us ragged. We played so many shows we out ran our money, things were tight, living on cheeseburgers and washing socks and underwear in the bathtub where we were staying. This really took its toll on us. We just wanted to get back down south or home where we could be with our families and go back to like it was before, working a day job and playing locally in the Carolinas.
This is what finally tore the recording group apart. Mike and Roger kept trying to keep the band going by adding new guys and cutting back to a four piece band with a girl singer called Nan Mason. Hazel and I (who had previously co-written “I Don't Want To Lose Her” and “Whatcha Gonna Do” on the LP) joined to create Marco Records for one recording, “Southern Ocean Sunshine” backed with “Out of My Life”. As you’ll guess the ‘Mar’ stood for Martin and the ‘Co’ for Coble (MW: Nat Speir of the Rivieras, and a childhood friend of Van’s, did the horn arrangements for the project. Hazel Martin later went on to play with The Spontanes for eight month period in 1972). Hazel passed away in 2008.”

The Tempests continued to play until they broke up in 1975. Mike continued to contribute to beach scene via Surfside records in 1979 with ex-Showmen / Chairmen of the Board lead singer General Johnson. Mike has since passed away. Roger moved to New Orleans and became a producer and engineer at Sea-Saint studios. He now owns Oak Street Recording Studio in New Orleans. Gerald Schrum died around 2010. Roy Alexander later became arranger of the Motown horn section.

Van continued his career in music:

“After The Tempests I stayed involved in music, teamed up with Nelson Lemmond, Nat Speir and produced several artist for various record labels (no hits though) including Lee Webber on Excello, Sandlewood Candle on 440 plus (a subsiduary of Monument records) and Vann (me) on Mother Cleo Records. During this time I went back to school and got a degree in electronics. I went to work for the largest electronics supply company and sound contractor in the south east. I went from being a service technician to sales manager over the sound and communications division, starting a life long endeavour of over forty years in this business. All this time staying active in music, playing gigs on weekends, putting together my own home studio. I am still recording and producing in my studio. My most financially successful project Nelson, Nat and myself did was for R. J. Reynolds Co. “A Blues Album”. We recorded this at Sea-Saint Studios in New Orleans with Allen Tousaint and Marshall Sehorn, Man, it was a blast.”

“We were just a bunch of Good Ol’ Boys that almost made it in music. Thanks for playing our music, it does an old heart good to hear that some where in the world somebody's listening and dancing to the The Tempests.”

The Tempests were inducted into the CAMMY Beach Music Hall of Fame in 1996.

Nat Spier (Rivieras), Van Coble (Tempests) and the author. North Carolina 2013.

Copyright E. Mark Windle 2013

"It's Better to Cry" by E. Mark Windle available at Blurb.co.uk or for overseas Blurb.com. Go to the Blurb online bookstore.

References
Van Coble. Personal coms. August to October 2012.
Guy Hennigan. Personal coms. June 2012.
Roger Branch. Personal coms. June 2012.
Lu Rojas. Personal coms. June 2012.
Dave Flynn. Personal coms. May 2012. Author permission obtained to use sleeve notes from Poker CD reissue of ‘Would you believe’ (Deck CD 100; 2007).
David Timperley. Personal coms. June 2012. Cherry Red Records. Company permission obtained to use sleeve notes from Poker CD reissue of ‘Would you believe’ (Deckcd 100; 2007).

By Windlesoul in Articles · March 1, 201510 yr

The upcoming book 'Detroit 67' written by Stuart Cosgrove has in a short time picked up some glowing reports here on Soul Source. So am sure that this the on site 'look inside' kindle preview post will be of interest to a fair few readers out there. The Kindle version is priced at £5.19 - Just need to hit he cover image below to purchase
Also it has been reported that the paperback version may now be available from some outlets ahead of its planned release date. You can read the comments on the original news post to find more info/details/advice on current purchasing from the author/member himself

Detroit 67 is the story of the city of Detroit in the most dramatic and creative year in its history. It is the story of Motown, the breakup of The Supremes and the implosion of the most successful African-American record label ever, set against a backdrop of urban riots, escalating war in Vietnam and police corruption. The book weaves through the year as counterculture arrives in Detroit and the city's other famous group the proto-punk band MC5 go to war with mainstream America. The year ends in intense legal warfare as the threads that bind Detroit together unravel and leave a chaos that scars the city for decades to come.

kindle

By Mike in News Archives · February 27, 201510 yr

After knocking us out in 2014 with their debut 'Hot Spot' single (revisit) , Daptone duo Saun and Starr are back on the front foot with news of an upcoming 45 and debut album lined up for release here in 2015.
May 19th being the day.
The 45 a side is titled 'Look Closer (Can’t You See The Signs?)' backed with 'Blah, Blah, Blah, Blah, Blah Blah Blah' and you can hear clips of both sides via the links below and/or direct via the shop page
Album Blurb:
Following the 2014 breakout single, "Hot Shot," the biggest selling Daptone 45 ever, longtime Sharon Jones & the Dap Kings backing singers Saundra Williams and Starr Duncan Lowe are set to release their debut full-length album, Look Closer, out May 19th.
Recorded with The Dap-Kings, the highly anticipated album was produced by Daptone's Gabriel Roth and recorded at Daptone Records’ House of Soul studio in Bushwick, Brooklyn in 2014.
Look Closer track listing:
01 Look Closer (Can’t You See The Signs?)
02 Hot Shot
03 Gonna Make Time
04 Sunshine (You’re Blowin’ My Cool)
05 If Only
06 Another Love Like Mine
07 Big Wheel
08 Your Face Before My Eyes
09 Dear Mr. Teddy
10 In The Night
11 Blah Blah Blah Blah Blah Blah Blah

By Mike in News Archives · February 27, 201510 yr

following the recent deaths of two of the Manhattans members, Blue Lovett and Sonny Bivins, Kenneth "Wally" Kelly, the last surviving founder member of the group has passed away.

http://www.soultracks.com/story-kenneth-kelly-dies

In a year that has been filled with sad news for the millions of fans of the singing group The Manhattans, we have another piece: Kenneth "Wally" Kelly, the last surviving founding member of the group, has died. Kelly was there at the beginning of the iconic act and remained a member right through to the end of their hitmaking days in the late '80s. His death follows the December passings of two other original members, Blue Lovett and Sonny Bivins. Now, only Gerald Alston, the wonderful singer who joined the group in the early 70s and sang lead on their biggest hits, remains from the most popular version of the Manhattans.

- See more at: http://www.soultracks.com/story-kenneth-kelly-dies#sthash.95NeVP9x.dpuf

By Chalky in News Archives · February 21, 201510 yr

For those avid collectors of rare soul vinyl, the mail order list of SoulBowl (proprietor, John Anderson) should have a special place in their heart, because for the last 50 years it has been at the forefront of vinyl digging for those rare soul imports that we hold so deep in our hearts.
Soul Bowl is to present a connoisseurs room at this forthcoming Prestatyn weekender and has lined up some of it's previous primary customers, including Colin Curtis, Richard Searling, Soul Sam etc. to play something engaging.
To promote this room and also shed a little light on the Soul Bowl set up, I've managed to get a small introduction from John and then a few words about my experience as a collector, including finding records on the weekly list, or in person at the warehouse.
For those who have never had the fortuity to have experienced Soul Bowl's mail order business, or for those who did, but would like a reminder of what went on in those early years of the rare soul scene, I've also posted up some old sales lists. I hope you find them as interesting and amazing as I did
JA intro:
Mark has asked me to write a few words about my 48 years or so of selling records.my first deal came about from my time trawling shops on glasgow. There was a camera shop that had tons of 50’s/60’s uk singles they had bought as a load. I was in there one day and they saidwe got a lot more in a room behind a false wall in the basement. There were four titles in quantity–miracles on fontana/both marvelettes on fontana/eddie holland-jamie. I bought them for 3 old pence and sold them to reddinton’s records in birmingham for 6 old pence-i was on my way!
My second deal was a load of 10,000-us singles i bought blind-took out the soul and managed to offload the rest to an office supply shop in glasgow.
My third bigger deal was going to the states and i hand picked 60,000-soul singles and shipped back sea freight and when my mum and dad saw the truck turning up at our second floor council house they thought the floor would collapse with all the weight! I didn’t have these records for long,word got out and that was the start of our time in the record business proper. I’ve been on the road in the states most years for 4 or 5 months so after close to 50 years you forget a lot of the deals you made.the only year we added up the invoices was 1977 and that year we shipped in one million singles.our major problem was space in king’slynn we had 4 places in town. An old church, a barn and a huge double garage, but we were always running out of places to put the next load. The great thing about those days was we learnt as we went along and there were no price guides which really mean nothing as prices change all the time, also collectors had very little money and we would end up with piles of bounced cheques! All very different from today.
Mark has also asked me to mention a couple of record deals we made back in the day. two that come to mind are the time i went to cincinnati to buy a load of 200,000 singles. They were in the basement of a one stop that had closed down–ceiling to floor-they were mainly promo copies.the one stop would mail out a few and then through the rest in the basement from the late 50’s to ‘67. I couldn’t really see much as there was no power-so it was a gamble and we made the deal.i had them shipped but had no idea what we had until the truck’s turned up in king’s lynn. I opened the first box and inside were 50 copies of the invitations-ski-ing in the snow. We ended up with thousands of obscure mid west/west coast soul records as well as demos on major labels. I could write pages about these deals but the second one i’ll mention was in the uk. I used to swap loads with a friend of mine paul who ran stalls on bradford market.he had picked up a load from me and a few weeks later he called me up and said we’ve just got in a big load from the west coast. I went there with gary cape––it was mainly west coast labels in quantity–mirwood/pzazz/highland etc etc––they came from record merchandisers in los angeles. I just remembered that when i still lived in scotland i got the train down to bradford and went to paul’s house to look at the records in his garage––there was 50 copies of the salvadors on wise world in there–wish i had them today!!!!!

From a collectors perspective:
In the early 7ts I was already a devoted follower of Northern Soul, even at the tender age of 14yrs. The Torch allnighter was the place to go and my older brother, Ant, was a regular attendee. He had a reasonable collection of imports and gave me the go-ahead to play them when I wanted to. Becoming more interested in vinyl I would peruse a weekly list that my brother was receiving; the list was called Groove City and was basically a couple of A4 pages with about 200 records for sale, mainly Ric Tic, Motown and various Detroit labels on offer. Trying to remember what was on those lists 43 yrs ago is a real struggle, but i do remember that a regular record that you could buy, was Sam Ward 'sister lee' Groove City for 75p. This it turned out was the prototype soul list to SoulBowl.
Eventually, i got signed up to the SoulBowl list in my own name and became a regular buyer, an addiction to this day that ive never been able to restrain. The mail order business was essentially run by husband and wife team, John and Marissa Anderson, with support from a Northern Soul dj, Poke.
One of the real attractions of the list was the Pound Special page. Since there wasn't a great deal of money in a young person's pocket at that time, being able to buy a decent original Northern 45 for a Quid was just what us budding collectors needed.
Most weeks, another excellent section of the list contained a record that had been hitherto 'big' at the major allnighters, which had now been discovered in some quantity and was now for sale at a fraction of the price it had been previously. This would usually be the talking point for many of the collectors in the Wigan record bar, or at our local 'soul pub' the Antelope. See if you can spot any of these records on the sample lists at the end of this article.
Obviously, most of the records on the weekly list were rarities and therefore you needed to phone as early as possible to reserve. For most of us, that meant running down to the phone box at the end of the street and dialing the ten digit number, usually getting the engaged tone for at least the first twenty tries. When you finally got through, you heard the dulcet, Scottish inaugural greeting, 'SoulBowl' Pushing your coins into the phone box, hoping and praying that your most wanted records were still available, you were able to put in your order. Being able to secure any records from your wish list would set the tone for that day and sometimes for days after. I remember one day in particular, when i was able to reserve five top notch sounds and i ran back up the street, punching the air like I'd just scored in the cup final.
As the years passed and my interest in the the obscure 45 became more intense, I began to send Soul Bowl my wants list, or casually ask about an particular record during a phone order. Eventually, John said those magic words: why don't you come down to the warehouse and have a look around for yourself. This was music to my ears and for the next few days I prepared for the visit, putting together my list of things to look for and simultaneously finding as much cash that i could muster.
The visit was a record collectors dream, over a million soul 45s in one barn, racked out in label/alphabetical order. FInding so many great records in one place and at great prices. It was so good that i decided to stay for an extra day and make a weekend of it. Records that i bought included Montclairs hey you, Bob & Fred Ill be on my way, revells trent town, sonatas hotline, webs dynamic, paul sindab, voltaires bacone, willie mason kalama, four andantes modo, wendell watts kiss a good thing etc. etc. I came away with over 200 hand-picked records and i remember John saying to me, 'im glad you came, as nobody else wants these kind of records' At that period of the scene, he was right; there wasn't really many collectors looking for obscurities.
On consecutive visits to the warehouse, like many of the djs that ive talked to who took trips there, John had a box of specially selected 45s just for my consideration. Inside those boxes there was always something significantly good, unknown and rare. Some of the titles that came from these visits were: Saints Wigwam, Sensations demanding man, Poets J2, George Pepp, Appointments Delite, Love is alright acetate, Hank Hodge eye for an eye.
On one occasion i asked John about a record by the Imperial Cs on Phil la Soul, which has appeared on the main sales list the week before; "what's it like", I asked? John's reply was, "give it a play", as it didn't sell and was still in the sales box. Price was £8 and the rest is history!
Countless other collectors will have similar memories to these that I've described and it would be great to hear about them too.
It's hard to describe the impact Soul Bowl has had on the world of Soul collecting, but it is immense. I haven't even touched upon the stories of their UK wholesale operation, or their substantial sales overseas (including the legendary Japanese lists) and maybe someone else can expand upon these anecdotes following this article. For me, Soul Bowl was the lodestar in discovering the beauty and diversity of American Soul music.
click thumbnails for full view

By Neckender in Articles · February 19, 201510 yr

Congratulations to Elaine and everybody connected with the Film on winning best Film at tonights NME Awards!!!

By dedji1955 in News Archives · February 18, 201510 yr

THE PASSIONS By E. Mark Windle
One of the most popular and rarest 1960s girl group 45 discoveries with northern soul appeal is without a doubt The Passions for their “If You See My Baby” (Elvitrue & Satelite 177). What was known before this piece of detective work commenced was that Elvitrue was an independent record label out of 1108 (1-2) South 7th Street, Wilmington NC. Set up in 1959, it was owned by John Lewis Jones and possibly James Wheeler. It had a most sporadic recording history with around ten releases, with the label closing in 1976. The repertoire included pop, soul, gospel, country and funk. Elvitrue essentially seems to have been a vanity outlet, with its random artist discography and association with the Rite custom pressing plant in Ohio.
Whilst “If You See My Baby” is likely the most popular on the northern scene, The Passions also delivered “Hello College Boy” (Elvitrue A27916), another competent girl group sound. Both 45s are elusive, with “If You See My Baby” commanding a four figure value at the time of writing. A third release on Cylyn, “What Am I to Do” (CY-0002) preceded these recordings, and to date remains relatively unknown even on the rare soul scene. Other groups with the same name which appeared on other labels during the same decade are unrelated.
Early attempts by the author to track down the members of The Passions and individuals associated with their recordings were thwarted by the red herring of the North Carolina location of Elvitrue. Credits on “Hello College Boy” had listed E. J. Chaplin from “Camp Lejeune, NC” as the songwriter. Camp Lejeune US marine base, Jacksonville was built in 1942, occupying approximately 14 miles of North Carolina coastline near Wilmington; tying in with the Elvitrue label address. The girls singing on this danceable mid sixties black girl group sound, leaning toward soul rather than pop, were clearly young teenagers at the time. This raised the possibility of them being students at Camp Lejeune High School, perhaps as children of military personnel. Available knowledge indicated that the girls’ names included Pat Lawless, Connie Bailey and Carol Paul. However, high school files and yearbooks failed to identify them as past students.

A similar check was made on E.J. Chaplin. The school archivist had no recollection of this individual, either as a student or teacher. Even the 2nd Marine division of the US Marine Corps were contacted in the knowledge that this outfit was the band division at Camp Lejeune at the time, and therefore the songwriter may have had some connection, as a marine. No easily accessible archive existed. One other song was known to be written in 1969 (likely two years after “Hello College Boy”) by an E.J. Chaplin for Cowtown, a Texas country label, which indirectly steered the investigation in another geographical direction.
As it turned out, The Passions had a lot more to do with Louisiana than the eastern seaboard. A further on-line search eventually located Carol Dean Paul (now Vaughan) via her daughter Denitrea Vaughan; and Constance “Connie” Bailey, now residing in Texas. Carol and Connie confirmed the group were from the Baton Rogue area of south west Louisiana and were school friends.
“The Passions were formed in 1967 after performing at a talent show at Baton Rouge High. We were about fifteen years of age. The original members were Dianne Williams (now Hamilton), Pat Lawless and me. I knew Carol, who joined the group later, from Jr. High” reveals Connie Bailey. “Musical influences included Gladys Knight and the Pips, and The Supremes. We sang at local events like the Miss Baton Rouge Pageant and social club functions and even appeared on Baton Rouge’s version of Bandstand. Ronnie Shaab was our initial manager. He owned a record store in downtown Baton Rouge.” Ron would arrange various live gigs for The Passions, including an appearance as the main guest attraction at the Blue Revue, a local talent show held at the Lincoln Theatre.
Ron Shaab would later made his mark in the late sixties and seventies as producer and songwriter for Stone Records and some collectable funk recordings. Before all this however, he brought The Passions to record a session in Montelbano brothers’ studio in downtown Baton Rouge.
The result was “What Am I to Do” featuring Dianne on lead vocal, backed with “Time is a Natural” with Connie on lead for the flip. This 45 has only really surfaced in recent years, and until now rare soul collectors did not necessarily link it with the ‘Elvitrue’ Passions. “What Am I to Do” is a superb example of female mid sixties, mid-tempo / beat ballad and still remains virtually unknown by most soul collectors in the UK, US and Europe. Pressing run numbers are unknown. Connie remembers hearing it on the radio but not any sales, although both DJ copies and issues are known to exist.

The Cylyn label was formed by Cyril Vetter, drummer, and Lynn Ourso, guitarist, with the support of studio owner Sam Montel in 1963, initially to put out to release what was effectively the result of a jam session by the Montel studio band - the inaugural label release “Warm Daddy’s Choice”. Throughout the sixties Vetter and Ourso continued to work both for their respective bands, the Greek Fountains and John Fred and the Playboys, as well as session for other artists at the Montel studio along the Mississippi River front in Baton Rouge. Vetter was probably best known for co-writing “Double Shot of My Baby's Love”, a later hit for The Swinging Medallions. Cyril Vetter and his band, or some combination of his and Lynn’s band, backed the girls on The Passions’ Cylyn release at the studio. Andrew Bernard, baritone sax with John Fred and the Playboys, arranged and played on both sides.
“The studio (later known as Deep South Recording) was owned by the Montelbano brothers. It was located in a portion of a produce warehouse in a building at the foot of the Mississippi River levee in Baton Rouge” remembers Cyril. “Sam Montel was the music entrepreneur. Micky was the more serious older brother who ran the produce business called the Fruit Exchange. There were always fruit trucks around and produce on the loading docks. Being that near the levee the studio always felt a little damp with the river so close and the low temp required to preserve the fruits and vegetables. A train track ran just behind the building so there was always a train whistle and rumble and a ship or tug fog horn adding to the kind of mystical feeling of the place. It wasn't a hit factory but it was a fun place to record especially at night when the fog rolled in and the smell of the river was very pronounced! I produced “What Am I to Do” on The Passions and wrote the flip "Time is a Natural" with my dear friend Don Smith. We also wrote "Double Shot of My Baby's Love" together, something of a beach music evergreen. Unfortunately, Don Smith was later killed in a small plane crash. He was a civil engineer by day and he died on the way to a job in the oil patch. But as to Cylyn itself, Lynn Ourso and I started that label to release the recordings we produced at the Montel studio. I was writing and producing at every opportunity. I loved being in the studio and could work non-stop as a 20-something! I eventually got drafted during the Vietnam War. When I got out of the army I went to Law School then ended up in the broadcasting business. I did a little music from my broadcasting company's offices and released four LP's on my label called The Record Company of the South. John Fred of John Fred and the Playboys was the label's general manager.”
After the Cylyn recording, the girls changed manager. Dianne dropped out of the group, eventually to be married. “Hello College Boy” was released on Elvitrue in 1967 or early 1968, and featured at least Connie and Pat on vocals. Denitrea Vaughan reported that whilst her mother Carol was not present on the “Hello College Boy” recording, she did appear on “If You See My Baby”. The session for “If You See My Baby” took place at a studio in Lafayette (a 45 minute drive from Baton Rouge), owned by the Rachou family. La Louisianne Recording Studio, located at 2823 Johnstone Street, Lafayette, is currently run by David Rachou. In the mid 1950s his father Carol Rachou had originally created a studio at the back of his stereo and record store, initially as a hobby. When his parents sold up their nearby grocery business, Carol moved premises and converted their store into what is now known as the La Louisianne Studio. Initially starting out with a single Telefunken microphone and an Ampex one track recorder, he built a small empire largely on Cajun, swamp pop and Zydeco recordings. A number of R&B tracks were also laid down here in the 1960s for the studio’s own label, La Louisianne Records - most notably for rare soul collectors, the Camille ‘Lil’ Bob (a.k.a. Little Bob and the Lollipops) 45s and LP releases. Rachou also provided a service for third party recordings; including the Elvitrue releases. In the 1980s Carol handed the business over to his son, and the studio continues to run to this day.
UK based rare soul collector Andy Rix had successfully made contact with James Easterling, co-writer of The Passions’ second Elvitrue 45 “If You See My Baby”, along with Lawrence Rodriquez (a.k.a. Buck Rogers). Jim and Buck were essentially country songwriters, who had links with the Jack Clement and Bill Hall publishing company. Clement was one of the major country figures throughout the 1960s who had a number of highly successful country songs recorded by national artists such as Johnny Cash, Ray Charles, Carl Perkins, Elvis Presley, Jim Reeves and Jerry Lee Lewis. However Easterling and Rodriquez worked on this song very much with an R&B flavour, belying their country roots.
An individual by the name of Melvin Dodge was the contact between the writers and the Elvitrue label for “If You See My Baby”. Obituary data and an archived 1963 Blues Appreciation Society newsletter suggests that Dodge was originally from Natchez, Adams County, Mississippi. By the early 1960s he started getting interested in the record business. At least one record on Global (a Natchez label) was released: Sonny Hodges “Flame”, a slow teen Elvis attempt, in 1961. The family then appear to have moved to Ferriday, Louisiana; at least this is the location of two further labels set up by Dodge. An early sounding and uncharacteristic novelty instrumental by Texan blues piano player and songwriter Big Walter Price and his Thunderbirds was released in 1961 on Myrl (the name of Melvin’s wife). The Sonny Hodges 45 was released again, on Myrl. ‘Dodge’ was a second label which carried another instrumental, this time an early R&B instrumental called “Shimmy Shimmy Walk” by The Megatons. This was released the same year.
Jim Easterling relayed the story to Andy Rix where Dodge simply decided he wanted to make a record, so he went to Nashville and was given “Shimmy Shimmy Walk”. The Megatons featured at least some of Bill Black’s band and they recorded the track at Pepper Tanner studio in Memphis, 1961. Dodge took the song to Louisiana to press the record, and then to Hollywood to find a DJ to promote it. That record went to the top ten national charts. Leonard Chess in Chicago called Dodge to buy the master. Dodge sold it to him for $10,000 (the record appearing on Checker the following year). Ultimately this record became a signature tune for a number of radio jocks throughout the US. Dodge went on to make some more records in Houston, Texas.
In 1968 Melvin Dodge asked Jim and the other writers / session players to go to the Lafayette studio to work with The Passions on “If You See My Baby”. Jim remembered Pat Lawless as being the lead singer and she is credited first on the label, though Connie Bailey reported she was lead, also confirmed by Carol. Jim didn’t see the group again after recording the tracks. The writers, session musicians and the girls never met the Elvitrue label owners. Melvin Dodge was the sole contact. Connie confirms that they signed with Dodge for the session but that was about their involvement with him other than the provision of transportation to and from the recordings.

“Both Elvitrue records were considered demos” says Connie. “Only about 25 to 50 were pressed. None were ever sold. We were played on the local radio station but our greatest reward came from the excitement of it all. We signed some kind of contract; our parents were sued by Elvitrue when we didn't pay for the demos. They ignored it and nothing ever came of it. That was it. I went to college after high school and Pat moved to out to New Orleans.”
No further recordings other than those which appeared on the Cylyn and Elvitrue / Elvitrue & Satelite 45s were made by the girls, and no unissued recordings exist. Why the tracks were pressed on a North Carolina label, remains a mystery. Some connection with Melvin Dodge, and label president John Lewis Jones perhaps, but the secret has probably been buried with Dodge.
“After The Passions, I sang with Johnnie Jackson and the Blazers, until I graduated from Southern University in 1972” says Connie. Johnnie Jackson and the Blazers are best known on the rare soul scene for their driving R&B number “What You Gonna Do” (J-Mer 101) featuring Merle Spears. Connie later remained involved in church and community choirs, and worked in Government as a business analyst until her retirement in 2010.

Carol Paul completed her Bachelor of Arts & Science at Southern University of Louisiana in Baton Rouge where she majored in music. She sang in the choir at Southern. After a move to Los Angeles, she became an accountant then opened a successful day care business, eventually moving to Dallas. Sadly, Carol Paul, Pat Lawless and Buck Rogers passed away during the preparation of this chapter. Carol’s daughter Denitrea remembers: “Throughout the majority of my life my mother always sang in the church choir. She was a soloist in the church. We did a mother/daughter concert together at our small Baptist church and sang in a community choir. I don't believe she was in any other groups but she always talked about her time with The Passions with such pride. "We were like the Supremes" she would say.”

This and fifteen other southern soul biographies appear in "RHYTHM MESSAGE", a new book by E. Mark Windle. Available at Blurb.co.uk or Blurb.com. Order details from http://www.blurb.co.uk/b/5936116-rhythm-message

Resources, notes and references

Andy Rix (including communications with Jim Easterling). Personal coms. October 2013.
Constance Bailey. Personal coms. November, December 2013; January 2014.
Dianne Williams (via Connie Bailey). Personal coms. November 2013.
Dr. Denitrea Vaughan (contact for Carol Vaughan). Personal coms. October 2013 to March 2014.
Cyril E. Vetter. Personal coms. December 2013.
Nick Cobban. Personal coms. October 2013.
Blues Unlimited (fanzine, 1963) Available at http://www.wirz.de/music/mags/grafik/bu0014.pdf
Martha Harville Information Specialist, National Honor Society Adviser, Lejeune High School, Camp Lejeune, North Carolina. Personal coms. October 2013.
SSgt. Christopher M. Dwyer, United States 2nd Marine Division, United States Marine Corps, Camp Lejeune, North Carolina. Personal coms. October 2013.
AS-PMA (Cowtown) discography. Available at http://www.songpoemmusic.com/labels/cowtown.htm
Nick Cobban. The Vinyl Word (blog). Available at http://thevinylword.blogspot.co.uk/2010_05_01_archive.html
Website: http://www.natchezdemocrat.com/2010/03/04/henry-dodge/
Website: http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=83114986
Website: http://en.wikipedia.org/wiki/Jack_Clement
Website: http://www.besonic.com/News/g0r0l0t3o0i1500s1/article.html
La Louisianne Recording Studios. Available at http://www.lalouisiannerecords.com/studio.htm

Label scans from the collections of E. Mark Windle and Andy Rix
Photograph of the Passions courtesy of Dr. Denitrea Vaughan

By Windlesoul in Articles · February 17, 201510 yr

Image courtesy of Rugby Store
RUGBY & I AIN'T TALKING BALLS.

Where to begin? It's been a while since I put pen to paper for a Venue review but this is different because there were people there I'd not seen or spent time with for some time, so thanks to them you get the tale of Rugby past.

Rugby's always a great night, why? Because the Dj's are given free rein to play what they want, therefore you get an eclectic mix, so as we've done for the past too many years we meet up at ours with Kev & Pauline and raise a glass to Gail's once again teen birthday (How many years are these teen years?), Gail's all giddy because she hasn't seen her mate Dynamite Donna since November and there won't be enough hours or words in the night to catch up, and it'll give Dave a break from the constant chatter. So it's down the A1 to Blideth for the Big Fella Paul and we spend an hour toasting Gail's health etc again (No not me I'm designated Driver as usual) and Gail leaves Cath a homemade fruit loaf, giving her a head start on Mr Greedy Guts who would demolish it in 2 sittings given the chance. Anyway off we charge with Paul acting as Sat-Nav Sam whilst poor Kev is tethered in the back with the 2 Tommy Gun Talkers and their none stop rattling, as it's on the way there it's very light hearted but by morning the mood will have changed to Death by a thousand Insults but that's another story, Paul says we'll be there by 9:40pm Yeh providing the Slip Roads at every junction aren't closed, as happens or seems to everytime Rugby's on, now it's nice Countryside there in daylight but doesn't quite have the same endearing quality at night when catching doggers in full beam on Country lanes when all you want to do is get to the Bloody Venue!!!!!!!!!!! So we arrived at 9:09pm having throttled down from warp speed to Reginald Molehusband legal speed limit, there's a Cop shop next door you know.

All parked up and the scrummage in the boot finished, it's off to the Dance, we round the corner and I spot Non-Stop Donna which means I've lost Gail as usual for at least 30 minutes or until I get annoyed and growl at her to come in as I'm sick of carrying around her bloody drink like Jeeves & Wooster. Ken's in Mrs Wood mode as usual collecting door tax and Dean can be seen peering back through the glass double doors like a child locked outside whilst your Mum makes you finish your tea but not a Sian in sight (Try saying that when your p*ssed), usual suspects in the Bar, Donny's top Dj Dick Krop (Get him booked) but no Mary, Roger the Dodger Banks, Long suffering Dave Raistrick, Lou & Woody (Who doesn't look a day over 59, amazing), Man in a Man Bag Killa, John Wayout Weston and Dave Rimmer looking very happy as Jessica is on a sponsored silence. More of the gang about Town arrive through the night, Vic & Gail, Steve & Brigitte, Gilly & Nicola and more but some missing like Nesta & that Kev H, anyway look who's here Rich finally forced out by Cat so we can grouse about everything and everyone, Bev for first time in I don't know how long and Col Wood with Shirl as he has now finished his Community Service work with This Little Piggy & Co. Seems it's Birthday week also, it was Gails on Wednesday her Sister Kerry's on 9th, Matt Sneath on the night of Rugby and Ian Mick McManus's around that time, he arrived fashionably late with Slimline Mick, Mandy, Wendy, Mike Cog and “This is our once a year day” Jan Cog, low and behold part way through the night I spot an apparition or is it an Angel from the past? No it's Hannah H but Fireman Sam's not along for the ride, he's too busy starring in London's Burning, been a few years and it was so good to see her but how dare she not look a day older.

Tried the Little room but for some reason couldn't get into it but had a chat to Dale & Andy Hudson, so into the main room and the place is buzzing and getting busier as people arrive throughout the night from other Venues and Detours around closed exits off the M1. Coop's is about with his Camera and as usual he's hidden Nettie away in the dark corner by the stage, there's lots of new faces I don't know and some I don't wanna know,specially those who take the p*ss out of people dancing or seem to want to dance you off the floor, grow up you planks. Seems we have the Justin Biebers & Miley Cyrus's of Northern with us dancing the night away also, they stay down the front in the soft glow of stardom, I remember when we did the same, oh the joys of youth, I notice Billy joined em down there to try and rekindle his “This England” glory years. Anyway enough, the music as ever was varied and I particularly enjoyed Daz Dakin's set of Oldies with the superb Alice Clarke — You hit me, being the high light, Someone, I'm unsure who, played Connie — Servicemen, a fav of mine, Woody was another highlight for me along with Carl “Max Bygraves” Fortnum and John Weston, there was some nice Cleethorpes/70's also played early in the night but my eyesight and standing at the rear of the room, well it could have been anyone but it don't matter, it was just good.

Round about 4 it started to thin out and not long after Dave corralled Donna and shepherded her away, the bar was bereft of records and dealers and there was enough room on the dancefloor for me to swing my pants but once Thelma Lindsey closely followed by (or vica versa) by JoAnn Courcy hit the airways I know it's time to say my Goodbyes and go start up, de-ice and warm up the battle bus, as it will take until Mr Rimmers finished plus an extra 30 minutes or so before the crew realise they have to leave, I spend this time productively by watching Kit and Adam Topping race and jump remote controlled cars around the carpark. Till next time.

Take care, be safe and remember
”Happy, I'm so happy, I'm happy, I'm happy”,
Spot.

event-reviews

By spot in Articles · February 15, 201510 yr

"Detroit 67 is the story of Detroit in the year that changed everything. Twelve monthly chapters take you on a turbulent year long journey through the drama and chaos that ripped through the city in 1967. Over a dramatic 12-month period, the Motor City was torn apart by personal, political and inter-racial disputes. It is the story of Motown, the breakup of The Supremes and the implosion of the most successful African-American music label ever.
Set against a backdrop of urban... riots, escalating war in Vietnam and police corruption, the book weaves its way through a year when soul music came of age, and the underground counterculture flourished. LSD arrived in the city with hallucinogenic power and local guitar-band MC5 -self-styled "holy barbarians" of rock went to war with mainstream America. A summer of street-level rebellion turned Detroit into one of the most notorious cities on earth, known for its unique creativity, its unpredictability and self-lacerating crime rates.
1967 ended in social meltdown, personal bitterness and intense legal warfare as the complex threads that held Detroit together finally unraveled. Detroit 67 is the story of the year that changed everything".

Available from Amazon and Waterstone bookstores 31st March 2015
site note: the amazon link at the bottom of the page does have a preview of the intro page

Stuarts Facebook page
https://www.facebook.com/pages/Detroit67/795265097210752?fref=ts

Detroit 67 Website
http://www.detroit67.com/

By Philly in News Archives · February 14, 201510 yr

Had a call the other day from Laurent from France, who told me that as well as being a friend of Derek Martin he is currently acting as his manager.
And was interested in contacts with soul event organisers
His words say it better...

"He lives in Paris for a couple of years now and I'm acting as his friend and 'manager' to help him out making a living. He is 76 but still very fit (he does push ups and sit-ups every day!) and of course still has his incredibly nice and friendly personality that shows through when he is in front of people singing.

He has a very nice personality, very charming and extremely giving to others. He actually told me once that his real ambition would be to have 'healing powers' to cure people! However, he really struggles to find shows where audiences are really into soul music, so I would really welcome any contacts with soul event organisers that are possibly looking for new live acts or contacts with soul clubs who would potentially like him to perform a couple of songs onstage at the peak hour of the night, to boost the ambiance"

There you go, add to the mix recent appearances at Cleethorpes Weekender and 100 Club Allnighter, then if you are involved in any events and looking for something extra then this may just be of interest!

Dreks Website which includes videos...

http://www.derekmartin.fr/
The website (via above link) has more videos including a french "...got talent" tv clip and has contact detail for bookings etc

Laurent email is
laurentbjulia@gmail.com

Derek Martin - Daddy rolling stone - Live at the Euroyeye 2013

http://youtu.be/T54YFyiI9bg

note
edited to fix name error with the manager
His first name is Laurent (as in Larry) not Julia (the family name)

By Mike in News Archives · February 12, 201510 yr

Thanks to Shelly for the heads up post via the status shouts
A Northern Soul Drama BBC Radio 4
45 mins
Wed 18th February 14:15hrs
on BBC iplayer after the broadcast
Two men settle old scores, 35 years after their involvement in the Northern Soul scene.
It's 1978 and the Northern Soul scene is at its peak. UK Manufacturing is thriving, Unions are strong, and blue-collar labourers have money in their pockets. Working class black Americans have moved from the Deep South to work in the car factories of Detroit and what has emerged from them is a new kind of soul music - upbeat, rhythmic and aspirational. British car factory workers have also found that the music's mood and rhythm speaks for them and Northern Soul has become an exclusive music and dance scene with its own code and culture, focussing on Friday all-nighters.
Mark, a 17-year-old, middle class lad, gets his first job - in a car factory in Wolverhampton. Super cool factory worker Jerry introduces him to Northern Soul and Mark is hooked. He wants to be a part of it - the music, clothes, and all-nighters. Winning Jerry's friendship, he asks to go to Wigan Casino, voted the best club in the world - but Jerry questions Mark's authenticity and is undecided whether to take him.
Thirty-five years later and Mark, now a married father and a journalist living in London, interviews Jerry about the end of the Northern Soul scene. For Jerry, the memories recall a tainted time of union power and working class freedoms confronted by the rise of the political right. For Mark, the memories hold emotional confusions. Buried hurts resurface between the two men and old scores are settled about class, music and identity.
Writer: Hattie Naylor
Director: Marc Jobst

A Pier production for BBC Radio 4.

By Mike in News Archives · February 11, 201510 yr

‘The Odyssey: A Northern Soul Time Capsule’ is the single most comprehensive overview yet of a truly unique UK musical culture which has now lasted over 45 years and had spread across the world. The current popularity of the film “Northern Soul” and it’s soundtrack plus the attendant publicity within the mainstream media - a UK Top 10 film smash, a UK Top 10 album smash and No.1 DVD smash have well and truly put Northern Soul at the forefront of people’s interest again. This is a very, very exciting musical culture which now seems to be appealing to a younger generation of new fans in their teens who love the energy that Northern Soul provides and have the energy to burn off.

But how did it start? What made young teenagers in the north of England in the late 1960s and 1970s switch from the mainstream musical scenes and plunge underground into the darkest recesses of black American Soul music? What made them travel hundreds of miles every weekend to see particular DJs and acts? What made them pay 4 weeks of hard-earned wages for a 7” vinyl single from 1967 that hardly anyone had ever heard of?

Welcome to Northern Soul. One of the most enigmatic musical cultures ever to exist is now available to explore in depth.

Curated by well-known professional compiler, head of Harmess Records and 1970s Northern Soul DJ, Ian Dewhirst, ‘The Odyssey: A Northern Soul Time Capsule’ is very much a labour of love. The contributors to the project read like a who’s who of Northern Soul’s golden era. Ian Dewhirst and Anglo American’s Tim Brown co-compiled the music and deliberated at length over the myriad of licensing issues. Mike Ritson, publisher of Manifesto magazine, kindly allowed us to use large swathes of his definitive book about Northern Soul, ‘The In Crowd’ to document the history of the scene. Karl White kindly provided us with a summing-up of the post Wigan Casino years, Simon White, journalist and broadcaster, interviewed, supervised and directed the collection of numerous interviews with most of the scene’s best-known characters. Richard Searling interviews the world’s longest-standing and most enigmatic record dealer, John Anderson, as well as squeezing in an interview with Philadelphia International’s Kenny Gamble, who looks through Richard’s collection of his own releases from the 1960’s and sees many of these UK releases for the first time ever! Northern Soul history! Not one, but 2 DVDs. The 160 page book layout was designed by Glen Gunton and the overall package design by Jaffa — both long-serving Northern Soul stalwarts.

The music follows the evolvement of Northern Soul, from its early beginnings at Manchester’s Twisted Wheel club in 1968, through to The Golden Torch, Blackpool Mecca, Wigan Casino and Cleethorpes Pier in the 1970s, Stafford Top Of The World and The 100 Club in the 1980s and the huge dearth of Soul weekenders and the 100 Club again from the 1990’s to the present day. Featuring a mind-numbing 230 tracks and over 10 hours of legendary music, all licensed from legitimate sources and all of which have been painstakingly re-mastered and documented within the sleeve-notes. The most comprehensive Northern Soul track-listing ever.

‘The Odyssey: A Northern Soul Time-Capsule’ truly does what it says on the tin. This is the most exhaustive history of the Northern Soul scene ever released. Due to be unearthed 02/03/2015.

Track Listing

CD 1 The Twisted Wheel

1. Open The Door To Your Heart - Darrell Banks
2. Walking Up A One Way Street - Willie Tee
3. I Dig Your Act - The O'Jays
4. I Feel So Bad - Jackie Edwards
5. 60 Minutes Of Your Love - Homer Banks
6. I Spy (for the FBI) - Jamo Thomas And His Party Brothers Orchestra
7. Barefootin' - Robert Parker
8. She Blew A Good Thing - The Poets
9. First I Look At The Purse - The Contours
10. I’m Gonna Run Away From You - Tami Lynn
11. (At The) Discotheque - Chubby Checker
12. I’ll Always Love You - The Spinners
13. Looking For You - Garnet Mimms
14. The Boogaloo Party - The Flamingos
15. I’m Gonna Miss You - The Artistics
16. There’s Nothing Else To Say - The Incredibles
17. Baby Do The Philly Dog - The Olympics
18. That Beatin’ Rhythm - Richard Temple
19. Love Love Love - Bobby Hebb
20. You’ve Been Cheatin' - The Impressions
21. Investigate - Major Lance
22. Just Walk In My Shoes - Gladys Knight & The Pips
23. Ain’t No Soul (In These Old Shoes) - Major Lance
24. A ‘Lil Lovin’ Sometimes - Alexander Patton
25. The Right Track - Billy Butler
26. Baby Reconsider - Leon Haywood
27. Cigarette Ashes - Jimmy Conwell
28. Wear It On Our Face - The Dells
29. Seven Days Too Long - Chuck Wood
30. These Chains Of Love (Are Breaking Me Down) - Chuck Jackson
31. Long After Tonight Is All Over - Jimmy Radcliffe

CD 2 The Twisted Wheel To The Golden Torch

1. Here I Go Again - Archie Bell & The Drells
2. You’re Gonna Make Me Love You - Sandi Sheldon
3. The Same Old Thing - The Olympics
4. Hit & Run - Rose Batiste
5. Quick Change Artist - The Soul Twins
6. You Just Don’t Know - Chubby Checker
7. You Get Your Kicks - Mitch Ryder & The Detroit Wheels
8. Sliced Tomatoes - The Just Brothers
9. Keep On Keeping On — N.F. Porter
10. Exus Trek - The Luther Ingram Orchestra
11. Psychedelic Soul Pt 1 - Saxie Russell
12. ‘Cause You’re Mine - The Vibrations
13. Honest To Goodness - Herb Ward
14. My Dear Heart - Shawn Robinson
15. Festival Time - The San Remo Golden Strings
16. Groovin' At The Go-Go - The Four Larks
17. Cracking Up Over You - Roy Hamilton
18. Love On A Mountain Top - Robert Knight
19. I’m Satisfied With You - The Furys
20. I Can't Get Away - Bobby Garrett
21. Head and Shoulders (Above The Rest) - Patti Young
22. Somebody (Somewhere) Needs You - Darrell Banks
23. You Don’t Want Me No More - Major Lance
24. What Would I Do - The Tymes
25. Shing-A-Ling - The Cooperettes
26. This Beautiful Day - Levi Jackson
27. Everything’s Gonna Be Alright - P.P. Arnold
28. Baby Boy - Fred Hughes
29. Purple Haze - Johnny Jones & The King Casuals
30. Thumb A Ride - Earl Wright & His Orchestra

CD 3 The Golden Torch To Blackpool Mecca

1. If You Ask Me (Because I Love You) - Jerry Williams
2. Skiing In The Snow - The Invitations
3. The Girl Across The Street - Moses Smith
4. Blowing My Mind To Pieces - Bob Relf
5. Our Love Is In The Pocket - J.J. Barnes
6. I Got To Find Me Somebody - The Vel-Vets
7. I Hurt On The Other Side - Jerry Cook
8. I'm Gonna Love You - Edward Hamilton
9. Let Her Go - Otis Smith
10. She's Puttin' You On - United Four
11. Psychedelic Soul Pt 2 - Saxie Russell
12. Breakaway Pt 2 - The Steve Karmen Big Band
13. Get It Baby - Stanley Mitchell
14. Please Operator - Tony & Tyrone
15. I Really Love You - The Tomangoes
16. Crazy Baby - The Coasters
17. Stick By Me Baby - The Salvadors
18. You Hit Me (Right Where It Hurt Me) - Alice Clark
19. Baby Don’t You Weep - Edward Hamilton & The Arabians
20. I Can’t Hold On - Lorraine Chandler
21. Satisfied - Ben Aitken
22. There’s A Ghost In My House - R. Dean Taylor
23. They’ll Never Know Why - Freddie Chavez
24. I Just Can’t Live My Life (Without You Babe) - Linda Jones
25. Can’t Help Loving That Man Of Mine - Ila Vann
26. Seven Day Lover - James Fountain
27. She'll Come Running Back - Mel Britt
28. It Really Hurts Me Girl - The Carstairs
29. California Montage - Young Holt Unlimited

CD 4 Blackpool Mecca To Wigan Casino

1. Breakaway Pt 1 - The Steve Karmen Big Band ft Jimmy Radcliffe
2. You Don’t Know Where Your Interest Lies - Dana Valery
3. Night Owl - Bobby Paris
4. Help Me - Al Wilson
5. Afternoon Of The Rhino - The Mike Post Coalition
6. Tainted Love - Gloria Jones
7. I’ll Always Need You - Dean Courtney
8. Serving A Sentence Of Life - Carl Douglas
9. Dance Dance Dance - The Casualeers
10. The Night - Frankie Valli And The Four Seasons
11. You've Got Your Mind On Other Things - Beverly Ann
12. Interplay - Derek & Ray
13. Born A Loser - Don Ray
14. When We Get There - Paul Anka
15. As Long As You Love Me (I’ll Stay) - Ronnie & Robin
16. Bari Track - Doni Burdick
17. (It’s Against) The Laws Of Love - The Volcanoes
18. Heartaches Away My Boy - Christine Cooper
19. Don’t Take It Out On This World - Adam’s Apples
20. All Of My Life - Detroit Soul
21. You Didn’t Say A Word - Yvonne Baker
22. Baby Hit And Run - The Contours
23. Do I Love You (Indeed I Do) - Frank Wilson
24. Double Cookin’ - The Checkerboard Squares
25. Country Girl - Vickie Baines
26. Girl, Don’t Make Me Wait - Bunny Sigler
27. You Don't Love Me Anymore - Johnny Caswell
28. I’m On My Way - Dean Parrish

CD 5 More Wigan Casino

1. Turning My Heartbeat Up - The MVP's
2. You Don't Love Me - Epitome Of Sound
3. Burning Sensation - Robby Lawson
4. Baby Without You - Danny Monday
5. I Was Born To Love You - Herbert Hunter
6. I Lost A True Love -Danny Wagner & The Kindred Soul
7. I Wanna Know - John E Paul
8. Tear Stained Face - Don Varner
9. She's Wanted (In Three States) - Larry Clinton
10. Where I'm Not Wanted - Eddie Holman
11. This Gets To Me - Pookie Hudson
12. I Don't Like To Lose - The Group featuring Cecil Washington
13. It's Better To Cry - The Appreciations
14. Please Stay - The Ivorys
15. Happiness Is Here - Tobi Lark
16. Love Slipped Through My Fingers - Sam Williams
17. Cool Off - Detroit Executives
18. Love Factory - Eloise Laws
19. Sad Girl -Carol Anderson
20. Strange Change - Herb Ward
21. I Am Nothing - Al Williams
22. The Jokes On You - Kenny Gamble
23. I Really Love You - Jimmy Burns
24. That's No Way To Treat A Girl - Marie Knight
25. A Changed Man - The Rotations
26. This Won't Change - Lester Tipton
27. Gone With The Wind Is My Love - Rita & The Tiaras

CD 6 Wigan Casino To Cleethorpes Pier

1. Elijah Rockin' With Soul - Hank Jacobs
2. I Can’t Change - Lorraine Chandler
3. They're Talking About Me - Johnny Bragg
4. My Heart Cries For You - Porgy & The Monarchs
5. You're Never Too Young (To Fall In Love) - The Modern Redcaps
6. Send Him Back - The Pointer Sisters
7. Do The Pearl Girl Pt 2 - The Matta Baby
8. All The Way Home - Dee Edwards
9. Look At Me Now - Terry Callier
10. So is The Sun - World Column
11. The Gig - Raw Soul
12. Wrong Crowd - Prince George
13. Hung Up On Your Love - The Montclairs
14. Ton Of Dynamite - Frankie ‘Loveman’ Crocker
15. Lady Lady Lady (Are You Crazy For Me) - Boogie Man Orchestra
16. I Don't Know What Foot To Dance On - Kim Tolliver
17. I Wanna Be (Your Everything) - The Pretenders
18. Cuz It's You Girl - James Walsh Gypsy Band
19. You Sexy Sugar Plum (But I Like It) - Rodger Collins
20. Cut Your Motor Off - Black Nasty feat Herbie Thompson
21. I Got The Vibes - Joshie Jo Armstead
22. Have Love Will Travel - Rosey Jones
23. Do What You Feel Pt 1 - The Rimshots
24. Wash And Wear Love - Lynn Varnado
25. Elusive - Babe Ruth
26. Are You Ready For This - The Brothers
27. I've Got The Need - The Moments

CD 7 The 100 Club And Top Of The World, Stafford Eras

1. Please Don't Go - Willie Tee
2. Since I Found My Baby -The Metros
3. I Need My Baby - Jackey Beavers
4. I Still Love You - The Seven Souls
5. Suspicion - The Originals
6. Let’s Talk It Over — Spencer Wiggins
7. I'll Never Stop Loving You - Carla Thomas
8. Talkin' Woman - Lowell Fulson
9. You Just Cheat And Lie - Z Z Hill
10. Oh How I Love You - Little Johnny Hamilton & The Creators
11. Too Much For You - Bobby Angelle
12. Naughty Boy - Jackie Day
13. Losing Control - Mary Saxton
14. You Really Made It Good To Me - Ty Karim
15. Girl I Love You - The Temptones
16. Wrapped Tied & Tangled - Lavern Baker
17. Try Me For Your New Love - Junior McCants
18. The Magic Touch - Melba Moore
19. Dearly Beloved - Jack Montgomery
20. Packing Up - Damon Fox
21. Because Of My Heart - Frankie Beverly
22. You Shook Me Up - Roy Hamilton
23. My Love Gets Stronger - Tommy Ridgley
24. I'm Steppin' Out Of The Picture - Johnny Maestro & The Crests
25. Rat Race - Gino Washington
26. I Don't Do This (To Every Girl I Meet) - Sidney Joe Qualls
27. I'm Having So Much Fun - Willie Tee
28. Deep Dark Secret - Dee Dee Sharp
29. What Should I Do - Little Ann
30. Such Misery - The Precisions

CD 8 The Weekenders Era

1. If I Could Only Be Sure - Nolan Porter
2. Home Is Where The Heart Is - Bobby Womack
3. Something New To Do - Bobby Sheen
4. Too Late - Mandrill
5. The Game Is Over (What's The Matter With You) - Brown Sugar
6. Because Of You - Jackie Wilson
7. Pour Your Little Heart Out - The Drifters
8. Think It Over (And Be Sure) - Liz Verdi
9. What's That On Your Finger - Kenny Carter
10. Baby-A-Go-Go - Barbara McNair
11. I Can't Break The News To Myself - Ben E King
12. The Stars - Barbara Lewis
13. Something's Wrong - Chris Clark
14. Don't Pity Me - Joanie Sommers
15. Here Are The Pieces Of My Broken Heart - Gladys Knight & The Pips
16. In Love - Tony Galla
17. Tune Up - Jnr Walker & The All-Stars
18. Beggin' - Timebox
19. Stolen Hours - Patrice Holloway
20. Call On Me - The Dynells
21. How - The Masqueraders
22. Talkin' 'Bout My Baby - Dottie & Millie
23. (Just A Little) Faith And Understanding - The Magicians
24. Dynamite Exploded - Honey & The Bees
25. I’m Slowly Moulding - Cody Black
26. What's With This Loneliness - Chuck Jackson
27. If This Is Love (I’d Rather Be Lonely) - The Precisions
28. It'll Never Be Over For Me - Timi Yuro

Compiled by Ian Dewhirst with assistance from Tim Brown and Ady Croasdel

By Ian Dewhirst in News Archives · February 10, 201510 yr

Firstly moderators please forgive me if this is the wrong place to post this, I am involved in DJ'ing at a huge Soul/Motown Charity Event in Manchester over the August Bank Holiday weekend, full details to follow once everything is confirmed and nailed down, it's to raise funds for The Christies Cancer Charity which we all know is a wonderful charity, I said I would try and drum up some quality raffle prize donations from the soul world, anything would be fantastic - Records/CD's/T Shirts/Memorabilia/Tickets for events etc. it's a big ask but I know the scene is always generous to good causes and this is a huge cause, please PM me here or via Facebook or email bicknellmark@aol.com or text 07434674923

Hope you can help - Mark Bicknell.

By Mark Bicknell in News Archives · February 10, 201510 yr

From Bobby Moore & the Rhythm Aces $1000-rated 'Dedication of Love' LP, here's one of the best tracks! Previously unreleased on 45, licensed from the late Bobby's Moore's son.

Available on our website NOW, otherwise in the shops in a week or two:

http://www.jazzmanrecords.co.uk/bobby-moore-the-rhythm-aces-what-is-that-you-got-loves-got-a-hold-on-me

highlight grab from above link
added by site

He gained fame and fortune with his million-selling Checker 45 'Searching for My Love', yet his later album 'Dedication of Love' is known today in just a handful of copies. Yet the music contained therein, in terms of heartfelt soul, is pure gold.

For the first time on 45, here are two tracks taken from the album, a Holy Grail that will soon be released soon in its entirety on Jazzman.

By Jazzman Gerald in News Archives · February 10, 201510 yr

Thought members might like to know about a great compilation, just out on Ace / Kent, of Sam Dees 1970's Demos & Masters, most of these previously unreleased.

Take a listen to a handful of clips...

And then go and pop it in your basket over at Ace / Kent...

http://acerecords.co.uk/its-over-70s-songwriter-demos-and-masters

Enjoy!

Sean

added by site

Track Listings
1. Today Is A New Day
2. I Know Where You're Coming From
3. I'm Your Biggest Fan
4. Singing In Poverty
5. Everybody's Trying To Get Over
6. We've Got To Get It Together
7. Anything Is Fair In Love And War
8. Married, But I'm Still In Love
9. Someone To Run To (Alternate Version)
10. Gimme A Little Action
11. What Good Is A Love
12. Total Love
13. A Case Of The Boogie
14. Claim Jumping
15. What's It Gonna Be (Alt Of Atlantic LP SD 18134)
16. So Tied Up (Alt Of Atlantic LP SD 18134)
17. Child's Play
18. Touch Me With Your Love (Long Version)
19. It's Over, Nobody Wins

By Sean Hampsey in News Archives · February 6, 201510 yr

Date Of Induction : 01 November 2014 Category : Female Vocalist

Maxine Brown was born in Kingstree South Carolina on 18 August 1939 and first started singing during the long, balmy summer days alongside her sister and an upstairs neighbour. The product of a turbulent marriage The girls became quite accomplished as a three part harmony outfit but Maxine’s sister wasn’t as interested in spending the summer singing so the girls sought out a couple of other neighbours and before long the newly formed quartet were performing Gospel standards in the local area churches as The Angeleers. Due to their father’s violent outbursts Maxine and her sister were removed from the family home and fled to New York with their mother where they settled. Sadly Maxine’s mother passed away at the tender age of 34 but she stayed in NY and continued her education. On graduating High School, Maxine, now living in Queens, enrolled at the Central Needle Traders which was then affiliated to the Fashion Institute of Technology (1) As Maxine moved into her mid teenage years the church influences solidified when Maxine was asked to join another Gospel group The Royaltones which led to a move to Brooklyn, where the group spent the late 50s performing their Gospel repertoire.

Professor Charles Taylor was a newly ordained Gospel singing minister who also played piano and was booked to play the famed Harlem Apollo Theatre and needed a female group for backing vocal duties. He selected The Royaltones and he girls found themselves on the bill alongside The Ward Singers and The Soul Stirrers, (a group that included Sam Cooke and Lou Rawls). When working in New York Maxine bumped into a fellow singer and friend Fred Johnson, who was looking for a female voice to join his male trio to make up a quartet singing secular music and, as The Royaltones had just folded and Maxine was between jobs, she took him up on his offer. Maxine was now a member of The Manhattans. (2)

The Manhattans were also destined to be short lived as the military draft called upon the young man of the US to serve and the group became a trio named The Treys. It was whilst a member of The Treys that Maxine discovered her song writing talents when she was pressurised by Fred Johnson to contribute on that front and she laid down the foundation for a song that would lay dormant for the next two years but once resurrected, would give her her first ‘hit’. Whilst employed as a Medical Stenographer at Kings County Hopsital in Brooklyn, Ms Brown was invited to sing at a club on Linden Boulvard in Jamaica, Queens and it was here that she met future husband Mal Williams. Mr Williams, a somewhat jack of all trades as a budding booking agent and aspiring record producer, had just relinquished managership of Inez and Charlie Foxx and as a result, had an empty pre booked session in the Allegro Sound Studio basement studio of the legendary Brill Building at 1650 Broadway which he offered to Maxine. She duly arrived at the studio and cut the song she’d first drafted when a Manhattan. The song was a sultry bluesy ballad that flew in the face of the current bobby sox sound or Italian Matinee idol sound so prevalent at the time. Maxine’s Gospel grounding gave her an edge that, when coupled with her raw natural talent, made her vocal delivery a tour de force certainly to be reckoned with.

In one of those defining moments that pepper peoples’ lives, on leaving the building Mal and Maxine bumped into Tony Bruno, the front man for NoMar records which was a business set up to front a ‘mob’ run bookie operation (3). Mal and Tony knew each other in a ‘nodding’ capacity and on hearing that Mal was trying to get Maxine started on a recording career, invited them to call into his office next day with the demo. The demo was of course picked up for release by Bruno and Maxine Brown - “All In My Mind b/w Harry Let’s Marry” — Nomar 103 was released in 1960. A few months later it was at #19 Pop and #2 RnB! Maxine was soon back at The Apollo Theatre but this time backed by the Rueben Phillips Band as a solo artist on a New Year’s Day Show hosted by Radio DJ: Jocko Henderson. (4) Whether the notorious Joe Ramano, the mob affiliated bookie and owner of the NoMar set up, was as pleased as Maxine at the success of his label I wouldn’t like to hazard a guess. After all, I doubt he wanted his fronting business in the spotlight! In fact, Maxine’s start as a recording artist was steeped in peripheral connections to ‘The Mob’. Her husband Mal, who she married on 27th December 1960 just as the ‘All In My Mind’ release was gaining recognition, owed a few favours around town to a number of unsavoury characters and on arriving to pick up the first check from the distributors for his wife’s hit, was ushered out of the door at gunpoint. The publishing company that the song was registered with belonged to none other than Alan Freed and when Maxine later tried to buy back the rights to her song the company had passed into the hands of Morris Levy! (5)

Undeterred by the dramatics surrounding her recording she undertook another session (her guitarist being none other than Sam Taylor, the son of Professor Charles Taylor) and the team released Maxine Brown — “Funny b/w Now That You’re Gone” — Nomar 106, a song penned by Taylor. Although the song gave Maxine the pleasure of reaching #25 Pop and #3 RnB, unfortunately any financial benefit once again eluded her, possibly through Muse Products the company credited on the 45, (Muse was a Broadway musical playing at the time and I have failed to discover any musical production or record distributing company based in NY or New Jersey for the time period. Despite no money from the actual 45s Maxine at least made her name and kept the wolf from the door with the live appearances the success of the 45s had generated. Maxine was on the books of Shaw Booking Agency who were one of the prime Agency’s booking acts on the Chitlin Circuit and Maxine found herself on the road, often criss-crossing the country to fulfil engagements and played all the major theatres of the day including, The Baltimore Royal, Chicago’s Regal Theatre and The Uptown in Philadelphia.

After a final recording session for the Nomar label which produced, Maxine Brown — “Heaven In Your Arms b/w Maxine’s Place” — Nomar 107 another bluesy based ballad that was paired with a jazz instrumental once Maxine had left the company, Maxine made the move to ABC where she stayed for over a year releasing half a dozen or so 45s. (“All In My Mind b/w Funny” was also rereleased as a double sider (Wham 7063), during her time with ABC). Most of Maxine’s ABC output consisted of bluesy, soulful ballads that evoke smoke filled jazz clubs although Maxine Brown — “Am I Falling In Love b/w Promise Me Anything” - ABC Paramount 10370 is a floating shuffler that has seen turntable action at Northern soul clubs over the years and she did record an upbeat Curtis Mayfied authored upbeat number entitled “I Don’t Need You No More”. In another of those previously mentioned defining moments, Maxine was having lunch in a restaurant frequented by a certain fellow Brill Building acquaintance Ms Florence Greenberg when Florence asked her when she was going to finally leave ABC and come to her stable of Scepter/Wand where she would be promoted properly. Maxine’s answer was “If You want me come and get me!” Florence wasn’t the type of woman to sit on her laurels and the very next day Maxine became a Wand/Scepter recording artist!

It’s really Maxine’s time at Wand that put her on a pedestal with Northern soul fans and that relationship started almost immediately, once collectors and DJs latched on to her catalogue. The first 45 she released came in on the label Maxine Brown — “Ask Me b/w Yesterday's Kisses” — Wand 135 paired a couple of Tony Bruno penned songs that moved Maxine’s performance from a blues based balladeer to a soul singer amid that full blown exotic production style so perfected by the Brill Building inhabitants. The flip especially highlights Maine’s soulful vocal and her adaptability as she pulls of a great story of love gone bad on a dancer that has seen the odd play over the years.

For her next outing Maxine was teamed with future legendary record producer Ed Townsend who was at that stage making a name for himself in New York. (6) Their collaboration delivered, Maxine Brown — “Coming Back To You b/w Since I Found You” — Wand 142 a disc that coupled a plaintive ballad with a more upbeat popcorn sounding song. In 1964 Maxine hit the Top 30 Chart again with Maxine Brown — “Oh No Not My Baby b/w You Upset My Soul” — Wand 162, a song which became an instant classic and performance that ranks up with anything she did before or after. Written by Brill Building stalwarts Carole King and Gerry Goffin and produced by one of New York’s finest Luther Dixon, the song was originally written for The Shirelles but was recorded with alternate lead vocals and Stan Greenberg, (7) Florence Greenberg’s son identified that the song needed a different melodic approach, hence it was offered to Maxine with the caveat that she develop the melody.

Luther Dixon didn’t like the song, canned it and it lay dormant, my producer Stan Greenberg went into the vault, pulled it out and declared, ‘This is a hit! And it’s now Maxine’s next song!”. — Maxine Brown (8)

The song’s dramatic overtones as Maxine loyally sticks by her man, despite dire warnings from her friends about his cheating, is a perfect companion to her earthy, somewhat raunchy style she employed in the delivery. She really did believe that her man wasn’t like the other boys who “Played With Hearts Like They Were Toys” and the song delivered her a seven week stay in the Billboard Hot 100 where it peaked at #24. Although recorded by a number of other artists, some of them with more commercial success that the original, “Oh No Not My Baby” will always be a Maxine Brown song. The follow up release, Maxine Brown - It's Gonna Be Alright b/w You Do Something To Me — Wand 173 saw Maxine again interpret the efforts of Goffin and King on a similar styled beat ballad outing that simply oozes class. The pressure under which the Brill Building songwriters worked delivered, as history has shown, hit after hit but many of the sings that didn’t quite hit the higher echelons of the Billboard Hot 100 were also high calibre and this plaintive, story of a girls past love receding in the arms of her new beau is exactly that. As an indicator of how strong the song is it was also recorded by Theola Kilgore, (Mercury #72564) and is often quoted in peoples top 10 soulful ballads of all time. Theola Kilgore’s version is an absolute stormer of a 45 that deserves a place on every collectors’ shelves for sure.

In 1965, with duets proving to be popular with record the buying public Maxine was paired up with another legendary soul star who was making a name for himself at the time… none other than Chuck Jackson. Maxine and Chuck would collaborate on a number of outings that led to five US 45 releases in addition to a whole host on international releases as well as a handful of LPs.

Maxine’s solo career was operating in tandem still and in that same year she started duet-ing with Mr Jackson she released one of her most sought after 45s Maxine Brown — “One Step At A Time b/w Anything For A Laugh” — Wand 185, a song written by emerging songwriters Nick Ashford, Valerie Simpson and Josie Jo Armstead, who may well have been on backing vocal duties. A mid-tempo plea to take things a little slower in their relationship is the song’s theme and as usual Wand’s commitment to a big, almost orchestral studio sound gives Maxine the perfect foil.

As often happens in the Northern Soul arena one song becomes synonymous with an artist and in 1966 she recorded what is probably her most popular Northern Soul 45, Maxine Brown — “One In A Million b/w Anything You Do Is Alright” — Wand 1117, a fantastic tome, full of atmospheric horn riffs, lilting strings and of course Maxine’s soulful sultry vocals as she extols the virtue of her lover as being ‘one in a million’. Written by legendary songwriter Rudy Clark (who also wrote Betty Everett’s, “It’s In His Kiss, (Shop Shoop Song)” and The Olympics “Good Lovin’ ”, to name just two, the song will always be indelibly liked to Maxine. As an aside, UK pop/soul group Chapter Five also recorded the song which was released in UK on CBS which also gained the odd play on the Northern Soul circuit but it’s really like comparing a Del Boy Trotters Robin Reliant to a gleaming Rolls Royce. From the opening guitar and tambourine combination Maxine’s outing glides through three minutes of quintessential Northern Soul that sits at the peak of the idiom. It builds and fades, sounds like it was recorded by a philharmonic orchestra and provides the perfect platform for Ms Brown’s seductive tale of how she’s determined to make her man hers, no matter what the sacrifice. As an aside, Rhetta Hughes also delivered a credible version on Columbia (#44073) as did a UK singer called Karol Keyes on UK Columbia (UK- DB8001), that was produced by the Kinks' Ray Davies. There is also a version by Mary Ford on Tower Records (#279) but it's a poor effort compared with Ms Brown's outing and I'd suggest you flick by it should you see it in sales boxes!

That same year Maxine released another duo of platters that saw sporadic plays by Northern Soul DJs, Maxine Brown — “Let Me Give You My Loving b/w We Can Work It Out” — Wand 1128 paired a version of The Beatles classic with an upbeat dancer that was co-written by Maxine herself. The A side is a wonderfully lilting, mid paced outing with all the hallmarks of the Big City sound that came to identify Wand/Scepter productions of the era.

As Maxine’s vinyl outings started slowing down in terms of sales, Florence Greenberg figured a revamp of material may well breathe some wind into her musical sails and looked to the current en vogue Southern Soul sound of Otis Redding . Hence, Maxine subsequently recorded with Otis Redding at the production helm in the summer of 1967, at Muscle Shoals, but Otis died in the now infamous airplane crash on December 10th of the same year, before he could furnish the finished article to Wand/Scepter. The songs were finally given their second life in 1985. Two of these recordings gained cult status amongst Northern Soul fans. (Appearing on Kent/Ace LPs), “Slipping Through My Fingers” which is a down home, gritty dancer and a fantastic version of “Baby Cakes”, which of course was released on Otis’ own imprint as imprint by another female artists as Loretta Williams — “Baby Cakes b/w I’m Missing You” — Jotis 471.

Another snippet from Maxin’s career that deserves recording here is that when Tammi Terrell first took ill with the ailment that would sadly see her demise, it was to Maxine that Motown turned to fulfil the engagement at The Apollo in Harlem that Marvin Gaye and Tammi were scheduled to appear at. Marvin and Maxine dueted on,“Ain’t No Mountain High Enough”, which was a current hit for Motown at the time.

Of course Maxine also dueted with a huge success with Chuck Jackson and readers may well wonder why that part of her career doesn’t feature here? I figured it was only a matter of time before Mr Jackson also appears in our Hall Of Fame and so to that end I decide to revisit Maxine’s collaborations with Mr Jackson when that actually happens.

The majority of Maxine’s records contain an element that it would seem remiss not to record here though and that is the backing singers. Most of the time backing singers are not just unheralded but often ignored but when it comes to The Sweet Inspirations who backed Maxine and indeed worked as the voices behind many soul performers including Solomon Burke, Aretha Franklin, Wilson Pickett to name just a trio and were also Elvis Presley’s ‘go to’ girls for his recordings of the era. Cissie Houston, The Warwick Sisters Dionne and Dee Dee), Doris Troy, Estella Brown, Sylvia Shemwell and Myrna Smith were all members of the group at some stage during Maxine’s tenure at Wand/Scepter. The group would of course go on to attain legendary status backing most of the stellar artists at Atlantic in the late 60s.

Despite being ill and hospitalised, right up until the day before the performance, Maxine was also a headliner at one of the early: Concerts In The Park, a premier live music event held in NY Central Park and which also included Ramsey Lewis and Lou Rawls on the bill. The trio performed a number of popular songs of the time and Maxine contributed with renditions of, “In The Midnight Hour” and “Soul Serenade” The concert was recorded and segments of it were released on a 1968 released Capitol LP of the same name.

With the success of Maxine’s outings now waning with Wand, in 1968 she made the move to Epic Records and came together with fellow SS Hall Of Famer, Mike Terry on arranging and production duties and armed with a portfolio of quality songs mainly from then quills of Detroit’s finest the LP is a much treasured item amongst soul fans even today. Amongst the list of songs on the album were two that were lifted and gained a scheduled release, Maxine Brown — “Seems You’ve Forsaken My Love b/w Plum Outta Site” — Epic 10334, the A Side is a great ballad written by Bridges Knight and Eaton (aka The Brothers Of Soul) and features Mike Terry’s swirling, soaring string arrangement and angelic backing vocals amongst Maxine’s pleadingly mournful lead. The Detroit based also furnished the flip side which has a much more up-tempo feel to it. The LP contains a number of cover versions, all of which are pulled back from becoming merely copies of the originals by both Mike’s mixing board skills and Maxine’s exquisite vocals, the pick of the litter being her version of Wilson Pickett’s “I’m In Love” and one of the very few female versions ofThe Temptations classic, “I Wish It would Rain”.

By the rapidly approaching new decade , maybe it was the rise of the Philly Sound emanating from sigma Sound Studios and CBS’ Epics parent company’s shiny new deal with two of its architects Mr Kenny Gamble and Leon Huff, (The up and coming record producers had already been approached by the managers of the fellow CBS contracted group The Vibrations to produce material on them, which they did) but for whatever reason the second Epic release on Ms Brown, Maxine Brown — “From Loving You b/w Love In Them There Hills” — Epic 10424, is a coupling of the Gamble and Huff classic “Love In Them There Hills” and Ted Cooper’s “From Loving You” (Mr Cooper being a prolific in house producer for CBS’ stable of logos including Epic and Okeh). The change of production team mustn’t have impressed as Maxine was soon signing for the newly established Commonwealth United Records and the first 45 release from the infant company was the powerhouse Maxine Brown — “We’ll Cry Together b/w Darling Be Home Soon” — Commonwealth 3001. This song, for your author at least, is the crowning glory of Ms Brown’s career. A big statement indeed when you take into account her legacy of outings I agree. But if you were ever going to explain to someone who needed an example of soul music at its very best then point them in the direction of this 45. Job done! Co-Written by the re16 releases cently deceased (Jan 2015), Rose Marie McCoy and produced by legendary Bob Finiz, (Of Moses Smith — Girl Across The Street fame), the sheer quality of all involved propels the finished article with its lamenting vibe intro setting the initial pace, Maxine relates the heart-wrenching break up of her relationship, softly spoken at first but then she builds and builds and ….builds as does the backing track, melancholy strings, soul drenched backing vocals, but always at the core is Maxine, proving if anyone needed confirmation that she really was one of the great female voices of the era. The kind of performance that if you are unfortunate enough to suffer a house-fire, you make a bee line for along with family photos!

The Commonwealth United Record company was an offshoot of a film production company but after signing and releasing initial 45s on fellow Northern Soul favourites Lenny Welch, Richard Parker and Cissie Houston amongst its roster and releasing one more 45 on Ms Brown, Maxine Brown - I Can’t Get Along Without you b/w Reason To Believe — Commonwealth 3008, its parent company went bust and took the record ‘division’ with it after only a mere 16 releases although it did manage to deliver an album on Maxine that also suffered from limited exposure and marketing as the company floundered. Maxine did however also release an album on the label Maxine Brown - We'll Cry Together - Commonwealth United LP (#CU6001), which has another song nestled on it co written by rose Marie McCoy, "See Don't See" which is real tight, funky styled dancer which has resulted in the LP becoming sought after item too. (There is reputedly a Canadian EP with this track on but I've not seen it yet). With Commonwealth United floundering, it left Maxine hunting for yet another label, which she found in 1971, when she was signed by Hugo and Luigi (9) for their newly established Avco Records. By co-incidence Avco Records was also an offshoot of a film company with Hugo and Luigi partnered with Avco Embassy Pictures. It was here that Maxine would find herself collaborating with yet another stellar soul producer when her suggestion that she might benefit from being produced by Van McCoy was accepted by the song-writing team. The Avco sessions produced three 45s, released in 1972/73, the first one by Van McCoy (utilising a young friend of Van McCoy’s on backing vocals, a certain Luther Vandross), “Maxine Brown — Make Love To Me b/w Always and Forever” — Avco 4585, put two Van McCoy and Joe Cobb (a long time song-writing partner), penned ballads back to back which certainly gave Maxine enough scope to highlight her talents but it was the next release, Maxine Brown — “Treat Me Like A Lady b/.w I.O.U.”- Avco 4604, that saw the production auspices of Tony Camillo (10), integrate a more funkier, modern sounding side to Maxine’s work. The follow up single, which is also a collaboration with Tony Camillo, would prove to be her last on the logo, Maxine Brown — “Picked Up, Packed And Put Away b/w Bella Mia” — Avco 4612 is a real two sider, delivering a raucus stormer on which Maxine turns in a strong perfvormance as a woman wronged and determined to move on with her life on the plug side, whilst Maxine gives a great performance on a ballad that once again will please fans of her style when she lets ‘rip’ with that sultry, smokey voice.

By the mid seventies, the music industry had embraced black music in all its forms and had seen the lyrically poetic and melodically based soul of the previous decade replaced by urban funk, disco and the lush arrangements of the Sound Of Philadelphia. This left balladeers like Maxine in a quandary. Either look for other opportunities or take up a ‘day job’. Maxine chose the former and took acting and dancing lessons which she felt would add extra strings to her musical bow. Rhetta Hughes (Yet another of our soul heroines), was about to leave the stage show “Don’t Bother Me I Can’t Cope” and Maxine was encouraged to audition for the part. Her audition successful, she had 3 days to learn the part before her debut. (11)

Once Don’t bother Me I Can’t Cope finished it’s run Maxine took to working the clubs and lounges around the city. Even with no record company backing she was still able to work a crowd with her voice singing everything from pop standards of the day to jazz classics. It wasn’t until 2005 that Maxine would release her next recordings, sessions that she financed herself the year before, resulting in the album: Maxine Brown — “From The Heart” - Fountainbleu Ent. With 13 songs, some penned by Maxine herself, the album is a testament to the art of singing. From cool, jazz infused outings to the plaintive ballads that Ms Brown made her own, she delighted her fans who had never given up hope that she would return to recording. Maxine also continued singing even though she had slowed down on the recording front and together with Ella ‘Peaches’ Garrett and Beverly Crosby formed a trio called The Wild Women who performed a fusion of Gospel/Jazz/Soulful songs in and around New York. (Sadly, Ella passed away recently).

As was the norm, Maxine had recordings that for whatever reasons were left in the can and so when those erstwhile soul detectives at Ace/Kent Records in London gained access to the Wand Scepter vaults in the early eighties, it wasn’t long before they unearthed masters that were given a new lease of life and Maxine’s “It’s Torture” was amongst the tracks that’s aw a vinyl release. Maxine Brown — “It's Torture b/w I Got Love” - Town 110, became a hugely popular dance-floor filler in UK which led to her appearing at the Cleethorpes Weekender in 1987 at which Maxine wowed an enthusiastic crowd with her repertoire of classics which included “It’s Torture”, which has recently enjoyed a re-release coupled with an unreleased (at the time), song her old duet partner Chuck Jackson as, Maxine Brown — “It’s Torture” b/w Chuck Jackson — “I’d Be A Millionaire” — City 032. Maxine has also performed in continental Europe as the Northern Soul fraternity there has blossomed.

Maxine Brown, despite missing the full blown break out that would have shot her to the International fame and fortune that her talents rightly deserved made an impact of aficionados of soul music worldwide. Her legacy of heart-wrenching ballads, great up-tempo dancers and everything in between will ensure that her legacy is kept fresh in peoples’ minds for a long time yet. One of the great voices of soul music when it was littered with quality vocalists. And that’s why we take great pleasure in welcoming Ms Maxine Brown into the Soul Source Northern Soul: Hall Of Fame.

Lorraine Chandler and Dave Moore

Notes and References:

1. Interview with Maxine Brown by James Power which can be found at: http://www.jamespower.net/Maxine_Brown.html

2. This Manhattans group is no connection to the one with the same name that started out recoding on Joe Evan’s Carnival label.

3, http://nycommonplace.wordpress.com/2010/11/06/nomar-records/

4. Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers by John Broven. Dated 2009. ISBN: 978-252-03290-5

5. Morris Levy was a notorious mover and shaker within the record industry. His involvement in shady dealings would soon attract the FBI and his mob connections were the focus of investigation that would reverberate throughout a number of ‘blue chip’ companies including MCA, Brunswick, Calla and Roulette.

6. Ed Townsend was a native of Tennessee who, after serving in the USMC would go on to become a sought after songwriter and producer. He worked with a plethora of soulstars including Ben e King, The Shirelles, Theola Kilgore, Dee Dee Warwick was the co-writer of Marvin Gaye’s huge hit “Let’s Get It On” and also wrote and produved the Impressions mid 70s #1 hit. “Finally Got Myself Together”.

7. Stan Greenberg was the son of Wand/Scepter owner Florence Greenberg. Stan was blind from a young age and it was his disability that was reputedly led his mother encouraged him to forge a career out of music. Mr Greenberg started out producing records and was eventually given the task of managing the creation of a studio set up and its subsequent operation.

8. Interview with Maxine Brown by James Power which can be found at: http://www.jamespower.net/Maxine_Brown.html

9. Hugo Perretti and Luigi Creatore were a prolific and hugely successful song-writing team based in New York’s Brill Building. They had scored hits as far back as the mid-fifties and produced a series of smash hits on artists as diverse as Perry Como, Elvis, Sam Cooke and were instrumental in the success of The Stylistics in the early seventies.

10. Tony Camillo was a well respected songwriter and record producer on the NY scene at the time. Probably his best known work was Gladys Knight’s — “Midnight Train To Georgia” smash hit but his cv incudes hiuts with Holland Dozier Holland’s Invictus set up as well as hits with Diana Ross, Peaches and Herb, Millie Jackson and The Fifth Dimension.

11. The musical play “Don’t Bother Me I Can’t Cope” was an all singing and dancing production that used as it’s subject matter aspects of black people’s lives at the time including tenements, ghetto life, slum landlords, the rise of Black power and used a fusion of black music to portray it’s message utilising Gospel, Jazz, Soul, Funk etc as its medium.

Discography:

All In My Mind b/w Harry Let's Marry — Nomar 103
Funny b/w Now That You're Gone — Nomar 106
Heaven In Your Arms b/w Frankie and The Flips - Maxine's Place - Nomar 107
Think Of Me b/w I Don't Need You No More — ABC Paramount 10235
After All We've Been Through Together b/w My Life - ABC-Paramount 10255
What I Don't Know (Won't Hurt Me) b/w I Got A Funny Kind Of Feeling — ABC Paramount 10290
Wham 7036 - All In My Mind b/w Funny — Wham 7036
Forget Him b/w A Man — ABC Paramount 10315
My Time For Crying b/w Wanting You — ABC Paramount 10327
I Kneel At Your Throne b/w If I Knew Then — ABC Paramount 10353
Am I Falling In Love b/w Promise Me Anything — ABC Paramount 10370
Life Goes On Just The Same b/w If You Have No Real Objection — ABC Paramount 10388
Ask Me b/w Yesterday's Kisses — Wand 135
Coming Back To You b/w Since I Found You — Wand 142
Little Girl Lost b/w You Upset My Soul — Wand 152
Put Yourself In My Place b/w I Cry Alone — Wand 158
Oh No Not My Baby b/w You Upset My Soul — Wand 162
It's Gonna Be Alright b/w You Do Something To Me — Wand 173
One Step At A Time b/w Anything For A Laugh — Wand 185
If You Gotta Make A Fool Of Somebody b/w Your In Love — Wand 1104
One In A Million b/w Anything You Do Is Alright - Wand 1117
Let Me Give You My Lovin' b/w We Can Work It Out — Wand 1128
I Don't Need Anything b/w The Secret Of Livin' — Wand 1145
Seems You've Forsaken My Love b/w Plum Outa Sight — Epic 10334
From Loving You b/w Love In Them There Hills — Epic 10424
We'll Cry Together b/w Darling Be Home Soon — Commonwealth United 3001
Can't Get Along Without You b/w Reason To Believe — Commonwealth 3008
Make Love To Me b/w Always And Forever — Avco Embassy 4585
Treat Me Like A Lady b/w I. O. U. — Avco Embassy 4604
Picked Up, Packed And Put Away b/w Bella Mia — Avco 4612

https://www.youtube.com/watch?v=yuWphXZCqkA

https://www.youtube.com/watch?v=Ea_3pEvROQs

hall of fame

By Dave Moore in Articles · February 2, 201510 yr

Date Of Induction: November 2014 Category: Female Vocalist

When I realised Linda Jones was going to make the first list of inductees to our Northern Soul Hall Of Fame I have to admit to allowing a small satisfying smile cross my lips. For just about all my adult life I’ve marvelled at the lady’s talent and ability and her contribution to the lives of soul fans deserves no less than to be recognised by those very same fans to whom she is so endeared.

Linda was born on January 14th, 1944 in Newark NJ. Even at the tender age of six years old she was entertaining crowds with her singing as part of her family’s Gospel group The Jones Singers and throughout her teenage years she developed her distinct powerhouse vocal style that would place her up alongside the highest echelons of female soul singers.

In 1963 she made her first foray into the world of secular recording when she was billed as Linda Lane on the MGM subsidiary with a version of the Berry Gordy penned Jackie Wilson hit, Linda Lane — “Lonely Teardrops b/w Cancel The Celebration” — Cub 9124 but as with much of Linda’s catalogue it didn’t quite resonate with the record buying public. Undeterred by a lack of success from her initial waxing she persevered with her art and continued to sing on the local lounge and club circuit. Without completely ditching her Gospel roots, Linda nurtured them and embraced the sound in her singing. It was this fusion of a Gospel tinged, heart-wrenching vocal combined with Linda’s passionate delivery and wide range, that formed the building blocks of her career. Discovered singing in a local club by Jerry Harris, a sometime song-writing partner of legendary record producer George Kerr, the meeting led to an introduction that would change Linda’s professional life and open the way for her recording career to finally take off.

George Kerr’s career had begun with him being a member of The Serenaders alongside Sidney Barnes, Timothy Wilson and Howard Curry but had really took off when he, alongside Mr Barnes, became a staff writer for the newly established Jobete (Motown) office set up by Berry Gordy’s second wife Raynoma. (1) When Berry Gordy decided to close down his New York office he transplanted George Kerr and his family to Detroit, which is where over the next two years, he would study the intricacies of arranging and producing. With Motown’s existing arranging and producing teams right at the forefront of the explosion of soul music during the mid-sixties it’s no surprise that George Kerr’s opportunities were limited and frustrating. On release from his Motown contract he returned to New York with all the skills and determination to forge his own way musically and his introduction to Linda Jones was one of those glorious coincidences when two talents collide with mouth-watering results.

Basing their recording sessions in NY, George Kerr and Linda Jones kicked off their association with a song that was probably written whilst Kerr was a staff writer at Motown’s NY office. Linda Jones — “Take The Boy Out The Country b/w I’m Taking Back My Love” — Atco 63344. The B Side of which highlights just how mature Linda’s voice had become as she performs a dramatic twist and turn through her vocal range. An equally dramatic, piano laden backing rack from Messrs Kerr and Harris provide Linda with a great platform and she delivers in spades.

The team’s next outing was placed with New York Brill Building tenants Jerry Leiber and Mike Stoller’s famous Blue Cat imprint, Linda Jones — “Fugitive From Love b/w You Hit Me Like TNT” — Blue Cat 128, the flip being another Kerr and Harris penned song but this time a full blown, on the fours, up-tempo dancer. (2) Mr Kerr was beginning to get the gist of Linda’s abilities and this outing solidified their combination with it’s almost Motown-esque driving beat, chanking guitar, Hammond organ riffs and forceful backing singers. There’s no mistaking the real star of this particular show though, Linda’s strained impassioned vocal takes centre stage and remains there throughout! As Linda extols the merits of being hit like TNT by her lover’s charms, this uptempo, bounce-along dancer gives the listener an audio peek of what was to come from the New Jersey songbird.

George and Linda had recorded a song that Kerr tried to lease out and played to one of Brunswick’s main promotional guys, Joe Medin who liked it but with Brunswick in full promotional swing for a certain Jackie Wilson suggested Kerr punt the song to Ronnie Mosely who had just started work at the newly established Loma records. Mosely wasn’t particularly taken by the track but Jerry Ragavoy brokered a deal for George Kerr with the Warner Brothers’ subsidiary label, when he heard Linda singing the song. Ragavoy was producing records for the Bob Krasnow owned logo at the time and knew of Kerr’s emerging talent. With a Richard and Robert Pointdexter song utilising Richard Tee on duty as the arranger, the team got off to a veritable ‘flier’ right off the bat. Their initial release for the West Coast label in 1967, Linda Jones — “Hypnotized b/w I Can't Stop Loving My Baby” — Loma 2070, combined a strong ballad with Linda’s vocal gymnastics and delivered a performance that resonated with the record buying public who pushed it to #4 on the Billboard RnB Chart and #21 on its Hot 100 Pop equivalent. The flip is a fantastic Northern Soul dancer that has often been touted as the next big thing on DJ turntables but has yet to see it’s real appreciation by the dance-floors.

It would prove to be Linda’s most commercially successful outing and the resulting LP, Linda Jones — “Hypnotised” — Loma (LP #5907), would become a ‘must have’ for soul fans and ranks up amongst other outstanding Northern Soul quality albums by such notables as The Metros, The Hesitations, Bobby Hutton, The Tempests etc. A couple of more than noteworthy tracks that can only be found on this album are Linda’s version of the Shirelles classic, “Last Minute Miracle”, which has an added urgency to the original and the sublime mid tempo outing, “If Only (We Had Me Sooner"

The album also proved fertile ground for single releases too with six of the tracks making it to a 45 release on three outstanding back to back 45s. In addition to the album title song, three other singles were culled, Linda Jones — “What've I Done (To Make You Mad) b/w Make Me Surrender (Baby, Baby Please)” — Loma 2077, the A Side of which is a fantastic ballad on which Linda’s signature vocal gymnastic take centre stage as she interprets a song by George Kerr and Jerry Harris. It’s George and Jerry who provide the vehicle for the flip too, although this side seems to be a departure for not just them but also for Linda in that it’s a funky story of unrequited love which features a rather messy horn arrangement that leaves Linda kinda shrouded in the mix. The third and final 45 taken from the album was back to business as usual though, Linda Jones — “Give My Love A Try b/w I Can't Stand It” — Loma 2085 provides a wonderfully produced Pointdexter Brothers ballad and a raucus and criminally overlooked pounding dancer, both sides highlighting Linda’s now fully developed range and powerful delivery technique.

One other track on the LP, "You Can't Take It" was also picked up for plays on the Northern Soul scene but because of it's LP status has never really dominated the dance-floor as it could have. The song does appear on a rare French 7inch single and is also available on a very much sought after French EP as well.

Linda had three remaining outings on the Loma label, Linda Jones — “What Can I Do (Without You) b/w Yesterday” — Loma 2099, coupled a deep soul, Gospel influenced ballad with a version of the Beatles classic but Linda Jones - “I (Who Have Nothing) b/w It Won't Take Much (To Bring Me Back)” — Loma 2105 sees Linda deliver her interpretation of the classic first produced by the Brill Building residents Jerry Leiber and Mike Stoller on Ben E King (Atco #6267) in 1963 but made famous by Shirley Bassey the same year on a UK production (Columbia # 7113). She really grabs the song by the musical horns and her dramatic, soulful intonations give the song a different feel from Ms Basseys'.

Linda Jones is one of those artists that will be forever linked with a song that is seen as their signature Northern Soul outing. Actually, in Linda’s case she will be forever intrinsically linked with two songs, both from the Warner Brother’s stable albeit only one showing the Loma insignia. Linda Jones — “My Heart Needs A Break b/w The Things I've Been Through (Loving You)” — Loma 2091 and Linda Jones — “I Just Can't Live My Life (Without You Babe) b/w My Heart (Will Understand)” — Warner 7 Arts 7278 are both iconic femme Northern Soul classics, the first one was written by Sammy Turner (3) and encompasses all the components of our music’s signature goodies, a dance-floor magnetic intro, peaks and troughs backing track, swirling strings, a metronome like tambourine and right at the fore is that impassioned, unique, gut wrenching vocal from a lady who absolutely nails it as she tales her tale of overpowering love in full blown dramatic fashion. The second one, written by George Kerr and arranged by that soul stalwart Richard Tee, has of course filled dance-floors for over 40 years. If anything is pitches up Linda’s emotionally charged vocals yet another notch! A tad faster than the predecessor, it’s a full ‘on the fours’ roller coaster ride as Linda battles amongst the harp, the machine gun like 88s, vibes, angelic backing singers, subtle horns (including a great sax mid range)! In this musical battle there’s only ever going to one winner and that’s Linda. Not only does she come out on top but she totally dominates the song especially on her high notes with her intense and undulating style of delivery. It’s easy to see that whilst everyone from the harpist to the drummer and Kerr and Tee are all on top form, it’s Linda’s vocal that is still ringing in your ears as the song fades after 2 minutes and 40 seconds of sheer dance-floor exuberance. Uptempo, Femme Northern Soul doesn’t get any better. (Actually it does but more of that later!)

With Linda’s chart success with “Hypnotized”, came an opportunity to tour and with PR photos paid for by an advance from Ragavoy, Linda signed with the legendary Queens Booking Agency and subsequently made her first foray out on the tour circuit, joining Henry Wynn’s line-up which included Jackie Wilson, The Vibrations, The Chantels and The Bobbettes. She sang two songs on that initial tour earning $1250 per appearance as she wowed the crowds with her highly emotional interpretations of “Hypnotized” and Sam Cooke’s “A Change Is Gonna Come” .

"We only did three takes on the songs and I always ended up using the first one. The best way to describe her performance in the studio is to say she was in love with the microphone, so at ease. We would turn down the lights in the studio and just listen. Linda did everything with no effort..." — George Kerr

George Kerr and Linda’s success at Loma did however peter out in terms of sales when the last three 45s failed to impact the charts and they needed to look round for new opportunities. That opportunity came from Philadelphia and the city’s musical supremos Gamble and Huff who had established Neptune Records in the City of Brotherly Love with the tagline The Sound Of Philadelphia. The logo saw a couple of releases from Linda in 1970, the highloight of which has to be Linda Jones — “I'll Be Sweeter Tomorrow b/w That's When I'll Stop Loving You” — Neptune 17, that featured a song that Kerr had previously released on The OJays as the flip to “I Dig Your Act” (Bell # 691) in 1967 and fantastic version of the Vernon Harrel (4) penned song that has Linda slay the listener with an account of how nothing will ever stop her loving her man.

Neptune was ill fated from the outset as Gamble and Huff had negotiated a distribution set up with Chess Records but had seen that company bought out by GRT who really only had eyes for the labels back catalogue at that stage. And so as Neptune languished Kerr approached Sylvia and Joe Robinson who were growing their New Jersey based All Platinum company. The musical entrepreneurs had newly established two labels called Stang and Turbo that they had started enjoying some success with, especially on the Whatnauts and Linda was signed to the company. Amongst the singles released was a version of the Jerry Butler classic on Linda Jones — “(For) Your Precious Love b/w Don't Go (I Can't Bear To Be Alone)” — Turbo 021, a song that had wowed audiences in her live performances when she added it to her repertiore and a release that for many of Linda’s fans ranks up at the very pinnacle of her legacy. George Kerr had already produced the self-penned song on The OJays, (Bell #704) a few years earlier and had revamped it for this outing that would see Linda duet with The Whatnauts. Carlos 'Billy' Herndon, Garnett Jones and Gerard 'Chunky' Pinkney were a trio of singers from Baltimore, OH who were also produced by George Kerr under the All Platinum banner. Putting both these acts together was something of a eureka moment and the ensuing single, Linda Jones and the Whatnauts — “I’m So Glad I found You” b/w The Whatnauts — “World Solution” — Stang 5039 is a performance of monolithic proportions in terms of Linda’s powerhouse delivery. The song itself is a great song, the backing track is faultless and the male vocals are superb but when, at 1:12 into it, Linda Jones, one of THE iconic voices of soul music turns up, its game set and match to the lady. From her initial “Ooh Ooh Oooh!” she tales control with her searing, almost blistering vocals, her voice simply pushes everything else out of the way in a kind of ‘Move over, real singer in town, let me show you how it’s done!’ attitude. For your author, this is Linda’s finest hour and that’s certainly saying something taking into account her catalogue of performances of such a high calibre.

Sadly Ms Jones’ career was about to be tragically cut short. After another couple of releases back on the Turbo logo Linda was appearing in a short run of engagements at the famed Apollo Theater in Harlem and had, the night before, completely enamoured the audience with her performance. That fateful afternoon on March 14 1972 Linda was resting at her mother’s home between the matinee and evening shows and slipped into a diabetic coma, she had suffered from Diabetes for most of her life. Tragically Linda never recovered and a few hours later passed away at the tender age of only 27 years old. For one so young she left a legacy of music appreciated by a legion of fans and one can only wonder what she could have achieved had she been dealt a fairer set of life’s cards.

Linda Jones would never receive the recognition in her homeland that she deserved, her voice was one of the iconic sounds celebrated by soul fans worldwide and as far as the Northern Soul fraternity is concerned her musical legacy lives on in all its glory. And that is why Linda Jones, New Jersey soulful songbird is one of the inaugural inductees into our Hall Of Fame. And rightly so.

Dave Moore : February 2015

Notes And References:

1. The Serenaders did in fact release a 45 on Gordy’s VIP logo as, The Serenaders — “If You’re Heart Says Yes b/w I’ll Cry Tomorrow” — VIP 25002.

2. Although credited on the 45 to a George Harris, I think this is in fact Jerry Harris.

3. “My Heart Needs A Break” was originally recorded by Sammy Turner but only progressed to the demo tape stage and remained unissued until it appeared on the UK. Goldmine CD entitled, "Detroit Soul From The Vaults Volume One", (GSCD 19) in 1983.

4. Vernon Harrell was a New York based songwriter and performer who often collaborated with JR Bailey, (Bailey is often rumoured to have been Chuck Wood of “Seven Days Is Too Long” fame, the song was certainly written by Harrell and Bailey). Also amongst Harrell and Bailey’s other song-writing accomplishments is The Platters — “Sweet Sweet Lovin’ “. Mr Harrell would also become a member of long standing group The Coasters in the sixties.

Discography:

Linda Lane - Cancel The Celebration b/w Lonely Teardrops — Cub 9124
Linda Jones - Take This Boy Out Of The Country b/w I'll Take Back My Love — Atco 6344
Linda Jones - Fugitive From Love b/w You Hit Me Like T. N. T. — Blue Cat 128
Linda Jones - Hypnotized b/w I Can't Stop Loving My Baby — Loma 2070
Linda Jones - What've I Done (To Make You Mad) b/w Make Me Surrender (Baby, Baby Please) — Loma 2077
Linda Jones - Give My Love A Try b/w I Can't Stand It — Loma 2085
Linda Jones - My Heart Needs A Break b/w The Things I've Been Through (Loving You) — Loma 2091
Linda Jones - What Can I Do (Without You) b/w Yesterday — Loma 2099
Linda Jones - I (Who Have Nothing) b/w It Won't Take Much (To Bring Me Back) — Loma 2015
Linda Jones- I Just Can't Live My Life (Without You Babe) b/w My Heart (Will Understand) —Warner 7 Arts 7278
Linda Jones - I'll Be Sweeter Tomorrow b/w That's When I'll Stop Loving You — Neptune 17
Linda Jones - Ooh Baby You Move Me b/w Can You Blame Me — Neptune 26
Linda Jones- Stay With Me Forever b/w I've Given You The Best Years Of My Life — Turbo 012
Linda Jones - I Can't Make It Alone b/w Don't Go On — Turbo 017
Linda Jones - (For) Your Precious Love b/w Don't Go (I Can't Bear To Be Alone) — Turbo 021
Linda Jones - Not On The Outside b/w Things I've Been Through — Turbo 024
Linda Jones & The Whatnauts - I'm So Glad I Found You b/w World Solution — Stang 5039
Linda Jones - Let It Be Me b/w Don't Go (I Can't Stand To Be Alone) — Turbo 028
Linda Jones - Fugitive From Love b/w Things I've Been Through — Turbo 032

hall of fame

By Dave Moore in Articles · February 2, 201510 yr

Some of you may not have heard the sad news that Don Covay passed away Saturday (31st). The news came via a Facebook posting from Don's friend and recent MD, Jon Tiven. It seems that Don had suffered from ill health since his stroke in the 1990s, and this has now taken its toll. Don, as you may know, was my first soul 'idol' and the reason for my entry into the world of music journalism, this as founder/secretary of the Don Covay Fan Club in 1966.

By Guest in News Archives · February 1, 201510 yr

After popular demand, we are pleased to announce the dates for our 7th annual weekender...

By popular demand we are delighted to announce that we will be heading to sunny Clacton-on-Sea once again for Monumental Soul-On-Sea 7.

Taking place on 17th, 18th and 19th July 2015 at 5th Avenue, Orwell Road with all the superb DJs, fantastic music and fabulous friends we have come to know and love.

We are also pleased that our special guest DJs for this event will be seasoned Mental regular, the sublime Ady Pountain, and adding a European flavour will be the ubiquitous Jadd ( http://www.mixcloud.com/Jadd ) from Madrid!

Further details can be found via the event guide entry link below...

By Tsu Tomatoes in News Archives · January 29, 201510 yr

New releases from Ace records

Ciao Bella! Italian Girl Singers Of The 1960s
Girls
Various Artists (Ace International)
CD £11.50
Groovy girl-pop from the land that brought you Pucci, Fellini and Morricone.

Rhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies
Rhythm & Blues
Various Artists (By the Bayou)
CD £11.50
28 groovin’ goodies powered by rhythm and fuelled by blues.

Joy In My Soul: The Complete SAR Recordings
Gospel
The Soul Stirrers
CD £7.43
For the very first time, all of the tracks the Soul Stirrers recorded for Sam Cooke’s SAR label are together here, including the seminal albums, non-LP singles and unreleased tracks.

Lookin' For A Love: The Complete SAR Recordings
60s Soul
The Valentinos
CD £7.45
For the first time, all of the tracks Bobby Womack and his brothers recorded for Sam’s SAR label are together, including the gospel sides they recorded as the Womack Brothers and unreleased tracks.

Ciao Bella! Italian Girl Singers Of The 60s
Girls
Various Artists (Ace International)
LP £17.80
Groovy girl-pop from the land that brought you Pucci, Fellini and Morricone.

It's The End - The Definitive Collection
Psych / Garage
The Zakary Thaks
CD £12.92
Texan 60s garage kings the Zakary Thaks finally get their due with this comprehensive set, sourced from the original master tapes.

Call Of The Wild
Psych / Garage
Dean Carter
LP £17.80
A power-packed coloured vinyl album release from Dean Carter, a true rockabilly rebel planted smack dab in the middle of the 60s garage punk era.

The Songs Of Bessie Smith / It Don't Mean A Thing If It Ain't Got That Swing
Vocal Jazz
Teresa Brewer
CD £11.50
Classic collaborations between Brewer and Basie and Ellington.

It's Over - 70s Songwriter Demos And Masters
70s Soul
Sam Dees
CD £11.50
Superb soul from Sam’s early 70s Clintone era, including 13 previously unheard recordings.

Spread Your Love - The Complete Minit Singles 1966-1970
Rhythm & Blues
Jimmy Holiday
CD £11.50
Deep ballads and superb dancers from the unsung soul hero — his Minit singles, complete on CD for the first time.

At Goldwax
Southern Soul
George Jackson And Dan Greer
CD £11.50
Their Goldwax recordings, individually and as a duo, including 17 unissued titles.

Stars Of Money
Northern Soul
Various Artists (Money Records)
7" £9.86
The latest in our “Stars of..” EP series features four of Money’s biggest hitters.

You'd Better Get Hip Girl / My Life Is No Better
60s Soul
Various Artists (Kent singles)
7" £9.86
Two stunning Larry Banks productions, both making their 45 debut here.

She'll Be Leaving You / It's Better
60s Soul
Various Artists (Kent singles)
7" £9.86
Two Detroit gems discovered by Kent in the 90s and available to play on turntables for the first time.

http://acerecords.co.uk/

By Mike in News Archives · January 27, 201510 yr

Rhythm Message is a new book by E. Mark Windle presenting a collection of biographies of lesser known southern recording artists from the 1960s of particular interest to the northern soul scene.

It is the second of two books on the subject. The first book in this series, , It’s Better to Cry, focused on 1960s R&B artists, beach bands and soul-influenced garage bands specifically from the Carolinas and Virginia. I wanted to present acts which hold particular interest with rare soul record collectors throughout the UK and Europe, rather than the classic beach music of the day.

Rhythm Message continues to take on regional bands of the day in the south eastern states such as Lost Soul, the In-Men Ltd., Gene and the Team Beats, Bob Marshall and the Crystals, Bernard Smith and the Jokers Wild, Mike Williams; extra-regional names like The Astors whose recordings appeal to beach music listeners; and others who moved their business around various states (such as The Showmen, originally from Virginia, but recording in New Orleans, Philadelphia and North Carolina), but whose popularity remained rooted on the eastern seaboard.

The scarcity of many of these recordings did not necessarily reflect poor quality music — in this area particularly, artists were performers first and foremost, working theatres, night clubs, beach pavilions, sock hops, frat parties and college campus events; and recording artists second. Often local acts would provide opening sets or in the case of bands, would back visiting nationally known solo artists. R&B recordings on regional labels particularly in this neck of the woods were often low pressing runs on self-financed custom labels, facilitated by the band themselves or young promoters with limited budgets.

However, the geographical remit has also been broadened for Rhythm Message, with Louisiana, Tennessee and Texas added to the list. Biographies from these areas include those of the ‘Elvitrue’ Passions, Troy Marrs and the Dynamics, TSU Toronadoes, Lee Tillman, the Cheques, Merle Spears, Sam and Bill and more. Most of these artists’ histories are documented for the first time. As well as the author’s own investigations, chapters are also provided by US and UK guest writers. The project has made possible only with the help of numerous artists, relatives, session musicians and label owners in the US; and of DJs and collectors from the rare soul scenes in the UK and Europe. The chapters in this 224 page book is illustrated by more than 100 images including label scans, personal and promotional artist photographs, posters and other memorabilia. Available in softback (colour) and PDF format.

Visit the Facebook page https://www.facebook.com/rhythmmessage to follow discussion of the artists and music featured.

Visit Blurb.co.uk or Blurb.com for details on prices, ordering and 15 page preview.

To order go to: http://www.blurb.co.uk/b/5936116-rhythm-message

(Available from 26 January 2015).

By Windlesoul in News Archives · January 26, 201510 yr

I'm so sorry to have to inform you about my brother's passing on 10th Jan.

The following entry will be in the Manchester Evening News on Thursday 22nd ;

" Simon Lyster passed away suddenly on Sat 10th January at his home in Marple, Stockport.
Simon aged 56 years, much loved husband of Jean, loving father of Andrew and father in law of Rachel. Dear brother to Peter and Susan and brother in law to Cathy, Kevin, Peter and Ann and friend to so many.
Service and Cremation to be held at the Rowan Chapel, Stockport Crematorium at 1-45pm on Wednesday 28th January and afterwards at the Puss in Boots Pub, Nangreave Road, Offerton, Stockport, SK2 6DG.
Family flowers only please but donations if desired to ' Speakability ', a National Charity dedicated to supporting people with Aphasia, c/o Co-operative Funeral Services, 48-50 Buxton Road, High Lane, Cheshire, SK6 8BH "

I can still hardly believe I'm typing these words. We are going to miss Simon so much.

The service is going to be a very sad occasion. But the family is determined to make sure that there is plenty of music involved as that was such a passion of Simon's for all of his life.

Anyone who knew Simon and would like to come along and pay their respects at the crematorium, and have something to eat after the service, is more than welcome to join us. And hopefully stay on and help us celebrate Simon's life in the appropriate way for someone who loved music but was dedicated particularly to American Soul music of the 1960's to date.

Simon started off a life long love affair with Northern Soul particularly at Stamford Hall in Altrincham, then the Blue Rooms in Sale and the Pendulum in Manchester, and then ( particularly ) at the Ritz, and so on and so on...........

We will be determined to give him a fitting send off and will be playing some of his favourite tunes.

If anyone has any queries, please pm me on here ( Ricticman ).

Thanks

Pete Lyster

By ricticman in News Archives · January 21, 201510 yr

Been out now in the Usa for a few weeks, its showing in London on the 6th February. Reported as having won a skipful of film awards already and now also has two major Oscar 2015 nominations - The Best Picture and Best Original Song!

Heres the brass...

A chronicle of Martin Luther King's campaign to secure equal voting rights via an epic march from Selma to Montgomery, Alabama in 1965.

After seeking the help of President Lyndon B. Johnson and being refused, Dr. Martin Luther King, Jr. and other civil rights leaders led marches from Selma to the Capitol building in Montgomery in March 1965. The first march, now known as "Bloody Sunday", took marchers across the Edmund Pettus Bridge and into brutal treatment at the hands of the police and others, hospitalizing seventeen. Despite the hatred, the marchers returned to the bridge two days later in peaceful response. In the weeks that followed, the marchers, now protected by armed forces, reached Montgomery where Dr. King gave his famous "How Long, Not Long" speech.

99% on Rotten Tomatoes
http://www.rottentomatoes.com/m/selma/

UK Trailer

http://youtu.be/B74p2yHUHHQ

Feature Video

http://youtu.be/Aw1LUGXMfMQ

DVD version reported as out May 2015

Soundtrack listing - format mp3 download only at moment? see the link at the bottom to preview/purchase all tracks

1 GLORY - COMMON & JOHN LEGEND

2 OLE MAN TROUBLE - OTIS REDDING

3 I'VE GOT THE NEW WORLD IN MY VIEW - SISTER GERTRUDE MORGAN

4 KEEP ON PUSHING - THE IMPRESSIONS

5 ONE MORNING SOON - JOYCE COLLINS & JOHNITA COLLINS

6 ALABAMA BLUES - J.B. LENOIR

7 WALK WITH ME - MARTHA BASS

8 HOUSE OF THE RISING SUN - DUANE EDDY

9 TAKE MY HAND, PRECIOUS LORD - 2 LEDISI

10 YESTERDAY WAS HARD ON ALL OF US - FINK

11 CAGER LEE - JASON MORAN

12 FINAL SPEECH - JASON MORAN

13 BLOODY SUNDAY PARTS 1-3 - JASON MORAN

http://youtu.be/StdXBSxdP0I

http://youtu.be/HU-mEsCk3D8

Selma 's original song “Glory” earned John Stephens and Lonnie Lynn received their first nomination.

http://youtu.be/BUnplsu-L3s

By Mike in News Archives · January 20, 201510 yr

A here you are shout for a soon to be released EP from Kent titled The Stars of Money

The blurb follows below along with audio clips of all 4 via the ace website, included one being first time out on vinyl by someone with a shredded wheat connection
listen buy listen

Stars Of Money Various Artists (Money Records)

Label:Kent
Format:7"
Catalogue Id:LTDEP 018

Out 26 Jan 2015

This entry in our limited edition EP series contains four fine tracks from Money, a label famous for fabulous Los Angeles soul. Money’s biggest star was Bettye Swann, who scored an R&B hit with her debut 45, ‘Don’t Wait Too Long’. The follow-up, ‘The Man That Said No’, sold less well, despite Bettye appearing on the TV show Shindig to plug it. Its resulting scarcity has now put the original 45 into the three-figure bracket. The label’s most prolific male artist was the talented Bobby Angelle, whose stage show was reputedly a riot. Arranger Arthur Wright’s worked up some urgent instrumentation for Bobby’s Northern Soul favourite ‘Too Much For You’, and recycled the backing track for ‘I’ll Be A Soldier Boy’, which appears on vinyl for the first time here. The M&M’s & the Peanuts’ first single, ‘Lil’ Valley’, is a throwback to the doo wop days but with a bang up-to-date gang fight theme. Soul music became more sophisticated, particularly in production, by the early 70s when Delilah Moore’s ‘I’ll Just Walk Away’ was issued. Despite its sad motif, the record has a feel-good factor.

Ady Croasdell

- See more at: http://acerecords.co.uk/stars-of-money

Side 1

01
http://acerecords.co.uk/docs/LTDEP_018/LTDEP_018-1-1.mp3
The Man That Said No - Bettye Swann

02
http://acerecords.co.uk/docs/LTDEP_018/LTDEP_018-1-2.mp3
I'll Be A Soldier Boy - Bobby Angelle

Side 2

01
http://acerecords.co.uk/docs/LTDEP_018/LTDEP_018-2-1.mp3
Lil' Valley - The M&M's & The Peanuts

02
http://acerecords.co.uk/docs/LTDEP_018/LTDEP_018-2-2.mp3
I'll Just Walk Away - Delilah Moore

See more at: http://acerecords.co.uk/stars-of-money

By Mike in News Archives · January 18, 201510 yr

If anybody is interested in 'The Delgonives' updated version of 'Loving you always came easy', here it is. It has a Detroit type groove with a Beach/Blue Eyed feel. I guess I am pigeon holing the song, but I favour more retro sounding material from the 1960/70’s as many know. The issues for me creating this style of song, is to sound authentic in the writing, plus of course back in the day it was real instruments and a studio set up for the recording. I do not have the financial resources to pay for another full-blown session quite yet, but it is on the cards at some stage, with the right song, singer and musicians.
This is the first ‘Delgonives’ track where I have paid for real bass and guitar tracks because I feel this song has potential and they are on this version right now. In addition I have commissioned a 6-piece horn overdub hoping it will lift the song nicely. They are due for delivery at the end of the week from LA, so I will be mixing those at the weekend.
From a modern digital perspective, today’s technology will allow me to maybe release a number of different mixes to help recoup back my expenses should customers buy more than one version. I figure additional mixes like an instrumental, a string/hornless version, maybe a couple more with isolated instruments etc. At this stage I don’t think it warrants a physical release as I don’t think it necessarily ticks the boxes for a vinyl collector, so will pursue digital only.
What is interesting is that ‘Libby, let’s leave it at that’ is on rotation on a Surf radio station in the US which was quite a surprise. Recently, ‘Magic’ in Manchester played a cover I did of ‘I’ve got you on my mind’ performed by The Delgonives, which is encouraging too. My aim is to continue writing in this style and producing what I can with the resources I have. Check out ‘Good lovin’ man’ by Diane Shaw, co-written with myself and Diane. Diane has been on the circuit for many years and has decided to perform some original songs rather than just all covers. I think what she and her husband have done this last year just proves that good new songs, well produced, have potential. Perhaps one day these new releases may get some credence from future generations who may discover them tucked away on a hard drive somewhere!
What has this to do with Northern Soul? Nothing really, but my terms of reference lie in the past like the old soul songs. When they were written they did not have a tag name….. that evolved and came through the passage of time. No song writer back in the day had the notion of the term ‘Carolina Beach Music’ or ‘Northern Soul’ but I would guess writers would dissect others songs/releases and hopefully come up with similarities for their latest composition to try and compete. Something like Len Barrys ‘1-2-3’ with that Detroit groove or ‘The 81’ which has a whiff of Martha Reeves in there somewhere. I do the same initially on some of my songs and it evolves, a demo made and like ‘Loving you always came easy’ it changes as each instrument starts to settle into the groove of the song sometimes helping create a new hook. So if you ever thought that a certain song sounds like another, it should be no surprise that many of your favourites are not strictly original and possibly have elements varying from musical style, vocal performances, song writers style (hooks/song construction) etc in them. If you listen to some of the Holland/Dozier/Holland songs for example, they are chopped up so well, it becomes transparent what they did but genius. Or songs like ‘What’s easy for two’ recorded with so many artists with different grooves probably as experimentation, because they could!
The ‘to do’ list on ‘Loving you always came easy’ as of 16th January is:
1) Receive, appraise and hopefully accept the sax/trumpet/trombone instrumentation by the end of the week
2) Mix into the song through my sequencer and remove midi horns
3) Final tweak of the instrument/vocal panning and levels. Ensure the vocals are better balanced and the ‘you plus me’ lyric at the end of the song is brought down in level as it distorts in places
4) Master one version for overall clarity and appraise
5) Create alternative mixes/masters
6) Create an mp3 with embedded meta data with information about the song/performers, ISRC number etc, for each version
7) Write sleeve notes/presser and complete art work
8) Upload to CD Baby for distribution into digital stores and streaming services
9) Pitch the release to UK and US radio stations
10) Register the song writing interests with the PRS/MCPS
11) Register the recording interests with the PPL

So here is the track as it stands (art work from previous release):

https://soundcloud.com/55motown/loving-you-always-came-easythe-delgonives

Enjoy! (Or not as the case may be)…..

By Guest Carl Dixon in Articles · January 16, 201510 yr

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