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Soul Source music magazine feature.

EVENTS NEWS UPDATE
Wilton’s Soulful Sessions. Saturday 10th November 2012
Features a very special appearance of a true Chicago soul legend:
DARROW FLETCHER
and a night of 70’s, Crossover, and Modern Soul Music at it’s best.

Tickets are selling fast, so don’t leave it too late and miss out on this very special event.
The last date to purchase advance tickets via the website www.wheatsheaf.com/allnighter to guarantee postal delivery is Monday 5th November. After that date advance tickets can be collected at the event, provided payment is received by the Thursday 8th November.
Providing the event isn’t sold out, tickets may be available on the door at the event @ £15.00
The event will run from 9.00pm and close at 3.00am. No admission after 11.00pm.
Darrow Fletcher will be on stage for 60 minutes commencing around 11.30pm.

Darrow’s set will feature a number of previously unissued tracks from his unreleased Crossover album, cut in LA in the late 70’s. This album has now been released after almost 40 years by Kent Records on CD. Signed copies will be available from Darrow on the night for a special price, so put some dollars in the man’s pocket and also save a few bob. Darrow’s latest Kent Select 45 release will also be available on the night.

Darrow’s set will also include some of his classic 60’s/70’s recordings, along with six songs that he has never before performed on stage since he recorded them with Ray Charles in the studio in LA.

Sadly Gary Welsh can’t be with on the night. Gary was so looking forward to seeing Darrow and spinning a few tunes for us. All we can do now is to remember Gary on the night and play him some of the soul music he loved so much.

Darrow will be accompanied by backing tracks, some mixed down from the original 70’s multi track tapes produced in the LA studio, these being kindly supplied by Ady Croasdell at Kent Records. Other tracks have been skilfully reproduced by the nice guys at Boogie Back Records - Ernie McKone and Mike McEvoy, who are hoping to be present on the night.
Guest DJ’s on the night will be the very well respected Arthur Fenn & Mike Charlton not forgetting resident Boxy & Mouse Info: Boxy — 01924 894555 Mouse — 07717 338009
If you are planning to join us at this very special event get your tickets NOW to avoid missing this one off event.

By Boxy in Event News · October 28, 201212 yr

BARBARA STANT / SHIPTOWN RECORDS
Barbara Stant got into the recording business at the end of the 1960’s after she dropped in on the offices of Shiptown Records in Norfolk, Virginia. Just about anyone with talent was welcome to call by at Shiptown Records, which was based out of the Nimrod Record Store at 726 Church Street. The owner, Noah Biggs, was a man with good business acumen and a sharp sense of fashion. He encouraged all talented entertainers and signed numerous singers / musicians / groups (both black & white) to his booking agency, however a fair proportion of them would never manage to gain a release on his labels. His label’s base, Church Street was the hub of the black entertainment district in the city and was where the ‘Norfolk Sound’ first developed back in the mid to late 50’s.

Norfolk has a long & distinguished history, being a strategic military and transportation centre that is the cultural heart of the Hampton Roads region of Virginia. The city developed around its waterfront where naval bases, shipyards, docks, warehouses and railroad yards grew up. With all the military personnel based locally, there were always hordes of people looking to a have a good time and so a thriving entertainment scene had grown up by the 1950’s. Church Street, being situated just inland from the Elizabeth River waterfront was ideally located and it became the street where blacks in particular headed to enjoy themselves. American comedian, Tim Reed, spent many of his formative years living in or around Church Street. He remembers it as a bustling narrow thoroughfare lined with wooden framed three storey buildings. Life’s lessons were learnt as much on the street there as in school, but the strong racial divide that still existed then wasn’t always obvious to local youngsters. By the mid fifties, a street gang by the name of the Corner Boys stalked the junctions of the area. At night, lots of drunken sailors would stagger down the street and members of the Corner Boys took great delight in relieving them of their wallets or engaging in other acts of petty theft. Teenage boys were expected to join the gang and it was all too easy for them to slip into a life of crime, only the church or school was there to lift them above the fray. As time progressed, the character of the street changed, as the buildings on one side of the road were demolished to allow the highway to be widened. Though this started to change the local ambiance, Church Street was still a place where guys in zoot suits helped run bars and clubs full of revelers intent on eating, drinking, singing and dancing.

The section of Church Street between Brambleton Avenue and Princess Anne Road was where most of the clubs, bars, restaurants and seedy boarding houses (plus some churches) were to be found. The focal point of this exciting district was Attucks Theatre (known locally as the Apollo of the south). Built in 1919, this impressive building hosted shows by the likes of Cab Calloway, Duke Ellington, Ruth Brown, the Flamingoes and Clyde McPhatter. Sadly it started to fall into decline in the 1950’s before ceasing to function as a theatre altogether. Luckily, after many years in disrepair, it was saved, renovated and reopened in 2004. However, the Attucks is just about the only building on Church Street in the 1960’s that is still standing. Just to the north of the Attucks (which is located on the corner of Virginia Beach Boulevard) was the church where cult preacher Daddy ‘G’ Grace held court. His House of Prayer congregation dispensed a fervent gospel soundtrack to ward off the Devil’s music escaping from rowdy bars such as the Congo Lounge, Jamaican Room, Queens Lounge and Mark IV Lounge. The ‘Norfolk Sound’ was born following Bronx born Frank Guida’s relocation to Norfolk. Initially he ran a record shop (Frankie’s Birdland) on Church Street but by 1958 he had also opened a recording studio and hired a house band which included Gene Barge on sax. The first success this outfit enjoyed was with an instrumental “A Night With Daddy G” credited to the Church Street Five. The tune basically formed the template for his 1960 Legrand label smash hit ”Quarter To Three” by Gary US Bonds. The Church Street Five would play live gigs all around the Tidewater area and a young Bill Deal would travel from his home in Portsmouth (across the Elizabeth River from Norfolk) to the Ebb Tide Club in Ocean View to catch the group’s show. Inspired by what he heard, along with many other young men he would frequent the Church Street record stores to buy new R&B 45’s. From there, he learnt to play the organ and with some friends formed Bill Deal & the Rhondells.

With hit sounds now being recorded locally, a rival record shop made good business sense. Noah Biggs already had music industry connections, in the late 1950’s he managed local group the Humdingers. This group was led by ‘General’ Norman Johnson. Mr. Biggs organized a recording session for the group and then sent their demo tape to Joe Banashak in New Orleans. Joe liked what he heard and so signed the group to a deal with Minit Records, changing their name to the Showmen at the same time. In 1961 and 1964 the group enjoyed great success (with “It Will Stand”) and so it was a logical move when Noah Biggs opened Nimrod Record Store at 726 Church Street. The store soon became a focal point for local youngsters interested in music. Shortly afterwards, he started a booking agency that was also based out of the shop. The Showmen may have moved on (label-wise), but this didn’t curb Noah’s talent scouting activities. After Joe Webster and the Anglos made their mark locally, they headed off to New Jersey to record “Incense” which following an initial release on the Orbit label went on to gain national & international distribution. The track would be quite influential as it became a massive sound on the British mod scene of the mid 1960’s.

Many of the guys on the Norfolk soul scene collaborated at times. So the likes of Lenis Guess and Jerry Williams worked with Frank Guida and later also with Noah Biggs. In fact, Jerry's brother, Wilson Williams, sang vocals on cuts recorded by the Positive Sounds (“Almost Blew My Mind” + “You’re The One I Need”) and later recorded for Noah's How Big label. The Positive Sounds were an ex jazz group that hooked up with Noah Biggs in 1963, not too long after he had opened his record shop. Noah soon set up a basic studio in the back of the shop (remembered fondly as “that little storefront studio”). Here, the Positive Sounds would back up other artists signed by Noah. A regular in Nimrod Records (in the bible, Nimrod was Noah's son!) was James Gregory. He was interested in a 4 strong girl group who had started out singing background vocals on recording sessions for Frank Guida.

In 1964 this group, the Dream Team (managed by Noah Biggs & Mr Gregory), cut the song "Beg Me" for Epic in New York. However, the song became a hit for Chuck Jackson (on Wand) and it is unsure if the original by the Dream Team was actually ever released. The girls did however manage to get a 45 release in 1967, this being on the Gregory label ("I'm Not Satisfied"). This song was cut (with the Positive Sounds) in Nimrod Studio under the supervision of Norman Johnson & Joe Weaver (of the Anglos). The Anglos themselves were to record for Shiptown in 1967. Another local record store and label owner was Leroy Little. He had the Waxy Maxy Record Store on 35th Street and ran the Tri-It & Tri-Us labels. He was Wilson Williams’ first manager and Wilson would end up on his Tri-Us label in the mid 70’s. “Losing You”, a Tri-Us outing for Wilson, being produced by Lenis Guess (whose recording studio was also located on 35th Street)."¨"¨Shiptown releases are extremely hard to track down because most had very limited pressing runs (sometimes 200 or less) and the majority of copies never made it any further than the shelves of Nimrod Record Store. Here, the staff would push each release & with plays on local radio shows, most would be sold to locals or servicemen based in the area. Noah really only pressed up enough copies of each 45 to generate interest from a larger label (in either signing his artist or in using the actual song on one of their acts). After Noah found ‘Little” Ida Randall, Norman Johnson took her up to Cameo Parkway’s studio in Philadelphia to cut his song “Lets Get Married” (sometime around late 1964). Noah decided to release the song on his own record label, under the name of Ida Sands. With Norfolk’s strong maritime connections, he named his new label Shiptown Records. In summer 1965, Little Ida (Ida Sands) & Little Daddy (Joe Webster of the Anglos) were teamed up in Virtue Recording studio (1618 N. Broad Street, Philadelphia) to record under the supervision of Jerry Williams. Shiptown’s connections with Philadelphia were to be continued, the strings on some of their later cuts being handled there by the likes of Leon Huff. "¨"¨The 1st 45 on Shiptown to make any waves was Ida Sands "Rescue Me"; this being licensed to Chief Records in New York. Other 45's came thick & fast; the Idets "Look My Way / Doggie In The Window" also in 1967, plus the Anglos "Since You've Been Gone / Small Town Boy" (again in 1967) which were picked up by Scepter for national distribution. Flip Flop Stevens "Let's Do That Thing Part 1 / Part 2" followed in 68 with the Soul Duo's (Ida & Joe Webster) "This Is Your Day / Are You Lonely For Me Baby" following in 69 (this was licensed by Jubilee Records & released in mid 69 as Josie #1007). The same pairing's "Can't Nobody Love Me / Just A Sad Xmas" came out a little later. Noah started a second label in 1969, the How Big label being named after his son Howard Biggs. The first 45 release on his new label featured Ida Sands (Noah’s wife and Howard’s mother) on “Start All Over Again”. Anothr How Big 45 was "Too Many Skeletons in my cupboard" by Nat Fross (How Big 202936). Noah realized that, with Shiptown 45’s limited pressing runs, he had to get some exposure for his releases to stand any chance of them making any impact. So he cultivated radio DJ’s on black stations within easy reach of Norfolk. Thus, not only would he make certain that copies of his label’s 45’s were sent to these guys, but he would ensure his artists dropped in on them to plug their wares.

The prominent radio stations in Norfolk itself were WGH, WRAP & WHIH and so Shiptown’s artists would visit the likes of DJ Jack Holmes (WRAP), Scotty Andrews (WHIH) and Gene Loving (WGH) for on air chats and these guys soon became close friends. Some farther flung stations were also supportive, DJ Hot Dog at WOOK in Washington being one of these. When Ida Sands’ “Start All Over Again” was released in late summer 1969, as well as getting good exposure on the above stations, the likes of Maurice 'Hot Rod' Hulbert (WWIN, Baltimore), Bob Hatten (WEHW, Hartford), John Lee (WAUG, Augusta) Lannie Kaye (WYNN, Florence) and Charles Johnson (WCEC, Rocky Mount) also got behind it. With the prospect of a first hit for one of his labels, Noah gave the track every change of breaking out nationally by placing an ad in Billboard magazine. This was quite a bold move for a label that hadn’t even attempted to secure a national distribution deal for their sought after record (perhaps Noah had been ‘short changed’ in earlier licensing deals). It would be Noah’s insistence on going it alone, and not seeking bigger label’s help with reliable distribution, that would hold back greater commercial success for his releases / artists.

Nimrod Studio was quite a basic place. It started out with just rudimentary 4 track equipment but was then upgraded to an 8 track. By the early 1970’s it was only really used for rehearsal purposes and to make in—house demos. Just about all the tracks cut there were done live, the singer/s and backing band all laying down their efforts at the same time. Nevertheless, Noah and his set-up soon become well known around the Norfolk area. His policy of giving local talent a chance brought many aspiring singers to his door. Barbara Holmes was born in Petersburg, Virginia (1947), but her parents moved back to Norfolk when she was an infant. She started singing in her church choir when around 10 / 11 years old. About a year later, she was asked to join a gospel group (6/7 strong) made up of pre-teens from the same church. Although they sounded good, there was a certain spark missing and wanting to improve, the girls were always trying to find the ‘missing piece’. One night, they were down to perform on a program with other groups and decided to watch their rivals. One of the other groups consisted of a bunch of adults with one young lady. This ‘youngster’ both played the piano & sang. Knocked out by her abilities, they made it their mission to get her to join up with them. This young ladies name was Maddie (better known now as Debbie Taylor) and luckily they succeeded in getting her to join their group. The girls were soon very close friends and they have remained so ever since.

Norfolk had a thriving gospel music scene back then and other acquaintances also followed a similar career path. Both Debbie Taylor and Wilson Williams had sung in the group, Gospel Union. Shirley Johnson went from gospel singing to signing with Shiptown before she eventually moved to Chicago where she has established a successful career singing the blues. Anyway, time past and after Barbara Holmes finished high school, she took a job in a theatre on Church Street. About a year later (1967), Debbie Taylor (who cut demo’s for Shiptown and then went on to record for the likes of GWP and Arista) told Barbara about Shiptown Records. Intrigued, the girls went to see Mr. Biggs to determine if they could get themselves a shot at fame. Luckily the day Debbie and Barbara turned up at Shiptown, Noah was in his office and he asked them why they had come to see him. Barbara spoke up, saying that she had come down to sing and so she was asked to perform a song. Not one to pass up a chance, Barbara sang an Aretha Franklin number, perhaps not the easiest choice a young singer could make. However before she had even finished the song, Noah hired her and asked if she was ready to work. The next thing she knew, she was under contract and singing with the Idets on backing vocals for several other artists. Noah was really impressed with Barbara and soon decided that her vocal talent was not being fully realized in a group setting. He decided that she should be developed as a solo artist and Ida came up with her stage name, Barbara Stant. So by 1971, in addition to her starting to record as a solo singer, Barbara had begun to perform live in her own right alongside her label mates.

In conjunction with the likes of the Showmen, Ida Sands, the Anglos, the Soul Duo, the Idets, Wilson Williams, Shirley Johnson, Nat Fross, Little Scotty and the Positive Sounds band she was soon learning her trade on numerous live shows. The Shiptown artists made a formidable team that easily rivaled any other local touring company and so their concert packages were always a popular draw. Noah didn’t just promote Shiptown artist packages; he also fetched many top live acts to the area for concerts. He promoted local shows, which were headlined by the likes of Al Green, the Supremes, the Stylistics, the Delfonics, James Brown, the Mighty Clouds of Joy and the Isley Brothers. Of course, he ensured that some of his own artists would be the support acts at these concerts. These shows would be staged at venues such as the Norfolk Scope Arena (which opened in 1971), the Hampton Coliseum, Old Dominion University (ODU), Longshoreman’s Hall, the Monticello Hotel, the Golden Triangle and the Nansemond Hotel (Ocean View). Appearing on shows with such accomplished artists, it wasn’t suprising that the Shiptown acts swiftly became quite proficient and were soon sought after artists on the local soul scene. Barbara was one of those who learnt quickly and after a few sessions in the studio, she was soon delivering tracks that warranted release. Most of her recording work was undertaken in Norfolk but she would also travel to New York, Philadelphia and Maryland for some sessions. Her first 45 release coupled “That Man Of Mine” with “Shadow In Your Footsteps” both of which had been laid down in July 1972. “Shadows In Your Footsteps” is an uptempo item on which the backing band’s brass section plays a major role supporting Barbara’s strong vocal performance.

This 45 launched Barbara’s recording career and paved the way for a follow-up (also recorded at the same session); “My Mind Holds Onto Yesterday”. This song was written by Charles Hunter (the drummer in Positive Sounds) and Barbara herself and it was laid down at Track Studios in Silver Spring (a northern suburb of Washington DC). Produced by Charles Hunter in conjunction with Noah Biggs, it was initially released as a ‘normal’ Shiptown 45 (catalogue no. 203276). However a second version of this release is much more widely known and this features a completely remixed version of the track. From information detailed on the label of the second version of this 45, the remix appears to have been undertaken in New York with the additional strings being handled by Robert Banks. In summer 1972, the Positive Sounds (now managed by Ruth Brown) had been employed as the house band at Harlem’s Apollo Theatre. Whilst based in New York they hooked up with A Dish-A-Tunes Productions for whom they recorded “The Creeper” which was licensed for release on Chelsea Records in 1973. The main creative forces at Dish-A-Tunes were J R Bailey and Ken Williams and their team wrote songs recorded by the likes of the Superiors, Troy Keyes, the Spellbinders, Lenny Welch, Donny Hathaway, the Main Ingredient, Four Tops & Ace Spectrum. Around the same time that the Positive Sounds were cutting for A Dish-A-Tunes, group member Charles Hunter must have presented them with the original master tapes for Barbara’s two tracks. In no time a new version of “My Mind Holds Onto Yesterday” with Dish-A-Tunes name attached to it had been issued on Shiptown under catalogue no. 70822. Robert Bank’s efforts on the strings really give this outing a touch of class and sophistication that fully compliments Barbara’s great vocal performance. It would be hard to find a better example of pure Northern Soul than the second version of this tune.

Unfortunately Shiptown’s lack of an effective distribution network meant that this record remained just a Tidewater area favourite, until discovered by UK soul fans years later. It would be two years before another single featuring Barbara would hit the record shops. Recorded in the summer of 1974, the coupling of “Baby I Love You / I’m Going To Outfit You” formed it. “Outfit You” is again uptempo but with a more funky feel. The song was written by Noah Briggs and the track was arranged by Wilson Williams. The 45’s catalogue number would imply that it was actually Barbara’s first release, but Howard Biggs (& Barbara herself) assure me that it wasn’t (Shiptown’s numbering system has to be just about the most confusing ever devised). For her next release, Shiptown went outside their team of in-house and associated local writers. Sam Dees “Unsatisfied Woman” was selected and cut with Charles Hunter (in conjunction with Noah) again handling production and arranging duties. A reworking of “Shadow In Your Footsteps’ was teamed up with “Hung On” (another song on which Noah collaborated with Lenis Guess and Dorsey Brockington) to form yet another single. Though Barbara was the best served Shiptown artist (release wise), other artists still managed to secure releases on the label (white outfit Art Ensley & Fabulous Echoes cover of "Open The Door To Your Heart" being one of these).

By the mid 1970’s, the original shop premises had seen better days and with demolition threatened to allow road widening, Noah (now getting on in years) relocated across the road. He set up his new base at 707 Church Street and hired Martin Culpepper as his new studio engineer. Culpepper had worked on a couple of gospel 45’s that had been released on the Jobs label (which had ties with Leroy Little’s Tri-Us Records). This deal also brought the Grooms into the Shiptown (Jobs) family. For Barbara’s last release in 1977, Noah handed the reigns over to Lenis Guess. Cut at Guess studios, “(I Found Me A) Real Man” was part written, arranged and produced by Lenis. He remembers Barbara as being very pretty, a pleasure to work with and that she could sing like an angel. Test pressings of “(I Found Me A) Real Man” (c/w “You've Got To Try Again”) were made up at GRT Records and these were (mostly) retained by the engineering staff who worked in the label's studio. But the days of little independent labels securing national breakouts had come to an end. The record business was by now dominated by the big labels and disco sounds now monopolised the charts. The more soulful sounds that the Shiptown team was still turning out found themselves out of favour and securing sales became difficult. The label’s activities may have slowed anyway, but Noah Biggs death in 1978 signalled the end of the line for the organization. The office was closed almost immediately and all the label’s current acts were left high and dry. The local soul scene in general was struggling by then. None of Frank Guida’s roster was still enjoying hits, Jerry and Wilson Williams had moved on to progress their recording careers and even Lenis Guess was ready to up sticks and head out to New York. The ‘Norfolk Sound’ had run its course.

With Shiptown in disarray, Barbara took a break. After this, she teamed up with a jazz band and started to sing again on a few local live shows. But things just weren’t the same for her and so she went back to her roots in the church. Control of the label’s catalogue slipped away from the family and that could have been it for Shiptown. But record collectors started to unearth the label’s old 45’s and those that found favour were soon commanding high prices. Howard Biggs moved on in life and pursued his own career path but 25 years on, he discovered the unending interest in his father’s record label. Encouraged, he managed to get control of the label back after realising that it was still something worth owning. With many of the old Shiptown artists prepared to support Howard, he set about re-establishing the label. Deals have been done to get some of the old tracks re-released and this resulted in “Superman” by Raw Soul (also known as the 35th Street Gang) featuring Barbara on vocals being issued on 45 in the recent past. This track being another that was produced by Lenis Guess and he also wrote the song. Still singing in church, Barbara decided the time was now right to stage a come back. Plans were made for her to record again and the master tapes for previously unreleased tracks such as “What Goes Around’ & “Stay’’ have been unearthed.

Today, Church Street is a wide dual carriageway road that speeds high volumes of traffic past large warehouse type commercial buildings and newish public housing estates. It is totally unrecognisable as the street that was once the heart of Norfolk’s lively entertainment area. Thankfully Attucks Theatre has been brought back from the brink and now stands as a monument to what used to be. Interest from around the world in the music released on Noah Bigg’s record labels has sparked resurgence for some of his original artists. I’m sure Noah would greatly approve of his son’s efforts to resurrect the Shiptown / How Big concern. A major first step in these efforts occurred on the 1st November 2009 when a big reunion show was staged at the Broadway Club on East Virginia Beach Boulevard in Norfolk (a road that intersects with Church Street). Barbara Stant was amongst the label’s artists who participated in the show and her vocal efforts were very well received.

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By Roburt in Articles · October 28, 201212 yr

Eula Cooper is in danger of losing her home, which is a story that has become all too common in this country (the USA) and needs your help.

Eula and her husband have suffered set backs while they continue to make better lives for themselves. Eula is pursuing a degree to help her chances of being hired into a better job while she struggles to make ends meet.

Photo courtesy of Jacob Blickenstaff (taken at Dig Deeper with the Sweet Divines and Divine SouL Rhythm Band.

Please visit Eula’s web page, read more about her situation, and consider making a contribution to help her and her husband remain in their home.

Visit Eula's website and read the full story:

http://www.eulacooper.com/

Eula is featured in the Eccentric Soul Series by The Numero Group on a compilation about the Tragar and Note labels. Eula receives royalties through the sales of these CD so a purchase of this would help in the longer term.

http://www.numerogro...l.php?uid=00645

http://www.amazon.co...51272104&sr=8-1

Many of us grew up listening and dancing to Eula's records and it would be nice to give something back.

http://soundcloud.com/chalkster/eula-cooper-let-our-love-grow

By Agent45 in News Archives · October 26, 201212 yr

Martha Reeves has announced new dates for shows in the UK in December. Having completed a four year run as a member of the Detroit City Council, Martha is back on the road full time, making sure that no one ever forgets the Motor City!

The UK tour dates are:
Sunday, December 16, Oran Mor, Glasgow
"¨Monday, December 17, Norwich"¨
Tuesday, December 18, The Concorde2, Brighton
"¨Wednesday & Thursday, December 19/20. The Jazz Cafe, London,"¨
Friday, December 21, Eric's, Liverpool
(tickets can be bought just for the show or with a full Christmas dinner at a separate venue.) Box Office 0151-236 9994/ Ticketmaster
"¨Sunday, December 23, The Robin, Wolverhampton

Lots more information is available about Martha at her website:

>>>>MISS MARTHA REEVES<<<<

It was 1962 that Motown's Artist and Repertoire Director William “Mickey” Stevenson first heard the voice that would become synonymous with "the sound of young America." A young jazz/blues singer with the unlikely name of "Martha Lavaille" was bringing audiences to their feet at Detroit's famed 20 Grand Nightclub singing songs made popular by singers the likes of Gloria Lynne and Della Reese. He invited her to audition at the new Motown Records headquarters, "Hitsville, USA."

Though the audition never happened, within a year, Martha had taken the reigns of the company's A&R department, ingratiating herself. She saw that musicians showed up on time and got paid. She watched, learned, and whenever opportunity presented itself, she sang. And when she did, everyone took notice. When Mary Wells couldn't make a session, Martha was called to the mic. With her group, the Del Phi's, she recorded "I'll Have to Let Him Go," and Martha and the Vandellas was born.

The song was rather forgettable, but Reeves' sound wasn't. While waiting for her first hit, Martha (along with Rosalind Ashford and Annette Beard) backed Marvin Gaye on his first three releases and sang with him on stage. Soon, however, they emerged from the shadows with "Come and Get These Memories," followed by an enviable string of hits: "Heat Wave," "Quicksand," "In My Lonely Room," "Nowhere to Run," "My Baby Loves Me,", "Love Makes Me Do Foolish Things," "I'm Ready For Love," "Jimmy Mack," and, of course, the Motown anthem, "Dancing In The Street."

After leaving Motown in 1972, Martha continued to expand her musical horizons, establishing herself as a singer-songwriter with few limitations. She sang rock, jazz, country, gospel, blues and classical. Her singing companions included everyone from the Godfather James Brown and the Boss Bruce Springsteen to opera diva Beverly Sills and gospel king Rance Allen. She headlined a national touring company of the musical "Ain't Misbehaving," and for three years toured the UK in the musical review "Dancing In The Street."
Martha Reeves continues to thrill audiences around the world. Her self-produced 2004 CD, "Home to You" was named one of the year's best by the Asbury Park Press. In 2005, Will Smith mined the Motown vaults to uncover her unreleased gem, "It's Easy to Fall In Love," and included it in the hit movie "Hitch." Also in 2005, Motown released Martha's "Lost and Found" collection, which included the rare Smokey Robinson-penned "Spellbound," her studio recording of "For Once In My Life," and covers of hits by the likes of Aretha Franklin, the Marvelettes, Vikki Carr, Sam & Dave, and the Four Tops. She was also featured in the PBS special, "Motown: The Early Years," writing liner notes for the four-set CD package. A "Gold" collection was released in March 2006 and "The Definitive Collection" in 2009. (Her 1968 "Live at the Copa" remains in the vaults, but we hope for a release in the not-too-distant future.

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By Chalky in Event News · October 24, 201212 yr

I'm not sure how many of you are aware of the Motown Alumni Association? It is a site dedicated to the whole Motown Family. Although it isn't affiliated or part of Motown it does a lot of work for the acts and people who gave the world some wonderful music and memories. From the major acts, to the minor, lesser known acts, from Berry Gordy to the receptionist. The Association does what it can to remember the people who helped create the label.

As well as the website and facebook group it now publicises a bi-weekly magazine, readable on line or it can be purchased as a print copy.

To read the first two issues go to:

http://issuu.com/billywlson

To view the website go to:

http://motownalumniassociation.webstarts.com/index.html

By Chalky in News Archives · October 24, 201212 yr

PAUL RISER - MBA (Motown’s Brilliant Arranger)
The importance of the arranger in the musical process, whatever the genre, cannot be overstated …or underestimated. The arranger translates the basic structure of a song, or piece of music, into a format that musicians can play, while improvising and embellishing the original concept into a completed creation. The American Federation of Musicians defines musical arrangement as “ …the art of preparing and adapting an already written composition for presentation in other than its original form. An arrangement may include re harmonization, paraphrasing and/or the development of a composition so that it fully represents the melodic, harmonic and rhythmic structure.”
As Berry Gordy’s fledgling Motown company became more and more successful into the early 1960s, the need for accomplished, classically-trained virtuosos, capable of transforming basic musical ideas into polished, commercially viable product, became essential. As Gordy himself put it, “Many songwriters and producers, myself included, lacked a lot of formal music education. When it came time to merge all these different elements we looked for help from the arrangers we had brought into the company.” One of the first to scale this mantle was Dale Warren, who had been recruited by his aunt (Gordy’s second wife) Raynoma to arrange strings, from a local music conservatory where he had been classically trained as a violinist. Like any professional organisation, Motown relied on its own network of contacts to identify and attract talented personnel, and when the pool of session musicians required a second trombone, Warren suggested a precocious teenage protégé he knew from his days as a member of the Cass Technical High School Symphony Orchestra — Paul Riser.
The significance of Riser’s recruitment to the Motown staff would eventually have considerable, and far-reaching, consequences for the company specifically, and for popular music, in general. In a career that spanned the decades, Paul Riser has, almost single handedly, elevated an art form struggling to gain respectability, from the inane to the immortal. Raynoma Gordy described him as “ …gifted beyond belief, he emerged as the man most responsible for the gorgeous arrangements that were born in the classic Motown days.” And Berry Gordy recognised him as “ …one of Motown’s all time great arrangers, who was best known for his string and horn arrangements that merged classical traditions into Motown funk.” Performers, players and production staff paid homage too … yet it all could have been so different.

The entry requirements at Cass Technical High School, Detroit, in all disciplines, were so high, as to only admit the very best students. It was known as a ‘magnet’ school. Cass graduates were not required to complete College Admission Tests at Michigan universities, such was the high academic esteem in which the school was held, and in most departments, new entrants were hand-picked. Paul Riser had reached such a high standard of musical competence, discipline and understanding by the time he left junior high school, at age 15, that his attendance in the music department at Cass was inevitable. As he recalls those times, the happy memories return, “I dedicated myself to music throughout elementary and high school and I had some harsh taskmasters teaching me in both places, namely Dr. Harold Arnoldi, Dr. Harry Begian and Dr. Michael Bistritzky. I practiced incessantly on the trombone, though I loved the trumpet and cello too. The cello is probably my favourite instrument. All my learning centred on classical music and the incredible discipline required mastering its many aspects. My goal was to play in the Detroit Symphony Orchestra as First Chair.” By the age of 13, Riser experienced his own epiphany. “ It was such an incredible experience to realise that I could finally, not only play music properly, but read it and transcribe musical scores for other musicians to read. I got to play with the high school concert band and orchestra too as first trombone. That band was so good that it is still the only high school concert band to ever be inducted into the Smithsonian Institution! I also loved jazz and played in a few different local bands.” Although everything in his life looked as if it was on course to realize his dream, the fickle finger of fate (and financial necessity) intervened. “ I knew Dale Warren from Cass and one day, right out of the blue, he called to tell me that there was a paid position playing trombone at Motown and that I should come down. I knew nothing about Motown. I hated R&B and most other forms of pop music, with the exception of some of the Atlantic stuff that I’d heard my brother and sister played, people like Ruth Brown and Ray Charles, but I reluctantly agreed.”
A seminal moment in music history had taken place as Riser took his place in the cramped confines of Studio A. “It was something of a shock for me to see the way the other musicians behaved. I thought a lot of them were dangerous ‘cause they would drink, get high, fight sometimes and just generally behave badly. I wasn’t used to music being performed this way, coming from the highly disciplined background I knew. They were like a brotherhood though. I sat next to George Bohanon who also played trombone, and there was Marcus Belgrave, John Trudell and Herbie Williams playing trumpet too. I found it difficult at first to assimilate. I had no ‘street smarts’ and they did. I guess they thought I was a ‘long hair’, kinda snobby and a bit stuck up. I was religious and they were gun toters! It was a real shock for me …but I must say though, I respected how dedicated they were and the fact that they all could play.”

George Bohannon, Paul Riser and Herbie Williams

Riser’s tenure as a full time ‘Funk Brother’ lasted just over a year. Wiser heads, including Berry Gordy himself, recognized his abilities in other areas and began to utilize him in a somewhat different role; “ I’d learned music theory at Cass so I knew how to arrange and orchestrate music into charts for different instruments. Clarence Paul is the producer of the first recording session I played on as a trombonist, which was for Little Stevie Wonder, and Norman Whitfield was the first producer I worked with as an arranger -- then it all just followed from there. I started writing rhythm charts, then horn charts and then strings. I realized it was much easier work and much more fulfilling to write than play, so I began to wean myself off the trombone and dedicate myself to being a copyist / arranger. I found writing for strings easier than anything else”. It wasn’t long before his talent as an arranger was put to the test and the pivotal point came on a Berry Gordy string session for which he had written the arrangements. “ I was really disciplined and I knew exactly what I wanted and how it should sound. Berry and the other people around Motown had faith in me so I was pretty confident. When we got to running the song down I had failed to recongize something critical to all music: accidentals! There were a lot of corrections and I knew Berry Gordy wasn’t pleased! At this point, writer / producer Holland-Dozier-Holland called Berry down and told him to get rid of me, but Berry just told them all to cool off and allow me to resume things the following day. When we got back, the session went fine and, career-wise things began to roll successfully from then on. It shows what great vision Berry Gordy had to keep me around.”
Ultimately, Riser’s talent ensured that musicians and producers alike trusted him and relations improved greatly, especially when he produced hits. As much as he contributed to sessions, the experience he gained, in return, was invaluable. “Yes, I learned a lot about the recording process at Motown, especially what it took to make a hit record. Berry always wanted us to capture the listener in the first few seconds for instance. That’s why I came up with that hook at the start of ‘Dancing in the Street’; and we did that all the time. We used to ‘double’ instruments too — maybe strings and the piano, or the piano and vibes. It depended on the song and what the producer wanted. In the early 60’s, Motown wasn’t a union company and we were paid less than the Union rate; we got $2.50 per song! But we didn’t mind because we were enjoying it. It was a labour of love. Money wasn’t that important back then. There was no time limit on a song either — we would go to 20 or 30 takes on some occasions with no pressure. On average we would finish a song in 8 to 10 takes. I realised how good the Funks were too, especially how they picked new things up so quickly. I only realised this when I went to other studios in different cities. Many of the musicians and producers in those places found my arrangements too difficult, or would take a long time to learn their parts, but the Funks never complained about them. They liked the challenge I think. We were all kinda anonymous at that time too. There were very few credits given out on records or albums and the Funks were kept close to the studio. If Berry hadn’t have done that we would have had other companies coming in to try and convince us to leave — he was smart that way.”

As Motown productions became more sophisticated, the complexity of Riser’s creativity developed in tandem. He was given more and more intricate song material by producers and given the opportunity to work on full orchestrations with the Detroit Symphony Orchestra. “I loved doing orchestrations, particularly with strings. String players are usually better disciplined than horn players and certainly more than rhythm guys - and that suited me. The producers didn’t put any pressure on me. They would give me something to work on and just say ‘Go and do your thing’ which I appreciated because it gave me a lot more confidence. A lot of the time I got to add ‘sweetening’, as they called it, onto songs. Many times the rhythm, and sometimes horns, had already been recorded and I would put strings on top — that’s what ‘sweetening’ was, strings. A good example of that was ‘My Girl’ for the Temptations. Smokey had given it to them without strings but they thought it was ‘square’ and they didn’t want to do it. In fact they hated it! I put the strings on and everything changed. The producer usually decided whether to add strings or not and that depended how they interpreted the song. I really got into sweetening when Norman Whitfield and Barrett Strong started stretching out with their material (i.e. “Papa Was A Rolling Stone” & “Masterpiece”).
Same with Stevie Wonder and Smokey. They would usually give me a piano demo and a scratch vocal or maybe a bass and drum track with piano as a demo and I would go away and come up with the rest. I would usually write an arrangement as close to the recording session start time as possible so that it was fresh in my mind. The musicians would be expected to ‘sight’ read my arrangements, that is, play them on the spot, not take them home to learn them, but pick it up right there in the studio, on the session! That’s why I’ve got so much respect for studio musicians. I’ve always liked to use 17 string pieces in the studio — nine violins, four violas, three cellos and a harp. Most of the time I wouldn’t hear the lyrics or vocals at all. I tended to arrange the parts around the rhythm chord structure. One exception was ‘Baby I’m For Real’ which I really love. On that one I tried to arrange the music to converse with the lyrics, like the instruments are talking to each other.”

The arrival of Valerie Simpson and Nick Ashford at Motown in 1966, to, almost exclusively, write for Marvin Gaye and Tammi Terrell, elevated the standard of musical technique and complexity even higher, which Riser readily admits. “ They introduced Motown to a symphonic component which elevated the output above a lot of other companies, and they were two of the greatest songwriters in the business. Not only did they elevate Motown, but they elevated me. It allowed me to open up musically as my training had dictated. Their material created challenges for all of us and made us all more creative. In fact, it was one of their songs that remains one of my favourites to this day — ‘Ain’t No Mountain High Enough’. We’d done it on Marvin and Tammi but then I got the chance to completely revitalise it on Diana Ross in 1970. When Valerie first played her concept of it on the acoustic piano I realized it would be a challenging piece, especially with the dynamic changes and the sudden key change at the end, but when we had finished it everyone seemed to like it, so that was very satisfying. The Funks laid down the rhythm tracks in Detroit but all the horns, strings and the vocals were done in New York.” Although many critics, at the time, thought Riser’s arrangement on the song merited more formal recognition, it was only nominated for a Grammy in 1971 in the ‘Best Female R&B Vocal Performance’ category and didn’t win, which was particularly ironic, considering the arrangement was written in the absence of vocals! He would have to wait another two years before finally winning that prestigious award, with Norman Whitfield, for ‘Papa Was a Rolling Stone’ in the ‘Best R&B Instrumental Performance’ category.
Although Paul Riser is best known for his arrangements, he boasts a considerable portfolio of song writing credits. Best known is probably ‘What Becomes of the Brokenhearted’, which became a major success for Jimmy Ruffin in 1966 and went on to become one of the most ‘covered’ songs in the Motown catalogue. His memory of the song’s conception is interesting, “Most arrangers will use a piano when writing arrangements, but I never do. I use a piano only to compose. I had this series of chords I’d written and I would carry them around with me not really knowing what to do with them. One day I had a session for the Spinners with two producers, William Weatherspoon and James Dean. It was a three-hour session, which was usually enough time to do three songs. Spoon and Dean had two songs, which the Funks completed in two hours, but we still had an hour left so I asked them if they wanted to hear these chords I had. Motown was like a Research and Development department all the time — people were always trying new things and experimenting. So they agreed and the Funks played Spoon and Dean the chords. No title or lyrics, just the chords as I had written it. Weatherspoon and Dean came up with the melody and the lyrics and I did all the music. Jimmy Ruffin put the vocals on. He was one of the quickest guys to pick up a song, that’s why producers used to use him to demonstrate songs for other artists. “What Becomes of the Brokenhearted” became one of Motown’s biggest songs.”

Paul Riser and McKinley Jackson

Paul Riser was contracted to Motown between 1965 and 1973, in which time he provided arrangements for, literally, thousands of songs and musical works, including hits for artists like Marvin Gaye, Stevie Wonder, the Temptations, the Supremes, Gladys Knight and the Pips and scores more. His classical foundation and the experience gathered at Motown catapulted his reputation around the world which resulted in him providing arrangements and musical direction for a list of artists as diverse as the Carpenters, Phil Collins, Doobie Brothers, Tom Jones, Aretha Franklin, Natalie Cole, Quincy Jones, Luther Vandross, Carly Simon plus many more. In more recent times he was instrumental in creating hit albums for artists like Raphael Saadiq and R.Kelly, and continues to work and teach in a variety of settings around America and Europe. His musical legacy to the world may never be eclipsed.

Rob Moss Oct 2012

By Rob Moss in Articles · October 23, 201212 yr

For those growing up in the early to mid 80's, with little knowledge of "Northern Soul" Kent Records introduced many great sounds to young eager lads and lasses eager to hear more of the music. Who would have thought Kent Records would still be here today and still introducing many great previously unheard records to not so young lads and lasses and to the next generation of "soulies" eager to see and hear what the fuss is all about.
Northern Soul is still the greatest underground music scene in the UK although it does garner a lot of publicity today. It is thanks to the likes of Ace/Kent Records that many artists are still getting the recognition they never got when the records were laid down in the studio, ignored by the US market at the time only to be picked up by the UK youth (and not so young) many years later.
This year marks the 30th Anniversary of Kent Records, from the very first LP compiled by Harboro Horace aka Ady Croasdell, "For Dancers Only" to the 100's of releases on vinyl, LP and 7 inch, to all the CD's featuring many of the greats of the Rare Soul Scene, King Records, Detroit's Dave Hamilton, the fantastic Fame series, many unreleased Motown, LA Soul from Kent Harris, Ty Karim, New Yorks Big City Soul, Lou Johnson, GWP and Harlem Soul, Getting' To Me, Goldwax, Money, Spring…the superb unreleased RCA Masters which unleashed many great records to the UK dance floors , Luther Ingram, Tommy Tate, Eddie and Ernie, Memphis Soul, Kent Modern, Jackie Day, Phiily Soul from Ben Lee and the rarest of them all the Shrine Story. the list goes on and on, too many to mention here but it cannot be denied that it is an unrivalled list of releases that has maintained the interest of soul fans world wide. I for one look forward to many more releases including the forthcoming Pied Piper Masters.
Here is what Harboro Horace has to say about Kent
(source Kent Records Website http://acerecords.co.uk/kent-label)
Way back in 1982 a callow northern youth would visit Ted Carroll’s Rock On record stall on Golborne Road in West London. He used to buy the 60s soul singles that the old vinyl merchant had plundered from warehouses and old shop stock on his travels. This interest in a music that was not particularly cherished in London at that time led to Ted asking this son of Market Harborough to stick together 15 singles from Los Angeles’ Kent and Modern labels and come up with an LP. That would satisfy all those pesky young mods who pestered Ted for some “soul like what all the original mods used to lissen to”. Pinching the title from a popular Popcorn single of the time, the soul brother, we’ll call him Horace, came up with “For Dancers Only” a selection of Northern Soul stompers, girl group floaters, male vocal harmonies and low down Rhythm & Blues.
Horace was then asked to rattle off a follow-up, when his first attempt flew out of the shops like shale off a shovel. That was the imaginatively named “For Dancers Also” and with sleevenotes full of wit of that calibre, allied to a crusading enthusiasm and passion for the music, the public were hooked. A deep soul LP came next, followed by a collection of 60s soul classics, an LP of pure Northern Soul dancers, 70s soul sounds and many more sides of soul music’s polyhedron. "¨"¨Thirty years on, we are still coming up with black music compilations from the 60s and 70s that soul fans continue to support and enjoy. These days the CD notes tell you more about the artists than the colour of DJ and LP sleeve designer Ian Clark’s odd socks.
We have grown in knowledge and inquisitiveness and have almost run out of bad jokes."¨"¨Getting eventual access to all the major record labels has given us music from the Okeh, Chess, RCA, Atlantic and even the mighty Tamla Motown. This has meant our supply of sounds from this golden era is virtually limitless. Hugely influential independent labels like Stax, Goldwax, Fame, Westbound, Carnival, Mirwood, King, Scepter/Wand and others have learned to trust our integrity and have thrown open their doors saying “go ahead tell it like it was”. Smaller indies such as Sounds Of Memphis, Dave Hamilton’s Detroit productions and GWP have come up with iceberg sized vaults lying under the water level and have delivered superb soul music that had frequently unheard since its creation."¨"¨Then there are the series like Mod Jazz, Modern Masterpieces, Northern’s Classiest, New Breed R&B et al that just keep on coming.
Chasing one lead will bring us a handful of tracks that we didn’t even know about and the label owner’s ex-partner will sometimes chip in with half a dozen tunes too. We’ve got solo CDs from acts as big as the Impressions, James Carr, Candi Staton and the Staples Singers all the way through runaway successes such as Doris Duke, Sam Dees, Spencer Wiggins, who were previously only known by the cognoscenti, on to O.C. Tolbert, Jackie Day, the Minits and Vernon Garrett who weren’t that well known on their blocks."¨"¨The continued penchant for vinyl has left us with a handful of bendy LPs and a growing 45s discography that will soon be enough to fill a DJs box: what a great set would be played from it too.
Then there’s yer actual downloads, T shirts and beer-mats; further evidence of world domination."¨"¨In the pipeline is a brilliant set of 60s Detroit soul productions from the legendary Pied Piper outfit, further Fame, more Motown, a new trawl of King, Kent Harris’ R&B and soul productions, Darrow Fletcher’s separate 60s and 70s CDs and deals that I dream of even as I type."¨
HARBORO HORACE
****************************************************************
To mark the occasion Kent release the CD:
"Kent 30: The Best Of Kent Northern 1982-2012)"
Pre order from Ace Free delivery in the UK
30 tracks covering the 30 years of kent Records, some classics form that time but as you would expect some "newies" with the Pied Piper Band, Marva Holiday (which I can't wait to hear) and an alternative vocal to the one record that epitomises Kent and one of the greatest discoveries of the last 30 years Melba Moore's Magic Touch.
Listen to a brief clip of Melba Moore and Darrow Fletcher:
http://soundcloud.com/chalkster/cdkend384-03
01. OOH IT HURTS ME - The Pied Piper Players
02. BEAUTY IS JUST SKIN DEEP - The Sweethearts
03. BABY WITHOUT YOU - Gene & Gary
04. LOVE KEEPS ME CRYING - Walter Wilson
05. IT'S TORTURE - Maxine Brown
06. I'D BE A MILLIONAIRE - Chuck Jackson
07. HAVE FAITH IN ME - Sugar & The Spices
08. YOU ONLY LIVE TWICE - Lorraine Chandler
09. I'M STEPPING OUT OF THE PICTURE - Johnny Maestro & The Crests
10. GETTIN' TO ME - Ben E King
11. WHAT SHOULD I DO - Little Ann
12. RISING HIGHER - Marva Holiday
13. TRY MY LOVE - Toni & The Showmen
14. TOO MUCH FOR YOU - Bobby Angelle
15. TWO WRONGS DON'T MAKE A RIGHT - The Mayberry Movement
16. THE MAGIC TOUCH - Melba Moore
17. HANDWRITING ON THE WALL - Bobby Wisdom
18. OH, MY DARLIN' - Jackie Lee
19. THINK SMART - The Fiestas
20. (JUST A LITTLE) FAITH AND UNDERSTANDING - The Magicians
21. WE CAN DO IT - The Shaladons
22. I'M SHOOTING HIGH (I REACH FOR THE SKY) - O.C. Tolbert
23. I WANNA THANK YOU - The Quotations
24. NO LIMIT - Darrow Fletcher
25. OH BABY DON'T YOU WEEP - Luther Ingram
26. WITHOUT YOUR LOVE - Bobby Penn
27. THE PANIC IS ON - Lou Johnson
28. (TRUE LOVE IS) IN THE HEART - Alexander Patton
29. CHANGES Lilly Fields
30. SORRY AIN T THE WORD The Paramount Four
This CD is a look at the Kent label’s Northern Soul history, heritage and future. There’s more to Kent than just Northern Soul, but that’s how we started in 1982 when Mary Love’s ‘You Turned My Bitter Into Sweet’ kicked off the “For Dancers Only” vinyl album. We covered the ballad side recently on “Deep Shadows: The Best Of Kent Ballads” CDKEND 342.
The “For Dancers Only” LP gets a nod with Gene & Gary’s duet of Danny Monday’s ‘Baby Without You’, here on CD for the first time. There is a host of exclusives, several not issued in any format before: Alexander Patton’s ‘True Love (Is In The Heart)’ will open traditional Northern fans’ eyes and ears the most, being from the same session and of a similar feel to his classic ‘A Lil Lovin’ Sometimes’, and Marva Holiday’s ‘Rising Higher’ is a fabulous Sherlie Matthews’ song that will be admired by progressive Northern fans.
Modern soul has been a part of the Kent landscape since 1984’s “Moving On Up” album. We celebrate that branch of our music with Darrow Fletcher’s ‘No Limit’ and the Paramount Four’s anthemic ‘Sorry Ain’t The Word’, both debuting on CD. 70s soul fans may well buy the CD for these two alone.
Our forthcoming Pied Piper spring range is launched with the original alternate take of Lorraine Chandler’s 60s Detroit opus ‘You Only Live Twice’; the song that gave birth to Yvonne Baker’s ‘You Didn’t Say A Word’. From the same stable comes the Pied Piper Players (aka Motown’s Funk Brothers) on ‘Ooh It Hurts Me’, a massive 60s newie of recent years as a stunning, unheard instrumental.
Representing the Dave Hamilton chapter are O.C. Tolbert and Little Ann’s rare soul classics, both presented in mixes different from our previous releases. Ben E King with ‘Gettin’ To Me’ heads our legendary discoveries section. Melba Moore, Chuck Jackson and Maxine Brown’s unissued recordings that re-floated the grounded SS Northern Soul in the 80s are here, as are the Magicians, whose vocal to ‘Double Cookin’’ shook up the Northern nation.
There are vinyl-finding tales of two of the biggest big beat ballads of them all and a story concerning picking up a handful of sleeveless singles in a producer’s house and seeing an undocumented Wand label for Walter Wilson’s 60s stomper which had been assumed to exist as tape only. Luther Ingram supplies the mother of all R&B/Northern crossover numbers, while Bobby Wisdom preens over his potential price tag of £4000; if you can find one.
There are classy crowd-pleasers from Toni & the Showmen, Sugar & the Spices, the Fiestas and the Sweethearts that have been marooned on Kent label stories, neglected by all but the pure in heart.
Advances in technology mean that the audio is vastly improved on tracks we first released 10 or 15 years ago. On some titles we were able to access superior quality multi-track masters and in Melba Moore’s case we even found an alternative vocal take. It is the first time the 45 mix of Johnny Maestro’s dramatic ‘I’m Stepping Out Of The Picture’ has been reissued. The quality of Chuck Jackson’s ‘Millionaire’ in particular is awesome, while the Magicians now has a potentially life-threatening dynamic.
The booklet contains 9,000 words of wisdom, re-telling the Kent Northern saga for long-term inmates or explaining where it all came form for the more recent converts. That’s 30 stunning soul sounds; one for each glorious year. It is not only a celebration but a revelation too; we hope you enjoy the hyperbole.
By Ady Croasdell
Kent also has a Birthday Party planned. It will be at the home of the 6t's Rhythm and Soul Club, The 100 CLub and feature's live from the USofA Darrow Fletcher. 8pm until 2pm with Darrow live on stage at around 11pm.
All details can be found at www.acerecords.com or www.6ts.info

By Chalky in News Archives · October 21, 201212 yr

Oliver Cheatham: Forever Saturday Night.

Native Detroiter Oliver Cheatham was born February 24th 1948 into a family of eight other children. It was his gospel trained mother, Maddie that encouraged her son to sing. Oliver was a shy child who would only sing to other people from behind the sofa. He was a keen sportsman who harboured thoughts of becoming a professional Baseball player with the Detroit Tigers. This changed one night when his sister Jackie recommended him to her then boyfriend Allen Cocker a member of the group known as The Young Sirs who just happened to be a man short for a forthcoming show. On his sister’s recommendation Oliver deputised and thus became a permanent member of the Young Sirs. The Young Sirs big break eventually came while they were performing at a local cabaret show. Unbeknown to the group Barbara Burt was in the audience. Barbara Burt together with her husband Ernest operated the Magic City label located at 8912 Grand River, the former home of Correc-Tone Records which they had purchased from its former owner Wilbert Golden in 1965.Upon Barbara’s recommendation The Young Sirs signed to Magic City where they recorded the mellifluous, “There’s Something The Matter (With Your Heart)/African Love” (MC 010).With Oliver by now assuming the role of lead singer. The groups others members were Oliver’s by now brother in law Allen Coker, Van Johnson and his nephew Mike Johnson and the group’s bass vocalist Ronald Noel. While at Magic City Oliver was asked by Ernest Burt to chaperone a group of guys some five years younger than himself who recorded under the name Mad Dog And The Pups, Although never strictly regarded as a member of the group Oliver did provide some of the backing vocals and occasional the lead vocals when his young protégés’ were found wanting."¨

Photo:- from left to right are: Mike Johnson, Allen Cocker, Oliver Cheatham, Ronald Noel & Van Johnson.

As the 1970’s dawned Oliver signed up with Marvin Higgins who placed him under the guidance of the highly respected record producer George McGregor. Oliver’s first McGregor, production “I’m Only A Man/Out Off My Hands” was released on the Black Rock Label (2002) under the pseudonym of Butch & The Newports. With” Butch “being Oliver’s nickname and The Newports being Allen Coker, Curtis “Kippy” Henderson."¨

A name change followed with Butch & The Newports now becoming The Gaslight with the addition of a fourth member Michael Eatmon. With three further 45 single releases appearing on Higgin’s Grand Junction logo. Firstly “I Can’t Tell A Lie/Here’s Missing You (1001), then” If You See Her/Drifting Away” (1002) followed by a second issue of “I’m Only A Man” but with a different flip side to the Black Rock release “I’m Gonna Get You” (GJ-1100)"¨"¨The Gaslight’s next release “Just Because Of You/It’s Just Like Magic” first gained a release on the tiny independent T.E.A.I. label which was owned by Chuck Armstrong, a former road manager of the Dramatics. This release was later picked up for national distribution by the major Polydor label. It would appear that a second Gaslight release on T.E.A.I. may quite possibly exist. A track entitled “Hard Times” with “It’’s Just Like Magic” on the flip (See below)."¨

At this juncture the all too common drug culture then prevalent throughout the recording industry began to lead to problems amongst the Gaslight which eventually saw the clean living Oliver leave. It was at this particular juncture that Oliver who by now was considering a solo career, began to do some production work of his own with his cousin Bill Miller. Together they bought some studio time at the United Sounds Studio and it was from these sessions that they wrote produced and recorded the recently discovered tracks “Don’t Pop The Question (If You Can’t Take The Answer)” and “Good Guys Don’t Make Good Lovers” amongst others."¨"¨Oliver was then invited by an old acquaintance Jerome Barnes to join his group, Oliver initially refused as he was still considering pursuing a solo career. But eventually Jerome persuaded Oliver to change his mind thus Oliver became a member of The Sins Of Satin."¨

Following three album releases the Sins Of Satin went through a change of both personal and direction at the suggestion of their producer the influential Detroit radio DJ Al “The Perculator” Perkins. Now renamed “Roundtrip “ the group grew to eight members, Jerome Barnes, Oliver Cheatham, Jimmy Johnson, Kenny Jackson, Angelo Loric, Ila Coates, Kim Warren and Sharlo. Perkins plan was to build the group around the lead vocals of Oliver. A further name change followed with the group becoming known as just “Oliver”. During his time with Perkins Oliver’s lesser known trait as a roofer was called upon to repair the studio roof. A skill he had learnt while working with his Uncle in Cleveland during the summer holidays. "¨

Al Perkins in conjunction with his wife Irene ran a stable of several artists under their Perk’s Music Production Company. One such act was the group, One Way who included a multi-talented musician and later producer in his own right Kevin McCord. In collaboration with Kevin McCord Oliver co-wrote what is regarded as his all time signature tune the much covered 1983 dance floor hit “Get Down Saturday Night” which eventually reaching number 37on billboards R&B charts, and remains a popular radio play to this day. In 1985/86 two further Oliver Cheatham releases appeared on the UK based Move label “Mama Said/Look Of Love” (MSS3) and” Turning Point/Play Me Trade Me “ on the Move subsidiary label Champion (MSS6). The “Turning point” release also featured the vocals of Oliver’s daughter Tania. Both Move releases were owned by Vee Allen (aka Velma Perkins sister of Al Perkins) and produced through her Leland production company. Leland is the name of the Town in Mississippi where Vee was born."¨

Oliver continued to score chart success throughout the remainder of the 1980’s and into the 90’s with such songs of note as “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as the guest vocalist on Room 5’s UK No1 hit “Make Luv “ which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a Garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Oliver’s popularity on the European dance scene means that he’s a frequent visitor to the continent with a huge following in both France and Germany."¨

The elusive “Hard Times” track is proving to something of a conundrum as it has appeared in several Oliver Cheatham articles but nobody has ever seemed to have seen it. What we do know is the track was recorded thanks to Andy Rix’s acetate. Both Oliver and the records producer George McGregor claim it was released? With George also stating that it featured “ It’s Just Like Magic” on the flip?"¨"¨So could a previous interviewer have made a typing error writing down Tier instead of T.E.A.I.?"¨"¨Or were there two T.E.A.I. releases of “It’s Just Like Magic” with different flipsides?"¨"¨Unfortunately George McGregor is hospitalized at this moment and unable to check his paperwork so the jury will have to remain out on this one for now."¨

Words by David Welding"¨"¨

Acknowledgements to: Oliver Cheatham, Bill Miller, Anthony Jones (aka A.J.Sparks), Cynthia Girty, Irene Perkins, Vee Allen, Janet Wright and George McGregor."¨

Photographs: Bob Abrahamian, John Smith, Andrew Whitmore, Craig Lane and Oliver Cheatham."¨

Label Scans: Bob Abrahamian, Andrew Whitmore, Andrew Rix, Trevor Polnyj and David Welding.

Checkout the Story and details of the new Soul Junction release of Oliver's unreleased 70's Gem "Don't Pop The Question" b/w "Good Guy's Don't Make Good Lovers" at: Soul Junction Finally Pop The Question

By Louise in News Archives · October 13, 201212 yr

Oliver Cheatham: “Soul Junction Finally Pop The Question”

Listen to ‘Don’t Pop The Question’:
http://soundcloud.com/chalkster/oliver-cheatham-dont-pop-the

Listen to ‘Good Guys Don’t Make Good Lovers’:
http://soundcloud.com/chalkster/oliver-cheatham-good-guys-dont

Some of you while listening to your favourite internet radio soul shows over the last couple of years may have heard a great little uptempo 70’s dancer track reputedly by a female artist by name of Pam Jackson (a name purely based on a assumption). At long last the true identity of both the artist and the track has eventually been found, the full story continues below:

The origins of the track came from a un-credited acetate that was won on E-bay by Italian collector Marco Cavenaghi. The acetate contained six tracks with the only information to be found being the name Pam Jackson which had been handwritten on the sleeve. Marco gave a cut of one the tracks to his friend Olindo Di Tizio to play on his radio show. It was Olindo who later passed a cut of the track which by now people were calling ‘Don’t Pop The Question’ to the following UK dj’s Bob Smith, Kevin Oxberry, Steve Plumb and Wayne Arbon, in the vain hope that through greater exposure someone would come forward and recognise the track thus revealing it’s true identity. Chat room discussions also failed to uncover any further evidence. Although a school of thought did arise that a possible candidate could be Detroiter Oliver Cheatham (who was renowned for his falsetto vocals) and that the track could be a previously unissued Magic City release.

In March of this year (2012) during a conversation between myself and Kevin Oxberry (Kevin had previously spoken to me about the track) the subject of the elusive Pam Jackson track was raised again. Kevin stated that he and the other guys had exhausted all their avenues of enquiry and two years on were still none the wiser and had all but given up. At this point I volunteered Soul Junction’s services to track the real artist down. First of all I contacted A.J. Sparks, A.J had been a session drummer at Magic City and had played on most of the sessions but he didn’t recognise the track, this was followed up by talking to Cynthia Girty Of Cynthia And The Imaginations/ Imaginary Three, thus eliminating any remote chance of Pam Jackson being an alias or real name of one of the girls.

My own gut feeling was indeed that the real singer was in fact Oliver Cheatham after comparing the track against his Polydor and Grand Junction releases etc. So next up I called Janet ‘Pixie’ Wright a former session singer at Magic City and a close friend of Oliver’s who still tours as a session singer with him and Jocelyn Brown to this day.
Janet gave me Oliver’s telephone number, now Oliver a regular commuter (between Detroit and France) was actually in Detroit at that very moment. So I gave Oliver a call and explained what was on my mind and then proceeded to play him “Don’t Pop The Question” down the phone. After about 20 seconds in Oliver was singing along and excitedly shouting ‘man that’s my song that’s” Don’t Pop The Question (If You Can’t Take The Answer)” the songs real and full title.

This was the first time Oliver had heard the song in nearly forty years. So after he eventually calmed down I played all the other tracks from the acetate to him. He instantly recognised a second track the beautiful sweet soul ballad “Good Guys Don’t Make Good Lovers”. “Great! We’ve got an A and B side how’s about leasing them to Soul Junction for a 45 release Oliver?” Say’s I, “yes!” Came the reply, “but I need to remember when and where I recorded them?” Say’s Oliver.

A day later Oliver called me to say after much thought he remembered recorded the tracks in circa 1974/75 and that he co -wrote both songs with his cousin Bill Miller and that Bill may well be the songs producer. As a precaution we systematically contacted all the people who Oliver recorded for in and around this time to see if they had any claim on the tracks, one by one they all came back with the answer no! At this point things began to look doubtful and Oliver still hadn’t located the elusive Bill. A month passed before one night out of the blue I eventually received a call from Bill Miller.

Bill a former Vietnam veteran and’ purple heart’ medal holder apologised for not contacting me sooner but his current business commitments involved a lot of travelling throughout the United States. He first off wanted to know how we got hold of the songs (see above) and then he confirmed to me that he was the producer on both tracks. He went on to Explain, that at the time (circa 74/75) nothing was really happening for him and Oliver having just left the Gaslight was considering a solo career, so they both clubbed together and bought some studio time at United Sound Studio’s In Detroit. This being where Bill produced some of their songs on Oliver (as well as some other artists). Bill then later received an invitation to a Producer’s party which the Motown Corporation were hosting to discover new local talent.
Billy got a couple of studio acetates cut to take to the party which featured Oliver singing ‘Don’t Pop The Question’ and ‘Good Guys Don’t Make Good Lovers’ plus two other funk tracks by him. The acetate also feature two tracks by a female artist presumably the mysterious Pam Jackson (Bill has still yet to definitely confirm this). Subsequently Billy was signed by Motown as an arranger, producer and songwriter going on to work with the Commodores as well as the blue-eyed Ohio funk band Wild Cherry of ‘Play That Funky Music White Boy’ fame. Bill lost track of the acetates and now assumes that may have been left behind at United Sound studios when he removed his tapes and were probably sold off when the studio closed down? What ever happened, both copies eventually found their way on to the open market via E-bay.

David Welding

Oliver Cheatham’s “Don’t Pop The Question (If You Can’t Take The Answer)/Good Guys Don’t Make Good Lovers” Soul Junction (SJ518) is due for general release on Monday October 15th 2012. The A-side is the joyous dance track “Don’t Pop The Question (If You Can’t Take The Answer)” which once heard leaves the songs unforgettable hook firmly inside your head. While the B-side is the beautiful sweet soul ballad “Good Guys Don’t Make Good Lovers” which showcases Oliver’s falsetto vocals to perfection and is so reminiscent of his earlier 1970’s Grand Junction and Polydor releases.

For those of you who are not familiar with the songs please take a listen to the sound clips on the Soul Junction website: www.souljunctionrecords.co.uk

Acknowledgements to:
Oliver Cheatham, Bill Miller, Janet Wright, Irene Perkins, Vee Allen, George McGregor, Cynthia Girty, Anthony Jones (aka A.J.Sparks), Marco Cavenaghi, Olindo Di Tizio, Bob Smith (Uptight Records) Kevin Oxberry and Nick Robbins (Sound Mastering Ltd)

Press Release: Oliver Cheatham “Don’t Pop The Question (If You Can’t Take The Answer)/ Good Guys Don’t Make Good Lovers” Soul Junction 518

Release Date: Monday October 15th 2012

Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician Kevin McCord. But Oliver’s career began way back in the mid 1960’s when his future brother in law Allen Cocker invited Oliver to join his group The Young Sirs.
The Young Sirs eventually joined Ernest and Barbara Burt’s Magic City label where they recorded the mellifluous “There’s Something The Matter (With Your Heart)” with Oliver now being regarded as the groups lead singer.

Into the 70’s the Young Sirs became The Gaslight who recorded several excellent 45’s for Marvin Higgins’ Grand Junction label. With their “Just Because Of You/It’s Just Like Magic” later being picked up for national distribution by Polydor Records.

Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.

Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul.

And so to the present, 2012 will see Oliver return to the fore with the eventual discovery of two great previously unissued 70’s soul tracks found on a once lost and forgotten acetate. The A-side is the joyous dance track “Don’t Pop The Question (If You Can’t Take The Answer)” which once heard leaves the song’s unforgettable hook line firmly in your head. While the B-side is the beautiful sweet soul ballad “Good Guys Don’t Make Good Lovers” which
showcases Oliver’s falsetto vocals and is so reminiscent of his earlier 1970’s Grand Junction and Polydor releases. 2012 will also see Oliver return on a vanity project of his own with the forthcoming “Enjoy” cd album.

For further information please contact John Anderson or Dave Welding
Tel: +44 (0)121 602 8115 E-mail sales@souljunctionrecords.co.uk

By Louise in News Archives · October 13, 201212 yr

OK, it may not be up everybody's street, but there's some seriously great stuff within this beautiful package.....

Harmless Records proudly present another superlative box set celebrating the 25th anniversary of one of the most iconic UK independent labels of all time…

Acid Jazz, the brainchild of Eddie Piller and Giles Peterson was born in 1987 and immediately hit a chord in the UK by appealing to a cross section of serious fans from old school Jazzers, serious Jazz-Funkers, passionate Soulboys, sharp-dressed Mods, nodding Hip-Hoppers and even laid back Dreadas.

Before long the tentacles of the Acid Jazz movement were spreading throughout the world and what began as a bedroom label between two mates soon became a mecca for various tribes who had become disenfranchised from other scenes. From international breakthrough successes like the Brand New Heavies, Jamiroquai and the Totally Wired series, Acid Jazz cemented it’s image as one of the most iconic and unique UK record labels of the last 3 decades.

Harmless Records is proud to present a beautiful collectors box set featuring:-

1 x square secure box with the Acid Jazz logo in embossed silver foil * 4 x Audio CD’s + wallets * 1 x video DVD + wallet featuring an exclusive interview with Eddie Piller & Dean Rudland plus 12 vintage Acid Jazz promotional videos * 1 x 20 page booklet featuring the Acid Jazz story with unique pictures written by Dean Rudland and Eddie Piller * 1 x 52 page booklet featuring the Acid Jazz artwork throughout the last 25 years * 1 x 7” vinyl record featuring 2 unreleased original Acid Jazz recordings exclusive to the box set

Amazon Link:

http://www.amazon.co.uk/gp/product/B009DW5Z2Y/ref=s9_simh_bw_p15_d1_i1?pf_rd_m=A3P5ROKL5A1OLE&pf_rd_s=center-2&pf_rd_r=0AJETA6F38J1Y4P5TNB4&pf_rd_t=101&pf_rd_p=323735287&pf_rd_i=229816

Eddie Piller & Dean Rudland have compiled over 5 hours of music across several genres which scans the key periods in Acid Jazz history……

Track Listing

CD1 — Put It All Together and What Do You Get

1. Golden Lady - Jose Feliciano
Original Album Version 4.20
2. Love The One You’re With - The Isley Brothers
Original Album Version 3.39
3. Lady Day & John Coltrane - Gil Scott Heron
Original Album Version 3.34
4. Is It Something You Got - Tyrone Davis
Original 7” Single Version 2.34
5. Don’t You Care - Alice Clark
Original Album Version 2.48
6. You - Spanky Wilson
Original 7” Version 2.10
7. Light My Fire - Erma Franklin
Original Album Version 2.39
8. Right On - Clarence Wheeler & The Enforcers
Original Album Version 4.39
9. Bert's Apple Crumble - The Quik
Original 7” Version 2.11
10. Who's Afraid Of Virginia Wolfe Part 2 - Jimmy Smith
Original Album Version 4.58
11. Milestones - Mark Murphy
Original Album Version 2.27
12. Smokey Joe’s La La - Googie Rene
Original 7” Version 2.53
13. Black Whip - Boogaloo Joe Jones
Original Album Version 6.46
14. Murriley - Charles Earland
Original Album Version 6.28
15. Expansions - Lonnie Liston-Smith
Original Album Version 6.05
16. Go Bang # 5 - Dinosaur L
Original Francois K 12” Mix 7.33
17. I’m A Man - Chicago
Original Album Version 7.38
18. I Can’t Dance With You - Small Faces
Original 7” Version 3.11
19. I Don’t Do This (To Every Girl I Meet) - Sydney Joe Qualls
Original Album Version 3.12

CD2 — Something Happening At The Dance

1. Blacker - Ballistic Brothers
Original Album Version 6.09
2. The Masterplan - Diana Brown & Barry Sharpe
Original 12” Version 7.05
3. Hot Music - S.O.H.O.
Original 12” Jazz Version 5.06
4. Know How - Young MC
Original 12” Mix 4.01
5. Don’t Scandalize Mine - Sugar Bear
Original 12” Version 4.13
6. The Nervous Track - Nuyorican Soul
Original 12” Ballsy Mix 6.28
7. Earthly Powers - A Man Called Adam
Original 7” Mix 4.55
8. I'm Gonna Love You - Jestofunk
Original MC Turbo 12” Sax Mix 4.20
9. Super Strut - The Apostles
Original Album Version 4.20
10. Jazzy John's Freestyle - Stonebridge
Original 12” Dub Mix 3.38
11. Helping Hand - Arthur Miles
Original 12” Mix 4.39
12. From The Ghetto - Dread Flimstone
Original 7” Version 4.35
13. Bonita Manana - Espiritu
Original 12” Mix 4.06
14. If The Papes Come - A Tribe Called Quest
Original 12” Mix 4.14
15. BNH - Brand New Heavies
Original Album Version 5.52
16. Frederick Lies Still - Galliano
Original 7” Version 4.59

CD3 — How’d We Get Us Here…?

1. Jazz Thing - Gang Starr
Original 12” Mix 4.48
2. Get Yourself Together - Young Disciples
Original 12” Mix 5.23
3. Dream Come True - Brand New Heavies
Original 12” Mix 3.45
4. Love Will Keep Us Together - The James Taylor Quartet
Original Ian Green 7” Mix 3.41
5. The New Avengers - Snowboy
Original 12” Mix 4.32
6. Fresh In My Mind - A Forest Mighty Black
Original 12” Mix 4.38
7. Oh Shit - Pharcyde
Original Album Version 4.29
8. Black Whip - Chapter & Verse
Original 12” Mix 3.59
9. Back By Dope Demand - King Bee
Original 12” Mix 3.35
10. Theme From Starsky & Hutch - James Taylor Quarter
Original 12” Mix 5.52
11. Always There - Incognito
Original John Morales 12” Edit 3.34
12. Too Young To Die - Jamiroquai
Original Album Version 6.03
13. Apple Green - Mother Earth
Original Album Version 4.24
14. Love Sick - The Night Trains
Original 12” Mix 4.26
15. Beads Things & Flowers - Humble Souls
Original 12” Mix 4.05
16. The Ladder - One Creed
Original Album Version 5.03
17. Funky Jam - Primal Scream
Original 12” Mix 5.25

CD4 — Smokers Delight

1. Cosmos SX 2000 - Paul Weller
Original 12” Dub Mix 7.19
2. Non Corporealness - Mother Earth
Original Album Version 6.04
3. Rassellas - Mr Scruff V Manasseh
Original Album Version 5.55
4. Movements In Dub (Roots) - Roots Radics meets the Scientist
Original Album Version 5.08
5. Render Your Heart - Dread Flimstone
Original 12” Mix 5.02
6. Chase The Devil - Max Romeo
Original 7” Version 3.27
7. You Never Get Away - Delroy Wilson
Original 12” Dub Mix 7.22
8. Leaders & Believers - Emperors New Clothes
Original UNKLE Album Mix 5.14
9. Astralisation - Snowboy
Original 12” Mix 6.10
10. The Groove - Jazzy Jeff & The Fresh Prince Original 12” Instrumental Mix 5.33 feat Grover Washington Jr
11. I Wanna Get High - Cypress Hill
Original 12” Mix 2.56
12. Galactica Rush - Jhelisa
Original 12” Instrumental Mix 6.01
13. Nothing - Sandals
Original 12” Dub Version 8.02

Out on Bonfire Night — 5th November 2012. Should be fireworks!

Ian D

By Ian Dewhirst in News Archives · October 9, 201212 yr

Soul Music Legend Leon Ware is making three appearances in the UK in early 2013. The venues are London's Islington Assembly Hall on Friday 1st February, Manchester's Band On The Wall on Friday 8th February and Newcastle's Hoochie Coochie Club Saturday 9th February 2013.

Some info taken from the Band On The Wall website:

http://bandonthewall.org/events/3709/

The great American soul singer Leon Ware visits Band on the Wall celebrating 50 years of producing hugely influential and beautiful music that's been etched into the hearts of fans of superbly crafted, timeless love songs across the world.
Ware’s gorgeously romantic groove and timeless vibe has been seducing lovers’ earlobes over the generations and has been the songwriter of choice for some of the globe's biggest stars - think Michael Jackson crying his heart out on the AM radio gem and Ware penned I Wanna Be Where You Are from his very first solo LP. Indeed it gives you a sense of the his longevity when you realise 2012 marks that particular music milestone’s 40th Anniversary.
Marvin Gaye defined seduction and desire on the Grammy-nominated masterstroke I Want You, a song suite — also featuring After the Dance, Come Live With Me Angel and Since I Had You — which was originally a Leon Ware album that Marvin begged to be his. From Minnie Riperton’s rapturous Inside My Love to Donny Hathaway’s reverent I Know it’s You, Ware’s magic carpet ride of influence resonates right on into today - whether collaborating with Quincy Jones on Body Heat (also featuring If I Ever Lose This Heaven - both sung by Leon) or Maxwell on his sumptuous debut Sumthin’ Sumthin’, rap icons 2Pac and A Tribe Called Quest sampling his Wares, jazz giants Gato Barbieri and Fourplay melting into his melodies, and pop-rock superstars Madonna and Todd Rundgren covering his classics.

Add to these the acclaimed album recordings of his own including Musical Massage, Love’s Drippin’, Taste the Love, Moon Ride, Candlelight (with jazz man Don Grusin) and the provocatively prophetic Rockin’ You Eternally, and you realise Leon Ware has an immensely impressive back catalogue to draw upon for this much-anticipated anniversary tour.
Draw the blinds, pour the wine, pull back the bed sheets and head down to Band on the Wall to fall in love with this wonderful artist all over again. Advance booking strongly recommended.
This event will begin at 8.30pm but our Picture House Cafe Bar is open from 5.30pm for delicious food and drinks.

For tickets for Islington visit:

http://www.songkick....n-assembly-hall

https://agmp.ticketa...ents/leon-ware/

For tickets for Manchester visit:

http://bandonthewall.org/events/3709/

http://www.songkick....and-on-the-wall

For Newcastle's Hoochie Coochie Club visit:

http://www.hoochiecoochie.co.uk/event/artist/leon-ware/

By Chalky in Event News · October 6, 201212 yr

Tucked away on the Ace subsidiary and sister label to Kent is a Funk compilation by Dean Rudland that may have slipped under the radar of many. Titled Royal Grooves the compilation is made up of 23 tracks from the famed Cincinnati King label. Funk might not be to everyone's taste but the cd does contain some great vocal performances, Barbara Burton and The Messengers and Willy Wiley's early 70's outing "Just Be Glad" two personal favourites. Gloria Edwards should need no introduction with the excellent (Need Nobody To help me) Keep up With My Man" and Connie Austin and the superb "Ball Of Fire" two more artists that should be well known to the wider Soul Scene and to the Northern Soul Scene, the same also for the Coasters with a funked up latin take of "Cool Jerk". Overall the cd is an excellent introduction to this genre and more than worth the 10 or 11 quid it will take to purchase.

As you would expect from all ACE releases there are comprehensive sleeve notes from Dean Rudland, I would pay for the sleeve notes as they are always a really good and informative read. I do wish Ace/Kent and the related labels would put a book out containing the sleeve notes of all the releases, it would be essential reading and a great history of some of soul musics greats as well as the many lesser known soul artists that have played their part in R&B and Soul Music.

Here is what Dean says about the release;

In the late 60s King Records was in the midst of a funk revolution. This upheaval was spearheaded by James Brown who, on his return to the label in 1965, after a couple of years away, had changed the course of music with the groundbreaking single ‘Papa’s Got A Brand New Bag’. This may not have been pure funk but it was certainly a large step towards it. Over the course of the next two years he honed the style until he stormed to an R&B #1 position (and Top 10 Pop) with ‘Cold Sweat’, the opening salvo in a torrent of hits that marked him indelibly as Soul Brother #1. He became the only artist that really counted at the label. If King wasn’t releasing records by Brown himself, they were releasing the work of his entourage, or records that were trying to sound like him. King became the home of funk with a healthy dose of soul and the label never really recovered when he left to join Polydor.

“Royal Grooves” examines this latter period of King’s existence, from the glorious point in the late 60s when the money from their most successful artist allowed a vast array of records to be made and released, to the desperate search for the next big thing in the early part of the next decade."¨"¨The collection contains James Brown productions by Wendy Lynn, Kay Robinson and Leon Austin which have had collectors salivating for years, and even harder to find unrelated 45s by artists such as Elaine Armstrong, whose ‘Sad But True’ has only recently made it onto the radar. We also have a spectacular single by the Brownettes (previously and subsequently known as the Jewels) and a couple of 45s from the Indiana funk-masters the Presidents. If you’ve heard King Coleman’s ‘Boo Boo Song’ and thought it was a mindless novelty, you have the chance to check out ‘Pt 2’ and change your mind. "¨"¨From the post-James Brown period we have the Coasters with their latin-ised version of ‘Cool Jerk’ and the wonderful Texas soul of Gloria Edwards. Best of all is Barbara Burton & the Messengers who as the Messengers Unlimited and with Sonny Morrison as lead singer released the rare “Soulful Proclamation” album. For their one single on De Luxe Barbara was put upfront on ‘Love’s Sweet Water’, a smouldering funk masterpiece. "¨"¨King was a label of many facets and we try to cover most of them here. This is high quality soul and funk.

"¨"¨By Dean Rudland

CD Description:

* In the late 60s King Records were buoyed and inspired by their number one artist James Brown. The recordings that went down at their Cincinnati headquarters were a vibrant expression of funk & soul captured in BGP's 23-track compilation.

* Many of the tracks BGP have selected had direct James Brown involvement. Productions by him or his team include the super-rare single by the Brownettes, Clay Tyson's proto rap `Man On The Moon', the brilliant Wendy Lynn's `I Can Remember' - direct from master tape. In addition we've included classics by Kay Robinson, Hank Ballard, King Coleman and Leon Austin that have become increasingly difficult to find.

* Pure funk by Kastle, the Presidents and Bill Doggett show the funk influence went further than James Brown and his crowd. BGP are especially pleased to be able to include a couple of super-rare singles issued on DeLuxe: `Do What You Wanna Do' by Frank Howard & The Continentals and Barbara Burton & The Messengers' `Love's Sweet Water'. This is so rare that it may never have been issued officially and it's such a great piece of groovy soul.

Buy the CD:

Buy from Ace Free delivery in the UK

Listen to a sampler of tracks 4, 12 &14:
http://soundcloud.com/chalkster/royal-grooves-sample

01. Getting Down With Hoss - Kastle
02. Love's Sweet Water - Barbara Burton And The Messengers
03. Lord Will Make A Way (Pt1) - Kay Robinson
04. Sad But True - Elaine Armstrong
05. Baby Don't You Know - Brownettes
06. Somewhere Down The Line - Albert Washington
07. Shoe Shine (Inst) - The Presidents
08. Do What You Wanna Do (Pt 1) - Frank Howard & The Continentals
09. Man On The Moon - Clay Tyson
10. Steal Away - Leon Austin
11. I Can Remember - Wendy Lynn
12. You Keep Me Hanging On - Bonnie & Sheila
13. Ball Of Fire - Connie Austin
14. Just Be Glad - Willy Wiley
15. (Need Nobody Help Me) Keep Up With My Man - Gloria Edwards
16. Cool Jerk - The Coasters
17. Peter Rabbit - The Presidents
18. Looking For A Woman - Robert Moore
19. The Boo Boo Song (Pt 2) - King Coleman
20. Unwind Yourself - Hank Ballard
21. Shoe Shine - The Presidents
22. Wet & Satisfied (Tk 5) - Bill Doggett
23. Push And Shove - Willy Wiley

http://acerecords.co.uk

By Chalky in News Archives · October 6, 201212 yr

It has been confirmed by a family member that R B Greaves (age 68) has passed away.
R B Greaves spent much of the 1960's in the UK where under the name of Sonny Childe he fronted the TNT who were a top live mod / soul act in clubs here.
He returned to the US around 1969, changed he performing name to R B Greaves and had a couple of big hits ("Take A Letter Maria" being the biggest of these).

By Roburt in News Archives · October 4, 201212 yr

Well, you have seen the Village Soul compilations and heard of its reputation.......come and find out why-

"VILLAGE SOUL"is back on NOV 3!

A [very] brief outline:
The Norfolk Village [our original venue] in East London's Shoreditch area retains a special place in the hearts of all the Soul Fans who attended right through from Terry Jones` original Friday night residency from the 70`s onwards through to the 80s & 90s Saturday night specials with the guest DJ`s. For years now, Terry and myself had discussed the possibilities of starting something up again down South but there always seemed to be something getting in the way. The fantastic reception at last years "VILLAGE SOUL" special at the 6Ts Cleethorpes Weekender on Saturday afternoon spurred us on to do something about it...

So,for the first time in over 17 years [!], the original Saturday night "Norfolk Village" residents are back together for a very special "VILLAGE SOUL"!

Dj`s on the night will be:

Terry Jones
Ivor Jones
Chris Forrest
Mark "Binsy" Taylor

and our very special guest:

Andy "Tats" Taylor.

Our original "Norfolk Village" venue was sadly pulled down some years ago to make way for the Shoreditch rail link so a new venue was required. We felt that collectively,the music and vibe of "VILLAGE SOUL" was so totally unique, it didn't matter so much about keeping it in that particular area. Our new venue is the Holiday Inn at Bexley, Kent. As many travel long distances these days to venues we also thought it a good idea to have a ready supply of rooms for those wanting overnight accommodation....nice.

Ivors View.....

Though its kinda been covered over by the sands of time, our attitude to the music, has, i feel, been copied by many others since as the way forward for our scene. The "Norfolk Village" was always a forward thinking venue with its roots firmly in Soul Music. When many others went off on a tangent and ended up leaving the scene, we stayed firm. We just love the music,see. The "Norfolk Village" meant everything to me at the time and i was gutted when it closed. If i had to sum up the music played there i would just say it was quality,pure and simple as that. Soul music from all era`s played with passion. All styles as well. Ballads. Everything.

The Village regulars were the most friendly and knowledgable bunch as well.Plus, we all have one thing seemingly absent from some on the scene......We all like a laugh! All the DJ`s involved in this gig have never stopped collecting,playing and enjoying the music that inspired us all individually all those years ago, so musically, you can expect "VILLAGE SOUL" classics and plenty of future "VILLAGE SOUL" classics ! We are dusting off the "Village Choir" and we`re gonna carry on where we left off.....REWIND !
All with an eye on the dance-floor of course. I cant wait now !

We have also secured the services of Andy "Tats" Taylor as our special guest DJ,who,apart from being a personal friend of all of us,has,in my view, an unparalleled reputation as the finest of Real Soul selectors...Go Tats !
There`s already a massive buzz on this gig, with bookings from Scotland and all over the North, tickets are already selling fast so please don't miss out,its gonna be special !

Your presence is required......

Here`s the details on the official flyer:

By Guest Ivor Jones in Event News · October 3, 201212 yr

An old article (now updated) that I wrote about 16 years back .................

Roger Hatcher was a member of a very musical family, apart from his brothers Will and Roosevelt, his cousin was of course the most famous Hatcher, Charles (Edwin Starr). Roger had been involved in the music business for many years without ever having enjoyed the level of success that Edwin gained. However in 1996, he did get to enjoy the most comprehensive release of his entire career when the U.K. CD 'The Roger Hatcher Collection' (16 tracks) was released by Expansion. Roger was always a very difficult guy to deal with and this fact must have been a major reason why he jumped from label to label throughout his career. No doubt, if he had established a more trusting relationship with some of the people who signed him to record contracts, he would have been more successful.

Roger was born in Birmingham, Alabama on September 29, 1946. His brothers were his inspiration and he wanted to follow in their footsteps, playing sax as Roosevelt did or singing like Will. He was brought up in an area that was a musical hotbed. Other gospel / soul singers from the area included Alex Bradford, Mitty Collier, Eddie Kendricks, Paul Williams, Kell Osborne, Frederick Knight, Barbara Joyce Lomas (of B.T. Express), Bill Spoon, Richard and Jessie Fisher. At Butler Elementary School his music teacher, Mrs Cullum, complimented him on his fine voice and gave him a lot of encouragement and help. He continued to develop his singing technique in the choir at Healing Spring Baptist Church in East Avondale and at Hayes High School. Roger wrote his first song, "I Need Someone", at high school where after lessons had finished for the day he would go to the music room and develop tunes on the piano. Roger wrote by ear as he couldn't (and indeed never learnt to) read music and the song was inspired by his girlfriend, Linda Doyle. At times, he would get together to write songs with his neighbour, and long-time friend, William Bell (Bill Spoon).

Roger had great ambitions but unfortunately he didn't yet realise that you had to rehearse a song many times before you became proficient at performing it. He entered a high school variety show and decided he would sing Jackie Wilson's "Work Out" but his performance was a disaster. He messed up so badly his school sweetheart, Linda Doyle, said if he ever tried to sing on a show again she would leave him. It took quite a while for him to live the experience down but it taught him a lesson. Before the next year’s show he rehearsed James Brown's "Please, Please, Please" with a band. His girlfriend’s threat was still hanging over him but he went ahead and performed on the show and his improvement pleasantly surprised quite a lot of the audience on the night. Roger’s favourite singers at the time were David Ruffin, Curtis Mayfield, Sam Cooke and Johnnie Taylor in that order.

After completing school in 1964, Roger moved to Detroit. Here he went straight to Golden World Records to try to land a recording contract. The folks there liked what they heard and told him to come back the following week. But the following Monday it was snowing heavily and his girlfriend talked him out of going downtown to the studios. Roger always said this was the biggest mistake he ever made. Golden World signed a lot of artists in the 1960’s (including Edwin, the Holidays and Shades Of Blue) and lots of them had big national hits. Even more of the singles the company released in that period went on to become local hits. As Roger had missed out at Golden World, he had to sign with a much smaller (and not as well financed) label. He had written "Get A Hold Of Yourself” and “I Need You”. After he had signed with Clifford ‘Sonny’ Marshall’s Dotty's Records, these were recorded and released as by 'Little' Roger Hatcher. Copies of the track escaped on the Del-La-Northern label but Roger always contended that it was Dotty’s that he was signed to (Del-La-Northern was co-owned by Clifford Marshall; so he could well have arranged with Johnnie Mae Matthews for it to escape on that label instead).

Whatever was the case, the 45 was only promoted in Detroit and even there it failed to break through. Strangely, a miss-pressing of the tracks came out on the Ten High label, whilst a Lee Jennings track (“I Been A Fool” - which used the backing track to Roger’s "Get A Hold Of Yourself”) exists on a Dotty’s 45 miss-press. Anyway, Roger cut a new self-written song; "Party Over Yonder". This track was used as the flip to "I Need You", which was released again becoming his follow up single. Dotty's didn't have the necessary resources or expertise to promote their releases effectively and so Roger’s records failed to make the impact he had hoped for (It mattered little after Sonny Marshall was arrested, tried and jailed in the summer of 1968).

Roger had travelled home to Birmingham for Christmas (1967?) and as his bus journey took him through Nashville he made the decision to call in on Nashboro Records while he was there. His visit proved successful and he was signed to a record contract by Shannon Williams. When he returned to Nashville for his first recording session with Excello, Bob Holmes went through Roger's file of self-written songs (about 300 in all) and selected two of them for him to cut. So "I'm Gonna Dedicate My Song To You" and "Sweetest Girl In The World" were recorded and a single was released in June 1968 (Excello 2297). Bob Holmes did the musical arrangement for the songs and the backing singers on the session were another Excello group, the Avons (of "Since I Met You Baby" fame). Roger had again written "Sweetest Girl..." for his high school sweetheart, Linda Doyle. The A side,"Im Gonna Dedicate My Song To You" sold well and became a hit in various regions. However due to the company’s lack of co-ordinated national promotion, this success occurred over a period of some months. By the time the record was becoming popular in one major market, it was going down the local charts in others. Because of this, it never made the Billboard national soul chart. Its sales in America did however lead to a U.K. release for the track (b/w a Freddie North track) on President. However "Sweetest Girl In The World", which wasn't issued here, was the side which was to go on to become a favourite with U.K. NS fans.

Roger wasn't happy that he had missed out on a national hit and wanted to be with a bigger label and so he asked for (and was granted) a release from his contract. At Nashboro he had got to know Bob Holmes and although Roger moved to Cleveland in 1968, the two kept in touch. Eventually they managed to get back together, again this being down in Nashville. Bob was developing a tune, the melody of which Roger thought was perfect for a love song. But Bob had written lyrics for it on a sexual theme, the title being "Looking For Some Quick Action". Roger worked on Bob and was allowed to come up with an alternative set of lyrics, the result being "I Dedicate My Life To You". The pair then amended the melody slightly to suit the new lyrics and Roger went into the studio to cut it. As he didn't have a record company at the time, Roger financed the recording session himself. He invested everything he had except for $200 to fund the studio session. In all four songs were cut, "I Dedicate ...", "Gonna Make Love To Somebody’s Old Lady", "Call Mr Sweetback" and "You Got The Wrong Number". Bob was a music lecturer at the local university and used to get a large number of his students to help him out on sessions. As a result of this Roger was backed by 21 instruments on the tracks; strings, flutes, horns, etc., everyone playing live with no overdubbing being used.

It was essential that Roger sold the tracks to a label to get his money back so instead of returning to Cleveland he went down to Memphis. His first port of call there was Hi Records, but the song wasn't to Willie Mitchell's liking. Moving on, he next visited Stax Records. The company's A & R man, Carl Smith listened to the tape but also wasn't impressed enough to buy it. However (Stax engineer) Henry Bush had also listened to the tape and he thought the tracks had commercial potential. So Henry advised Smith to sign Roger. Smith wouldn't change his mind but Roger had mentioned that he knew Don Davis, so he was advised to go and see Don. Don was in the McLemore Avenue studio doing some work for the company, so Roger immediately went to see him. Roger had earlier written "Girl, Come On Home" which Don had cut on Major Lance in Muscle Shoals (Major insisting on having half credit for writing the song before he would cut it). Major's track had been issued in October 1971 (Volt 4069), so Don was already familiar with Rogers work. The two talked and Don took his tape to listen to along with a number of others he had to assess. After keeping Roger waiting for 30 minutes while he played the other tapes, he got around to Rogers and was shocked to find himself listening to fully completed tracks and not just sparse demo versions. He was very impressed with "I Dedicate My Life To You" and so he signed Roger to his Groovesville Productions company. The song was leased to Stax who released it in June 1972 (Volt 4084) backed by "Gonna Make Love To...".

However Don wasn't infamous for his business wheeling and dealing without cause. His major act at the time was the Dramatics (also signed to Stax) and Don played them Roger’s song. Like Don they thought the song would be perfect for them and so Don swung a plan into action. Roger stated that Don arranged for Stax to stop pressing up copies of his single when the initial stocks had sold out. Within no time the company's warehouse ran out of copies, orders were left unfilled and the record died on its feet. The Dramatics worked on the song and in 1973 Don cut an alternative version of it on the group and this was released on their 'Dramatically Yours' L.P. (Volt 9501). Needless to say with a big groups name now attached to the song, it promoted itself and went on to gain wide radio exposure. (the above is purely Roger's version of events and he was notorious for his deep felt opinions and disputes with his record companies). Deeply hurt, as he thought that the proceedings had robbed him of the chance of breaking through with his song himself, Roger had a big row with Don. As a result, no more product on Roger himself was released by Stax and the two men became enemies for many years. [Don must have thought it was a good ploy though and he used it again at times. Another example of this being in the 80's when he signed Ronnie McNeir so he could cut some of his songs on L.J.Reynolds for Capital]. Don had also wanted to add his name to Roger's tracks as co-producer, which he obviously wasn't (the tracks being complete when Don first got to hear them). Roger was so disgusted at all Don's actions that he asked (yet again) to be released from his contract with the record company.

After this had occurred, Roger cut another of his songs back in Nashville. "Caught Making Love" was intended for release on a small label Roger had set up himself in Cleveland, Black Soul. Roger pressed up 1000 copies of the single in 1973 ("Do Not Disturb" being the B side), the majority of which were sent to radio stations and shopped around major labels. Bob Holmes was responsible for the arrangement on the track and it also featured Virginia Davis, who made noises appropriate to the song’s theme halfway through. Roger went to New York to try and land a major deal on his single. Columbia Records weren't interested but Scepter Records liked it and said they would get back to him. Two weeks passed and Roger was contacted back in Cleveland and told that the company had changed its mind and wouldn't license the record. So Roger pressed up another 5000 copies (Black Soul 101) and started to promote it; in no time it was selling really well locally. He returned to New York with the sales figures and Mickey Eichner at Columbia Records was so impressed by the figures that he picked up the record for release by the label. They issued it, as Columbia #45993, in February 1974. Unfortunately Virginia's performance on the track was just too life-like for the radio stations and it was banned by many, so killing its chances of reaching a wider audience. The song's potential wasn't lost on those people who did get to hear it though and one such person was Clarence Carter. He added a rap to the lyrics and under the revised title of "I Got Caught" cut it for ABC Records in 1975 (ABC-12130). Clarence acted as producer on his own version, using Mike Terry as the arranger, and with ABC promoting it correctly it became a big hit.

Undaunted, Roger got on with his life and career. The next thing he wrote was "We Gonna Make It". When it was cut, Roger co-produced the track with Bob Holmes and Ted Jarrett. Because he was broke at the time, they arranged for Audio Media to pay for the Nashville recording session. However, when the record was released in the U.K., Roger wasn't credited on the label for his production work and Bob Holmes' name had mysteriously appeared as co-writer. That’s the record business for you; it isn't what you do that you get paid for, it's what you can get credited with. In the U.S. the track was released on the Brown Dog label, backed with "High Blood Pressure which Bob Holmes had helped Roger to write. As stated this single gained a U.K. release, coming out in February 1976 on Mint (Chew 5). With the song being published by Holmes Publishing Company, Roger stated that he never received any royalties for all his efforts. The experience taught him a lesson and Roger decided not to co-produce anything again, to help ensure he retained control over his work.

Roger's career went through a quiet period but in 1986 the Platters version of his old song "Get A Hold On Yourself" was released in Europe by Deluxe Records. In 1987 he released "I Want Your Love" c/w "Let Your Love Shine On Me" on his Superbad Record label. The former track being cut at Boddies Studio, with the later at Snyders (both in Cleveland). His labels base was Suite 8, 4768 Walford Road, Warrensville Heights, Cleveland and from here Roger had plans to record both himself and other artists (Sugar Taylor being one of these). He would also try to promote the product himself to try and thus increase its chances of finding success. His personal life was however in turmoil as, at the time, he was going through a divorce from his second wife, Janice. So his labels (Black Soul, Black Magic) and career weren't the most important thing to him at the time. When he did get back to his career he went into Boddies Studio again and cut 3 self-written songs; "Disco Queen", "Gonna Rock You Like A Baby" and "The Baby Woun’t Go To Sleep". These tracks were the first that Roger had arranged himself and marked the point at which he assumed total control over his recorded work. "Gonna Rock You Like A Baby" was intended to be the title track of a proposed L.P. but unfortunately the project was never completed and so the song remained unissued.

Roger continued to create product and he shopped it around in an effort to get a deal. As part of this process he would send out master tapes of his tracks and on many occasions he wasn't aware what became of these. This situation resulted in Roge’rs most infamous release, his ultra-rare and collectable Guinness L.P. This record was totally unofficial and was released without Rogers permission or knowledge. In fact it was only a number of years later, when contacted by British collectors trying to obtain copies of the LP, that he became aware of its existence. Amongst the tracks included on that album were "You Must Have Come From Heaven", "Your Love Is A Masterpiece" and a reworking of "Let Your Love Shine On Me". The illegitimate origins of the L.P. are betrayed by the lack of background information included on the sleeve and also by the inclusion on it of 2 non Roger Hatcher tracks. Later in 1987 Roger relocated to Los Angeles and the area was to be his last home base. He continued to record after moving there (using studios like Hit City) but didn't have the necessary finances to release much of the product.
He worked with other artists and one of these was a group named Black Pepper (about who very little is known. Roger had written a song that he thought ideal for them; “You Keep Running Out of Gas”. He produced and arranged the risqué song on them and it escaped on the Golden Wax label. In 1991 he pressed up some 12" copies of one of his songs, "Stormy Love Affair", and shipped these over to the U.K. to sell. In 1995, he landed a deal which resulted in "The Best Of Roger Hatcher" C.D. (containing 13 tracks he had cut over a period of years) being released in Japan. He followed up in 1996 by signing a deal with Expansion Records here in the U.K. They released the most comprehensive collection of his recorded work, putting it out on the CD, 'The Roger Hatcher Collection'. This included tracks such as "She’s All I Got", "Stormy Love Affair", "Warm And Tender Love", etc. with some of the tracks being previously unissued. Roger hoped to use the release to re-launch his career back in the U.S. and so asked for many copies of the CD to be sent to him (posting them out as promo items to US contacts). He continued working with other artists in addition to recording new tracks himself. He was desperate to come over to the UK to promote his CD and to repay his loyal U.K. followers by performing live here. Unfortunately this never occurred and Roger's career began to slip away.

He died in 2002 in San Bernardino, California and is now just a distant memory to everyone except members of his family and the most ardent of soul fans. Perhaps if his demeanour hadn't been so combative and he had teamed up with supportive music biz people in his early years, things would have turned out differently. Unfortunately, now, we will never know what he could have achieved given a more settled relationship with a major record company
J 'Roburt' S

artists

By Roburt in Articles · October 2, 201212 yr

Kent Harris, well known to those who collect Rare Soul records because of his wife Ty Karim and his record label Romark. But there is more to the man than many will probably realise and this CD gives us an insight into just what an influence he was on the Los Angeles R&B music scene. A must have purchase for lovers of R&B.

As Boogaloo & His Gallant Crew, Kent Harris cut the original version of Bo Diddley's `Cops and Robbers' and shot to prominence when it was proved that his version of `Shoppin' For Clothes' was the original one, purloined by Leiber and Stoller for the Coasters. He was a major mover in black music in LA, appearing as DJ Stumblin' Blue on XERB, Wolfman Jack's station. He also had a string of record shops called Target Records in southern California.
His family included three sisters: Marcene ("Dimples"), Beverly and Betty who performed as the Harris Sisters. Dimples was the most prominent and it was on the flip of two of her 45s for the Trend label in 1954 that Kent first sang as Ducky Drake. Then came the Boogaloo 45s. Dimples continued to record under several different names and is featured on `Love Came Tumbling Down' which she wrote with husband Harold Jackson who is also featured on the stunning `Freedom Riders'; both are very in-demand 45s for the new R&B dance crowd.
Kent Harris concentrated on discovering and managing talent and recording them for different labels until he formed Romark in the early 60s. His protégés included Brenda Holloway and the Mighty Hannibal. He worked with LA recording stalwarts Young Jessie, Ray Agee and Jimmie Preacher Ellis as well as having his own acts: the Francettes, the Philips Sisters, the Lon-Genes and his wife Ty Karim.
This CD features a great cross-section of those artists and some previously unissued gems from the vaults. The whole family's remarkable story is told in the extensive notes.
Further reading from Ady Croasdell…
Kent Harris’ strong point was undoubtedly his witty and topical lyrics, allied to having his ear to the ground for the latest trends in black music. His most famous work — ‘Clothes Line’, recorded under his alias Boogaloo & His Gallant Crew — was plundered by Leiber and Stoller for the Coasters’ ‘Shoppin’ For Clothes’ and is already out on an Ace compilation. All four of his Crest sides are humorous, streetwise and down with the groove of the day. ‘Big Fat Lie’ concerns a visit to the pawnbrokers, which a lot of black audiences could relate to in the 50s.
Other novelty songs include ‘Big Chief Hug-Um An’ Kiss-Um’ by James Shaw, later to be known more grandly as the Mighty Hannibal, and the newly-discovered Boogaloo recording ‘I’m In The Dog House Again’. He’s so late back his woman won’t let him into the house and he has to kip down with the dog. ‘Double Locks’, which Kent wrote for Johnny Gosey, deals with an angry landlady putting locks on the tenant’s crib until the back rent is paid.
Kent’s arrangements were innovative too. On the Francettes’ ‘He’s So Sweet’, he and group manager Frances Gray combined to get the backing girls calling and responding and throwing in their own seemingly ad-libbed comments rather than just filling in the harmony.
The CD embraces the whole of the Harris family and the notes describe what an influential Los Angeles clan they were. The much missed sister Dimples is a major contributor, rocking it up with her sisters on ‘Kissin’ Bug’ from 1955 and also recording solo and accompanying her big brother under his pseudonym of Ducky Drake. She cut as a solo under her married name of Dimples Jackson in 1960 and with her new husband Harold, helping him out on his astonishing ‘The Freedom Riders’ 45. New Breed R&B lovers will appreciate Dimples’ ‘Love Came Tumbling Down’, while the new version of Donoman’s ‘I’m The Only One’ by the Phillips Sisters is a big bonus. The whole mysterious Donoman / Cry Baby Curtis story is related in the booklet. His ‘Monday Is Too Late’ has a New Orleans meets ‘Turn On You Lovelight’ vibe that will thrill traditional R&B lovers.

Though Kent Harris had many high quality soul productions (they’ll feature on a future Kent CD) he always had a bias towards the blues and you feel that the ‘You Ain’t Right’ wailer from Faye Ross was the side the musicians had their hearts in, rather than the Motown-esque ‘Faith, Hope And Trust’. Kent’s partner, and love of his life, Ty Karim, was primarily a soul singer but when they worked on a blues like ‘Take It Easy Baby’, it was as intense as anything they cut together. "¨"¨Vocal group collectors will be pleased with the new version of ‘Diddy Bop’ that predates the Valaquons’ Rayco release and the splendid Lon-Genes provide an incredibly rare harmony ballad as well as a new twist on an old dance craze. "¨"¨We have chased tapes, 45s and label scans all across the world to get the productions and recording facts of a seriously overlooked R&B producer into an accurate history. Though a large amount of information has been discovered, we are positive there are more obscure 45s out there featuring Kent’s work. If you know of any, please do let us know.

Footnote: I’ve been chasing the missing Romark 103 release by the Phillips Sisters ‘After Tonight’ / ‘The Wiggle’ for months but only tracked down a copy after this CD’s deadline had gone. I clicked on the soundfile with great hope of finding a previously unissued R&B gem, but sadly it was a disappointment. The vocals on ‘After Tonight’ leave a lot to be desired on an, at best, average song while the flip is an instrumental; at least it’s not a crucial omission on here. "¨"¨
By Ady Croasdell
Buy from Ace Free delivery in the UK

Take a listen to a sample of tracks 3, 5 & 12

http://soundcloud.com/chalkster/kent-harris-sample
1. Lover Supreme - Kent Harris
2. I'm In The Dog House Again - Boogaloo And His Gallent Crew
3. Don't Just Stand There - Cry Baby Curtis
4. Long Lean Lanky Jukebox - Dimples Harris & Her Combo
5. Love Came Tumbling Down - Dimples Jackson
6. Monday Is Too Late - Donoman
7. Saint Or Sinner - Ducky Drake With Dimples Harris & Her Combo
8. Pay & Be On My Way - Eddie Bridges
9. You Ain't Right - Faye Ross
10. He's So Sweet - Francettes
11. You Stayed Away Too Long - Francettes
12. Kissin' Bug - Harris Sisters
13. Big Chief Hug 'um And Kiss 'um - Jimmy Shaw
14. Double Locks - Johnny Gosey
15. Show Me How To Shake Like That - Lon-Genes
16. Our Love Is Like The Sea - Lon-Genes
17. I Ain't Talkin' - Pat Hunt
18. I'm The Only One - Phillips Sisters
19. Someday I Won't Be Blue - Phillips Sisters
20. It's A Helluva Thing - Ray Agee
21. Freedom Riders - Harold Jackson & The Jackson Brothers
22. Don't Make Me Do Wrong Or Take It Easy Baby - Ty Karim
23. So Far Away - Hi Tensions Demo Of 45
24. Diddy Bop - Valaquons
25. Getting Down With The Game / Do It - Adolph Jacobs
26. Cops And Robbers - Boogaloo And His Gallent Crew

By Chalky in Articles · October 1, 201212 yr

Darrow Fletcher: CrossOver Soul: 1975-1979 Los Angeles Sessions

One of the most anticipated releases from Kent for some time has hit the selves. There are 17 tracks of some great 70's soul from his time at the Crossover Label in Los Angeles including the tracks from the unissued LP from his spell with the label make this a must have CD.

Here is what Ady Croasdell has to say about Darrow and the CD release.

There was a dilemma with compiling a CD of Darrow Fletcher’s recorded output in that he had two very distinctive periods to his career. The first part was the records he made in Chicago between 1965 and 1970, and then the handful of singles cut in Los Angeles in the second half of the 70s. As he was only 14 when he started recording, the two eras had quite a different feel.

In researching the 70s recordings Darrow made for Ray Charles’ Crossover label in Los Angeles, we turned up a cache of fully produced, previously unissued tracks. These included the complete tape of the unissued “Why Don’t We Try Something Brand New” album. Apart from longer versions of the four titles that came out on Crossover singles, there were five brand new songs. These were mainly from the pens of the Zane Grey and Len Ron Hanks team or Joel Webster; who had also provided the released songs. They were of a similar superb quality to the singles, the best dance track being ‘Secret Weapon’, written by Grey and Hanks with Jerry Butler. ‘(What Are We Gonna Do About) This Mess’ is another high quality groove, while ‘(And A) Love Song’ is a tender melodic ballad. ‘Together’ is a bluesier down-tempo tune and ‘(People Are Not) Wind-Up Toys’ is a pretty mid-paced number with a message, so prevalent in the mid-70s.

I am sure Crossover saw Darrow as a similar artist to Stevie Wonder during his mid 70s pomp; the funkier Joel Webster numbers in particular were in this vein. Although his two career stages were clearly defined geographically and historically, there were similarities. Zane Grey had grown up with Darrow inChicagowhich was where he and his writing partner Len Ron Hanks hailed from. Their first composition was Darrow’s penultimate 45 cut in Chicago, ‘Changing By The Minute’. Several of the Grey and Hanks Crossover tracks were written in Chicago prior to the duo following Darrow out to LA where the songs were cut. Darrow’s 60s fans will find plenty to admire in his later output as the songs are well crafted and produced with no expense spared. Despite the five year hiatus they can be seen as a progression of his maturity since the 60s.

Ray Charles seemed to take young Darrow under his wing and the notes describe a particularly poignant moment when the two appeared on stage together in Chicago. It is a mystery why the album never appeared as the label was quite adept at issuing music in this format, often on relatively little known acts such as Joel Webster himself. Darrow specifically mentioned versions of ‘Sunny’ and ‘Fever’ in recalling his time at Crossover. These tracks were actually cut after the LP and raise the possibility of a second album featuring them, the two Atlantic/Atco singles and other numbers such as the social commentary song ‘Election Day’ and the funky dancer ‘How Can You Live Without Love’.

All of the cherished 70s singles are here. Together with the unissued gems they give more than an hour of top quality modern soul from an artist whose excellent body of work is at last being recognised.

By Ady Croasdell

Buy the Cd from Kent at http://acerecords.co...ngeles-sessions

Listen to samples of tracks 1,3 and 7:

http://soundcloud.com/chalkster/darrow-fletcher-samples

Don't forget Darrow hits these shores in November with three dates.

Darrow at Cleethorpes in 2006

Thurs Nov 1st, 8pm - 2am @ The 100 Club - Darrow Fletcher is playing live with backing band for the celebration of 30 years of Kent Records. DJs Ady Croasdell, Tony Rounce and more. Tickets £18.00 will go on sale at the 33rd Anniversary allnighter on September 29th, and by post from Oct 1st (details will be announced in September). www.6ts.info

Nov 2nd. — 4th at the Scottish Soulful Weekender at the superb 3 star Cairndale Hotel in Dumfries. Darrow Fletcher is playing live on Saturday Night with backing band. Full details are available at www.scottishsoulfulweekender.com

Darrow will be supported at both these concerts by a great backing band — Push.

After that hectic weekend, Darrow will take a few days off before taking the stage again in good old West Yorkshire. Before returning home to Chicago

Saturday Nov 10th 9pm - 3am at the Wilton - Wheatsheaf Conference & Banqueting Complex in Castleford, home for almost 20 years of the famed Wilton Allnighters.

The Wilton guys Mouse & Boxy are staging their second Soulful Sessions Night, and are so proud to have Darrow performing to specially made backing tracks, some made from the original master tapes: a selection of his ‘70s songs from the CD and a few ‘60s classics at the venue.

DJ support from Arthur Fenn — Mike Charlton and residents Boxy & Mouse, should make a cracking night. So come on guys, if you can’t travel to London or Scotland, then here’s your chance to see Darrow for the very first time in Yorkshire.

Advance tickets £12.00 will be on sale at our next allnighter on the 21st September and are now available online by Paypal & Credit Card at the Wheatsheaf website http://www.wheatsheaf.com/allnighter or £15.00 otd.

Read a full interview of dave Box with Darrow:
Darrow Fletcher - The Interview - The Full Story

01 Honey Can I"¨
02 (What Are We Gonna Do About) This Mess
"¨03 (Love Is My) Secret Weapon"¨
04 Try Something New
"¨05 This Time (I'll Be The Fool)"¨
06 The Rising Cost Of Love"¨
07 (And A) Love Song
"¨08 Sunny
"¨09 We've Got To Get An Understanding"¨
10 How Can You Live Without Love"¨
11 Let's Get Together"¨
12 It's No Mistake"¨
13 Election Day"¨
14 Fever"¨
15 Together
"¨16 Improve"¨
17 (People Are Not) Wind Up Toys

By Chalky in News Archives · September 29, 201212 yr

Thanks go to Andy Rix for making this article available to all. Originally written and published to accompany the fairly recent auction (2009) of the 45 via John Manship and for inclusion in a special catalogue that was distributed to those who subscribed, given the recent sad news regarding the passing on of Frank Wilson yesterday Andy had passed on what could be called the 'definite' story ...
‘Do I Love You (Indeed I Do)’ — The Story
“Music has always been part of my life. In 1960, I lost my athletic scholarship after participating in the civil rights sit-in demonstrations in Baton Rouge, Louisiana, and thought I had sacrificed my big chance to escape an ordinary existence. I was given a ticket to Los Angeles by the Congress Of Racial Equality. Yet when I arrived there, I never imagined, ‘This is the place where my dreams will be fulfilled.’ I now know each step was directed; meeting Hal Davis, Marc Gordon, Brenda Holloway and Berry Gordy Jr. Interestingly, when I went into the studio to record 'Do I Love You' it was just another day at work. I was excited to be in the studio doing anything and getting paid to do it, but I have learned that God moves in mysterious ways. That one day at work spent recording ‘Do I Love You’ essentially as a demo, was soon forgotten, and yet, it turned out to be a life changing experience. I am proud of what I did and humbled by the affection shown to me by so many people from all over the world.”
Frank Wilson
March 2009
Frank Wilson — Do I Love You (Indeed I Do) — Soul 35019
As Motown celebrates its 50th anniversary there could not be a better time for their rarest, and most coveted, record to come to the market. The big question is, that given its status as the most expensive soul 45 ever sold, how much will it sell for on this occasion. The last time it traded hands, over a decade ago, It achieved a price tag of £15 000.
It is almost beyond belief that a song, which didn’t get a commercial release until some 14 years after it was recorded, now finds itself sitting alongside million-sellers on the Motown 50 CD. The featured tracks were chosen by public vote, and the inclusion of ‘Do I Love You (Indeed I Do)’, which has never achieved chart success, clearly demonstrates the significance the song now holds for fans of the Motown Sound.
For Motown collectors this 45rpm record is the ultimate Holy Grail and only two genuine original copies, as far as can be established, are known to still exist.
As a rare Motown record it does not stand alone; there are others that approach, or even match, its scarcity. 45s by Patrice Holloway (VIP 25001), The Charters (Mel-o-dy 104) and The Andantes (VIP 25006) have eluded virtually every Motown collector for a lifetime. Yet none of them have reached the iconic status that has been achieved by Frank Wilson and none of them are desired as much as this one.
The story of the journey that ‘Do I Love You (Indeed I Do)’ has taken to reach this exalted position could not have been written by even the most gifted of authors. It is a story surrounded by mystery, and myth, which has, over the years, become legend.
Frank Wilson was born December 5th 1940 and moved, from Houston, to Los Angeles at the age of 18. His initial passion was gospel music and he became a member of a local group called the Angelaires.
As Frank recalled, when interviewed by Bill Dahl, he decided to turn secular upon hearing Brenda Holloway. “Brenda’s voice is what inspired me to start writing pop music … up until then, I had been writing all contemporary gospel. But when I heard Brenda Holloway singing, I… decided that I would like to write a song for [her]”.
When Berry Gordy decided to open a West Coast Motown office, following his visit there to attend a disc jockey convention in 1963, he asked L.A. veterans Hal Davis, and Marc Gordon to take charge. Frank had already done some work with this dynamic duo and when they offered him the opportunity to become part of the team, he didn’t think twice. It must have been a good trip as he also signed Brenda Holloway after seeing her perform, dressed to kill, in her tight gold pantsuit.
From this moment on Frank became integral to the progress being made on the West Coast. His compositions for Jobete, the publishing arm of Motown, increased at a prolific rate and he was rewarded when the first record released from the West Coast connection, the aforementioned Patrice Holloway 45 in December 1963, featured his name on the writing credit.
During 1964-65 Frank saw an increasing number of his compositions being released either on Motown artists or by other independent companies; Mary Love, The Ikettes. Jeanie King and Connie Clark were just some that benefited.
Frank cut a few singles of his own but preferred to adopt a fictitious identity on every occasion. He released 45s as Sonny Daye (Power), a duet with Sherlie Matthews credited to Sherl Matthews & Sonny Daye (Power), Eddie Wilson (Tollie) and Chester St. Anthony (A&M); they remain collectors’ items to this day.
Frank was eager to learn all he could and soon found himself assisting in producing, and supervising recording sessions. In addition he cut most of his own songs as guide vocals for others. As he recalled, “(I) often became the vocal vehicle for my own material”. Both Brenda Holloway and Chris Clark recalled using these demos to learn the songs; when Brenda was asked about ‘Just Look What You’ve Done’ she replied, “I listened to Frank's version ….his (demos) were the best. I loved Frank Wilson's voice. I loved his delivery, his phrasing and everything… I loved recording all of his songs”.
At some point in 1965 the decision was taken to launch Frank Wilson as a Motown artist in his own right. At the latter end of the year, almost certainly during October, he went into Armin Steiner’s 8 track Sound Recorders studio, in Los Angeles, to cut some songs. This recording session, one of so many, would soon be forgotten, as other developments took priority. Years later what happened on that day would make an impact on the lives of a new generation thousands of miles away.
Frank had composed ‘Do I Love You (Indeed I Do)’ and decided to cut this track in addition to ‘Sweeter As The Days Go By’, which he had co-written with Marc Gordon.

Frank Wilson, Hal Davis and Chris Clark
Chris Clark recalls she listened to Frank’s cut of ‘Sweeter As The Days Go By’ to learn the words prior to recording her own version on December 5th 1965. That rendition eventually surfaced on her Soul Sounds album released in 1967
Chris went on to record her own version of ‘Do I Love You (Indeed I Do)’ soon after. Her initial vocal was overdubbed on Frank’s track on January 2nd 1966, again on January 19th 1966, and for a third time on August 7th 1967. It was scheduled as her next 45 but was cancelled. It finally got a commercial release on the CD Tamla Motown Connoisseurs, in 2001.
The session musicians for the day were pulled from the studio regulars that included Billy Strange, Glen Campbell, Hal Blaine, Al De Lory, Carol Kaye and Tommy Tedesco. Frank seems to think that he played keyboard but clearly recalls that he sang backing vocals with the help of Brenda and Patrice Holloway. Both tracks were produced by Hal Davis and Marc Gordon.
As far as it can be established the tapes were dispatched to Detroit, at the beginning of November 1965, where they were mixed by Lawrence Horn for submission to Billie Jean Brown. As Head of Quality Control, Billie would decide if a song was up to par; if it was she would take it to the infamous Friday morning product evaluation meeting. It was here that a vote was taken to decide what would get released, and what would remain in the can.
Frank’s songs obviously got the vote as the next stage of the process, preparing for a release, went ahead. It is from this point that determining the chronology of events becomes a little more difficult.
There has been much debate about the proposed release date for Soul 35019. In his discography Don Waller suggested 31st December 1965: his source for that date cannot be established. In the Sharon Davis book, Motown: The History, the former head of Tamla Motown in the UK, Gordon Frewin, simply indicates December 65. Given the amount of archive research conducted by Gordon, on his frequent visits to the Los Angeles tape library in the 1980s, it is highly likely that he had sight of paperwork that is no longer available.
Extensive research conducted by the team responsible for The Complete Motown Singles CD compilations were unable to add anything more of substance. In essence there was nothing left to find.
When looking at the chronology of release dates Soul 35018 was issued on November 29th 1965, and Soul 35020 was issued on March 11th 1966. Any date between those two would be plausible for Soul 35019, but so would any other date — they didn’t issue the singles in numerical order at all. As Frank recalls “release dates for singles were changed all the time”.
However, it is relevant that the Soul logo design was updated with effect from Soul 35020 and all copies of the Frank Wilson 45 adopt the original design.
What is known is that the record was pressed in November 1965. The Motown ‘Quality Control’ file copy has the date 11/23/65 written on the label, which was a Tuesday, and the annotation ‘ok’ alongside the initials of Norman Whitfield. It is highly likely that this is the copy heard at the infamous ‘Quality Control Committee’, the aforementioned product evaluation meetings. This fits into the time frame for the allocated RCA pressing reference number which is stamped into the dead wax of the record.
Frank was elated that he was about to get his first Motown release, but in the blink of an eye everything changed. His recollection of all that occurred, over 40 years ago, is a little hazy, but he seems to think he visited Detroit for a short time before making a permanent move there in 1966. It was almost certainly during this visit that the life-changing conversation with Berry Gordy took place
“I went to Detroit, and I hadn’t been in town more than a week”, Frank said. “We were standing backstage at the Fox Theater, [where] they were having a Motown Revue, and [berry] said, ‘Frank, now you know I’m getting ready to release this record on you. We’re excited about it. But I want to ask you a question. Do you really want to be an artist, or do you want to be a writer and a producer?’. And it was right then and there I told him I wanted to be a writer and a producer. And it was decided that he would not release that record on me”.
Berry was aware of Frank’s growing ability as a songwriter and producer. As Frank recalled, “Berry Gordy came out several times (to L.A.) and during that brief period of time, I got to know him, and I began to write for Motown. And then, I guess, it was a year later, Berry and I and Hal and Marc, we were taking Mr. Gordy to the airport, and I said, ‘Hey, Mr. Gordy, how about a producer's contract?’, and he said, ‘What makes you think you can produce?’, I said, ‘Because I've been producing much of the stuff that you've been hearing’. So he turned to Marc and Hal. He said, ‘Is that right?’ And they said, ‘Yes, that's right’”.
Just prior to his move to Detroit, the West Coast office, where Frank worked as an office worker for $50 a week, was closed down but Frank stayed on the payroll. Berry “wanted to know if I’d stay on and work out of my house, and they would raise my salary …About six months later the legal team came back out, and mentioned that Berry Gordy wanted to know if I’d be interested in moving to Detroit. And I agreed to do that”.
Within a few days of being in Detroit Frank made an immediate impression when he wrote, and produced, ‘Whole Lot Of Shakin' In My Heart (Since I Met You)’ for The Miracles. Recorded on 11th May 1966 the track became their next single.
The story should have ended there but sometimes the strangest things can happen.
It’s the 1970s and in England the Northern Soul scene is firmly established. Up and down the country thousands spend their weekends, at all night dance clubs, where they worship discarded soul records from 1960s America.
The need to constantly find previously unknown records, to feed the dancers, is a full time job and Simon Soussan is a master at doing just that.
It’s 1977, and in Los Angeles, Simon has just been introduced to Tom de Pierro by the celebrated Northern Soul DJ, Ian ‘Frank’ Dewhirst. Tom is on staff at Motown working on a project that would result in the release of an album of previously unreleased recordings called From The Vaults. Motown are considering signing Shalamar, who would soon hit with their Motown-medley ‘Uptown Festival’. Simon, Ian and Neil Rushton are all involved in the project.
A few people had been privileged enough to see the immaculate archive where copies of all the Motown records were stored. It is believed that two copies of the Frank Wilson 45 were there: one in the Motown Record File, and the other in the Jobete Music Record File. It would appear that by 1979 both were missing.
We will never truly know what took place but, by fair means or foul, Simon Soussan became the new custodian of Soul 35019.
The record was perfect for the Northern Soul scene and Simon, who had been a long time supplier of records to many of the top DJs, knew exactly what to do with his latest ‘discovery’.
He cut some acetates of the track, at a slightly faster speed and sent them over to select DJs. In order to protect the origin of the record, and not for the first time, Simon invented a whole new identity for the track. Those who received it were led to believe the singer was Eddie Foster, a West Coast artist, whose ‘I Never Knew’ on ‘In Records’ had been a very popular spin. Simon knew that using a known name would bring instant recognition and interest.
‘Eddie Foster’ made his debut in November 1977 and was greeted with wild enthusiasm by dancers and collectors alike. Repeated exposure across the country, and particularly at Wigan Casino, turned it into one of the most in-demand sounds of the day.
Simon had frequently bootlegged records, from his base in L.A., shipping them over to UK record dealers to satisfy the demand that had built up in the clubs. He made no exception on this occasion, and in February 1978 copies of ‘Eddie Foster’ became available to the masses to buy for £1.25.
The cover-up had worked as nobody had any idea that this was a Motown recording. Had it been cut in Detroit we might have had our suspicions raised, but without Benny Benjamin’s drum roll, James Jamerson’s bass or a Mike Terry sax break our points of reference were missing.
As time went on rumours began to circulate that all was not as it seemed. Every week a new theory was put forward about the real identity of ‘Eddie Foster’; some said it was definitely Lou Ragland, others countered claiming it was an unreleased recording by the Servicemen, many believed, myself included, that it had been rescued from the Mirwood vaults. Nobody connected it to Motown. It would be July before the truth began to emerge.
Simon decided to sell his record collection to Les McCutcheon, a UK based record dealer and collector and, as Neil Rushton recalled “Just about the last record he was handed was ‘Do I Love you (Indeed I Do)’…Les is said to have gone white with shock when he saw it was a Motown recording. He did not realise he had unwittingly been selling a bootleg as Simon, as was his way, had lied convincingly”. At last the truth was out.
The Motown ‘Quality Control’ copy was now a British resident and over the years it has been owned by various people. In 1979 it was put up for sale, by Jonathan Woodliffe, for £500. Kev Roberts eventually acquired the record for £350 worth of funk/soul albums and 12” records. In 1989 Kev sold it to its current owner Tim Brown, a highly respected collector and dealer, for £5 000.
Despite the fact that the ‘Eddie Foster’ bootleg had sold thousands of copies, UK Tamla Motown decided to issue the record.
The original tapes for both sides of Soul 35019 were requested to be sent to London from America. However, when the tapes were received, they were stereo masters and not the original mono masters. UK Tamla Motown label manager, Gordon Frewin, instantly spotted the technical differences and corrected them at Abbey Road Studios, with the help of his engineer Chris Blair, and the benefit of a copy of the ‘Eddie Foster’ 45 taken to the studio by Motown collector John Lester. TMG 1170 was thus taken from stereo masters but folded into mono for its eventual release on 9th November 1979. The DJ copies were presented in a special promotional sleeve. The stereo master version of ‘Do I Love You (Indeed I Do)’ was eventually issued in 1997 on the UK-issued CD Soul Survivors. Meanwhile, an alternate vocal take appeared as a bonus track in 1995 on the USA issued CD The Sound Of Young America — 1966. The original mono versions of both ‘Do I Love You (Indeed I Do)’, and ‘Sweeter As The Days Go By’, are both featured on the award winning The Complete Motown Singles Vol. 5: 1965, issued in 2006.
Frank Wilson had finally got his first solo commercial release as a Motown artist, although at the time he knew nothing about it.
It was around the time of the UK release that Motown took steps to try and recover their lost record. Despite trying they were unable to locate it and eventually gave up. In Los Angeles Tom de Pierro waited for Simon to return the record. He died prematurely refusing to believe that Simon had sold it.
For many years the ‘Quality Control’ copy remained a one-off but, as often happens, another copy surfaced.
The late Ron Murphy was a legendary Detroit-based record label owner, producer, engineer and avid record collector. Over the years he had assembled one of the best Motown collections in the world. He told the story of his find on the Soulful Detroit Music Forum.
“The prime pressing plant for Motown was American Record Pressing (ARP) located in Owosso, Michigan…now this plant was destroyed by a fire in 1971 but later in the early 80's I contacted some of the former employees to see if they still had saved any of the records pressed there”.
“Well I got lucky and found a few thousand records pressed at ARP starting from 1952 when the plant started right up to 1971. I visited and purchased records from about 25 former workers, (then) one day I received a call from a former manager saying he had about 300 records to sell and this guy ended up having the best Motown items
“Included in those boxes were the Frank Wilson (Soul 35019) and a test pressing of VIP 25034 a ‘MISSING’ number which was the Chris Clark version of the same Frank Wilson song, which had Clark overdubbing her lead vocal over Wilson's track”.
Now here is exactly what he told me when I asked him how he had all these mint records including the Frank Wilson on Soul: “We would press six copies and send three to Motown for approval and keep the other three copies on file”.
Then he said one day the owner told him to get rid of all the older records on file because they were taking up a lot of space BUT instead of throwing away all three copies he saved ONE copy of each and took those home, “and that's what I got”.
“So IF the former ARP manager that I got my copy from was correct”, Ron continued, “and the other two copies the plant had were destroyed then besides the one copy stolen from Motown's files that would leave only two possible other copies to exist”.
Ron eventually sold his entire collection, in 1994, to Martin Koppel, a record dealer based in Canada. It is from this collection that Kenny Burrell purchased an original copy of ‘Do I Love You (Indeed I Do)’ for £15 000.
Exactly how many copies were originally pressed has been debated at length for years. Many refuse to believe that Motown would go to the trouble of just pressing six copies but no concrete evidence has ever been presented to contradict the story as told by Ron.
The fact that cannot be disputed is that the two known copies come from a primary source; both are clearly related to the initial stage of the production of the record. No other copy has surfaced, outside of this inner circle, despite thousands of collectors searching everywhere, through millions of records, for the past 30 years.
Despite this there have been numerous reports of more copies: Berry Gordy allegedly has one, so does Billie Jean Brown, a Motown collector in London, a record dealer in Detroit and another in the Carolinas. Frank certainly never had a copy: “I had NO idea an original even existed!”
Marc Gordon, who co-produced the track, also confirmed that he had never had a copy.
The possibility that more exist cannot be totally, and absolutely, refuted but until these reports are confirmed, with hard evidence, they have to remain as unsubstantiated claims. If we believe that only six copies were pressed then two remain unaccounted for.
The popularity of ‘Do I Love You (Indeed I Do)’ has grown steadily over the years. It has been featured on numerous compilations and generated a further surge of interest when used by KFC for a national advertising campaign. As previously mentioned, the song eventually gained a USA release, in 1995, when it was included in The Sound Of Young America CD series as a bonus track on the 1966 volume. The version used featured an alternate vocal take.
The auction of ‘Do I Love You (Indeed I Do)’ is about to add another chapter to one of the most incredible stories ever told and as Frank has said, “I consider it one of my life's greatest achievements!”.
I don’t think any of us would disagree with that.
Footnote: The 45 sold for £25 742 to an anonymous bidder.
Andrew Rix
March 2009
AndyRix@aol.com
@Andy Rix

The following are thanked for their contribution: Frank Wilson, Brenda Holloway, Chris Clark and Marc Gordon.
Keith Hughes, Bill Dahl and Harry Weinger - The Complete Motown Singles Volume 5.
Chris Jenner, John Lester, Paul Nixon, Neil Rushton, Ian Dewhirst, Robb K, Stuart Cosgrove, Tim Brown and Ian Levine.
With additional thanks to the members of http://www.soul-souce.co.uk http://www.soulfuldetroit.com and release.at/projekte/motown50
Special thanks to Keith Hughes and the incredible ‘Don’t Forget the Motor City’ http://www.dftmc.info
And finally to Donna, for her support, encouragement and love

Frank Wilson
5th Dec 1940 - 27th Sep 2012
RIP
https://www.soul-source.co.uk/articles/soul-artists-sad-news/sad-news-frank-wilson-has-died-r2563/

motown music

By Andy Rix in Articles · September 28, 201212 yr

Word from the mainstream of a online series of documentary on youth culture by Don Letts from Fred Perry via their subculture setup

Soul Power which may be most peoples first port of call is episode 4

The fourth episode in the series explores the Soul Boy subculture that hit the scene in Britain during the 1970s. Features interviews with Norman Jay and Russ Winstanley.

In the mid-70s, one of the later outcrops of the Mod emerged: The Soul Boy. Clothes- and dance music- obsessed, with a geographical divide between the Northern and the Southern Soul Boys. The Northern Soul scene was rooted in The North West, in Manchester and Wigan, and had a wild, backwards looking enthusiasm about classic 60s soul, whereas the Southern Soul Boys in Essex and Kent were more interested in contemporary soul. Loose fitting clothes were important, the work hard and dance hard ethos was all part of this subculture that never left the council estates. Multi-culturalism was embraced with both black and white working-class celebrating music together through dance and shared tastes.

http://www.fredperry...7297/soul-power

Episodes are about 11 mins long and while they do follow the familar format of talking heads and from what seen familar clips, and maybe some views are a bit too generic or indeed familar, from what I have viewed so far it does make entertaining viewing

All 6 episodes covering british street culture can be found via the main page...
http://www.fredperrysubculture.com/

list of all episodes follows...

Born to be wild
Episode 1
The first episode in the series looks at the birth of British youth subculture with the arrival of Teddy Boys and Rockers. Features interviews with Phill Jupitus and Robert Elms.

This is a modern world
Episode 2
The second film in the series explores the Mod subculture that exploded onto the London scene in the late 1950s and includes contributions from Jeff Dexter and Eddie Piller.

Made in England
Episode 3
The third instalment focuses on the Skinhead subculture that emerged in Britain during the 1960s and explores how it was influenced by Jamaican Rude Boys. Featuring contributions from Kevin Rowland and Lynval Golding.

Soul Power
Episode 4
The fourth episode in the series explores the Soul Boy subculture that hit the scene in Britain during the 1970s. Features interviews with Norman Jay and Russ Winstanley.

Black n white riot
Episode 5
The fifth documentary in the series focuses on the Punk and Two-Tone subcultures, which kicked off in the UK in the late 1970s. Includes contributions from Viv Albertine and Pauline Black.

Beaten Generation
Episode 6
The final film in the series discusses the casual, rave and Britpop scenes of the 1980s and 1990s, and asks what the future holds for British subculture. Features contributions from Steve Mason and Wayne Hemingway.

By Mike in News Archives · September 28, 201212 yr

H B Barnum told me he had passed in the last hour or so.
Ady
added by site

He was born to James Wilson and Samantha Gibbs. While still in his teens, he moved to Los Angeles, California.
In 1965, Berry Gordy asked the producers Hal Davis and Marc Gordon to set up an office of Motown in Los Angeles. Wilson accepted an offer to join the team. In December 1965, "Stevie" by Patrice Holloway (V.I.P. 25001) was the first single released from the West Coast operation and featured Wilson in the songwriting credits. Asked by Gordy to re-locate to Detroit, Wilson went on to write and produce hit records for Brenda Holloway, Marvin Gaye, The Supremes, The Miracles, the Four Tops, The Temptations, Eddie Kendricks, and more. Additionally, after leaving Motown, Wilson produced a gold disc earning album by Lenny Williams, former lead singer for Tower of Power, Marilyn McCoo & Billy Davis Jr, Alton McClain & Destiny, New Birth and the Grammy nominated album, Motown Comes Home.
He also launched his own publishing firms, Traco Music and Specolite Music, Ascap and BMI companies. During the next four years, Wilson recorded, released and published more than 40 copyrighted compositions, including, "It Must Be Love", "Stare and Whisper", "Star Love" and "You Got Me Running." Earlier, Wilson had also tried his hand at being a recording artist himself, recording the single “Do I Love You (Indeed I Do)" for release on the Motown subsidiary label 'Soul.' Supposedly 250 demo 45s were pressed, but by that time Wilson decided he would rather focus on producing and he had the demos trashed. Somehow at least two known copies survived, one of which fetched over £25,000 in May 2009
Wilson left Motown in 1976 and became a born again Christian. He is now a minister, traveling and writing books with his wife Bunny Wilson, and is also involved in the production of gospel music as well. In 2004, was awarded an Honorary Doctorate of Divinity from Vision International University in Ramona, California and founded the New Dawn Christian Village in Los Angeles.
Some of the books he has authored includes, The Master Degree-Majoring in Your Marriage and Unmasking the Lone Ranger, a best seller for men. Both were published by Harvest House Publishers. He conducted Unmasking the Lone Ranger and Master's Degree seminars nationally and internationally based upon his books. Wilson has also appeared on numerous television talk shows including, Two on the Town, The Other Half, and The Oprah Winfrey Show.
Wilson passed away on September 27, 2012 after a long battle with prostate cancer.
source
https://en.wikipedia.org/wiki/Frank_Wilson_(musician

By Ady Croasdell in News Archives · September 27, 201212 yr

Latest news is that have been informed by Pontins management that after our request for day passes etc. we can offer day passes @£15 also full weekend passes ( no accommodation) for £25.

Which is great news!!!!

From Pontins Website

Once again Pontins opens it’s doors the soul fraternity giving you classic SOUL from current floor fillers Stafford monsters to Wigan anthems bringing you the best in our SOUL.
We have some of the top soul spinners
Soul Sam
Mick Smith
Chris King
Dave Rivers
Snowy
Phill Threlfall
Ted Massey
and loads more…

Soul Source Event guide plus latest comments

Pontins Website - Northern Soul
http://www.pontins.c.../northern-soul/

By Guest cloth ears in Event News · September 26, 201212 yr

Billy Nichols has now been involved with the music biz for about 50 years and he's still going strong. Down the years, he has sung gospel, soul and blues plus played the guitar and drums. He's worked for Motown and played on Chess recording sessions. He's been in house bands in Cleveland and New York plus played most of the top chitlin circuit venues of the 1960's. He's produced and arranged numerous tracks for other artists and cut tracks in his own right. However it's for his song writing that he is best known and which has given him his biggest successes. Born in the south, he has had spells living in Connecticut, Detroit, Cleveland and New York and it's the Big Apple where he is based today.

William was born in 1940 to Laura Bell and Tom Sanders Nichols in a small town called Carrollton in the northern hills of Mississippi. Eventually he was one of the younger ones of nine children, his father being a farmer. Though Billy’s father worked the fields by day, in the evening after supper he would pick his guitar up and all of the family would gather on the front porch to hear him play the blues. His father was a talented blues musician and Billy would always try to stay up as long as he was allowed, listening to his dad play and sing the blues. Back then, there would always be a radio playing in the house and the sounds Billy would hear really inspired a deep fascination within him. He soon developed a strong interest in blues, big band, country and gospel music. Being one of the younger of the children in the family, he did not get much opportunity to learn first-hand from his father. His older siblings did enjoy that privilege, however it wasn’t until Billy was around ten years old that he was even allowed to touch his father’s guitar. But when most of the family were off working together in the fields and Billy was home baby-sitting his little brother, he would sneak into the bedroom where his dad's guitar was kept and try to mimic the sounds he heard on the radio. His favourite artists back then included Muddy Waters, Ray Charles, Sam Cooke, Louis Jordan, Hank Williams and the Blind Boys of Mississippi.
Shortly after Billy’s fourteenth birthday, the family left the South and moved to Springfield in Massachusetts. It was here that Billy began to hone his skills as a musician. Initially he joined his high school band and on the weekends he would play in a local band with his brother Ernest, Lyn Perry and Bob Burgess. After he graduated from High School, he joined a gospel group; the Bells of Harmony and they would perform in local churches. Billy did get himself a nine-to-five job but his heart was still totally into the music. Luckily, that Spring, the opportunity to join an established local band presented itself and Billy jumped at the chance of forging a career in the music business.

The group was called Jimmy Vick and The Victors and its members were Curly (the organist), Buck (the drummer), Jimmy Vick (vocalist), William 'Billy' Nichols (bass) and Charles Ramsey (guitar) — left to right in picture shown on record ad

In summer 1963 they recorded some tracks and had a 45 released. "Take A Trip With Me" & "I Need Someone" were the songs the group cut and Billy played bass on both tracks. Seeing this as an important milestone, Billy quit his day job. The group's 45 had been cut at Chime Recording Studio in Hartford (Connecticut) and the studio had its own in-house label; Cherry Records. As the label was quite new and hadn't yet forged links that could ensure the group's record got noticed (& radio airplay) outside their home area, ads for their 45 were placed in Billboard Magazine in September & October 1963. The record did get a decent amount of radio airplay on one radio station; WALT getting behind the release. But it failed to break through anywhere else. By November the group had broken up and this left Billy jobless. He was somewhat discouraged but wasn't yet willing to give up on a music career. So Billy got his mother to arrange for her brother (who lived in Detroit) to give him a place to stay.

With $20 to his name, a guitar, a bag of clothes and an amp, Billy Nichol set out for Detroit in January 1964. He soon introduced himself to local musicians and after a few months he was able to move out of his uncle’s house. He was now sharing a place with one of his musician friends, Tony Newton (bass player). The pair managed to get an audition as 'road musicians' at Motown Records. They went over to West Grand Boulevard and found around fifteen to twenty musicians waiting outside the front of the Hitsville buildings. They were ushered inside by Henry Cosby (who told them to call him Hank) and taken downstairs into the recording studio. In the studio there were chairs and music stands set up for all of them & Hank Cosby then went through to the control room (separated from the studio by a shield of clear plexiglass). Each of the musicians had microphones placed near their instruments and sheet music had been placed on the music stands. The music was mostly Motown songs. Next, Choker Campbell came in and after briefly speaking with Hank told the assembled musicians that those selected would be going on the road to back up Motown acts or going out on a upcoming Motown Revue tour. They were told that they must be able to stay on tour for at least one month. The music they played that day was the music that they would perform for the artists on the tour. The order of the songs was established and the audition commenced. By the end, the musicians had played through the full list of songs, this taking about forty five minutes. Hank then came out of the control room and started pointing at particular guys, "you, you, you". Tony and Billy were the first two chosen and they were hired on the spot. Some rehearsals with Choker's band were organised for them and after a few of these, they were deemed ready. Billy's first Motown job was with Martha and the Vandellas, whilst his friend Tony got a job with the Miracles.

Billy's first gig was in Cleveland at a club called the Music Box. The package was a Motortown Review and on the show were the Four Tops, the Spinners, Martha & The Vandellas, the Marvelettes, the Temptations, Shorty Long plus Willie Tyler & Lester. The ensemble played at the club for 10 days before moving on their next booking. After the tour, Hank hooked Billy up with the Martha & Vandellas and they played the Howard Theater in DC (on a bill that also included the Impressions, Gladys Knight & The Pips, Freddie Scott, the Isley Brothers and Moms Mabley). While Billy was with Choker Campbell's band he also played the Apollo Theater with the same line-up except that Smokey & the Miracles plus Marvin Gaye were added to the bill. Billy toured with the Vandellas for about a month and Martha was very much in charge of all things with regard to the shows. He already knew all the songs,, so little or no rehearsals with the group needed to be undertaken. Billy himself was made responsible for the band's sheet music and he led any rehearsals the musicians thought necessary. The group's newest hit record at the time was “Dancing In The Street” and that had to be learnt and included in the live shows. Billy was also in charge on the sound checks undertaken ahead of all their live shows. After that engagement, Hank hooked Billy up with the Marvelettes (that posting also lasting for about a month). Rehearsals were needed to learn the Marvelettes songs though and these were held in the basement at Wanda & Roger Moore's home.
Billy's friend Tony Newton had gotten the best deal of the two of them; Hank had hooked him up with The Miracles and he stayed with them for about twelve years. Billy had to be more versatile as he got to back up many different Motown acts (Stevie Wonder, the Spinners, etc). Members of the Spinners really loved Billy's playing and wanted him to become a more permanent fixture with them. However at that time the Spinners had only the one hit, "That's What Girls Are Made For" and that had been some time earlier. It was Billy Henderson of the Spinners that named him 'Billy' as he had been known as William (Nichols) up till then. But Billy Henderson thought that far too formal and insisted he call himself Billy Nichols. But this then caused confusion, there now being two 'Billys'. So their names within Motown circles then became 'Billy Guitar' and 'Billy Spinner'.

Next Billy became Marvin Gaye's band leader around late April 1965. He got to rehearse with Marvin Gaye at the Motown studio itself, this being a kind of audition for Marvin's benefit. Woody, who had till then been Marvin's band leader had suffered an accident which left him unable continue in the job and Marvin selected Billy as his replacement. Billy's initial gig with Marvin was in Bermuda in May, where Marvin had been booked for a ten day stint at the Forty Thieves Club. When the ensemble returned to the USA, they played gigs at the Apollo Theater (NYC), the Uptown Theater in Philadelphia, the Regal Theater in Chicago and many other major city venues. One gig Billy remembers playing was in Atlanta Ga. at the Peach Tree Lounge. He also got to meet Colonel Sanders (the Kentucky Fried Chicken guy) at a gig in Louisville Kentucky. However, Billy wasn't allowed to record in the studio with Marvin Gaye, but he did play on a couple of live gigs that were recorded. He found Marvin Gaye to be very intelligent, with a great sense of humor and a fully rounded musician. Strangely, their relationship was actually better before Billy had become his bandleader. Billy wasn't fully satisfied though as he wanted to get more into writing songs & studio work. This wasn't going to happen with Motown as they already had an embarrassment of riches on their books. So he left Detroit after a last Marvin Gaye gig to take up a new opportunity in Cleveland.

Billy had received a call from Gerry Baxter in Cleveland, Ohio. Gerry remembered him from the Choker Campbell band and offered him a gig playing at a Cleveland club. So Billy moved to Cleveland. The club was the Music Box (located in a basement) and many R&B act played there at the time. Billy can't actually remember the name the band went by but it was 4 strong; Joe on bass, Stanley on tenor sax, Gerry on drums (sometimes on guitar) with Billy on guitar (sometimes drums). They started the house band engagement in August 1965 and Billy recalls that the O'Jays were in the club almost every night at that time. The outfit played six nights a week backing up all the acts that came to perform at the club. These artists included Mabel John, Fontella Bass, The Toys, Sam & Bill, Johnny Nash, Kim Tolliver and many others. Although they were the house band, some acts came in with their own band & then Billy and the others didn't work. In December 1965 Billy Stewart came to the Music Box with his own band and so Billy and the guys were off. Billy was at home when he got a call saying that Billy Stewart needed a guitar player, so could he come straight down to the club. When he arrived there, Billy Stewart was already on stage playing the piano and singing. His band were hot and Billy loved what he was hearing. At break time, the two Billys had a meeting in Mr. Stewarts dressing room, his band leader Raggs (the bass player) also attending. They talked and went over a couple of his songs before Billy went on stage with the band to play the next set. The show was funky and Billy loved being a part of it. He thought that their drummer Beau James Wright was great, there were two horn players (trombone & tenor sax), Raggs on bass, Billy Stewart on piano and Billy himself on guitar. The next day the band called for a rehearsal and when Billy showed up, they offered him the job as their band leader. Billy was a little reluctant at first but Billy Stewart promising that he would record some of Billy's songs 'tipped the scales'. Billy Stewart's booking at the Music Box lasted for ten days. After it ended, Billy was on the road with 'Fat Boy' Stewart. It was now January 1966 and Chicago was to their first stop. After they arrived in the 'Windy City', Billy got to go into Chess Records, this for him was like entering heaven. He walked down a long hallway which was lined with gold records by Muddy Waters, Howlin' Wolf, Sonny Boy Williamson, Etta James, Chuck Berry, Bo Diddley and the experience really brought home the opportunities that now lay before him.

They stayed in Chicago for two weeks and during that time Billy participated (playing guitar) on a recording session for three songs. Billy had written two of them; "To Love, To Love" (this was utilised as the B side to Billy's massive hit “Summertime”) and "Why Am I Lonely".

Another song that was recorded at that time was "Love Me" and Billy with the rest of Stewart's road band also played on that track. With Billy, he basically toured the same R&B circuit (theatres and clubs) that he had played with the Motown acts. However Billy was soon disenchanted with roadwork again. One night after a show at the Apollo Theatre in Harlem, a gentleman approached him and asked if he would like to form and lead the house band at the Crystal Ballroom (which the guy owned). To Billy this was just the chance that he had been waiting for; an opportunity to get his music heard. The band was named Billy Nichols and the Soul Swingers and they played at the ballroom for around three years. During that time, many top artists performed at the ballroom with his band; Otis Redding, Al Green, Wilson Pickett, Joe Tex and Bobby Womack. It was during his stint at the ballroom that Billy first met up with Flame N King & the Bold Ones. The group were impressed with Billy’s musical abilities and they wanted to cut some tracks with him. They did get together and recorded a song called "Big Bad Shing a Ling” but it failed to gain release. However, Billy and the group were to team up again in the 1970’s. Billy also met up with another set of musicians who worked mainly as ‘session players’. This set had played on hundreds of soul 'hits' cut in New York City and they opened his eyes to yet more opportunities. Billy soon became acquainted withJuggy Murray, the owner of Sue Records, who operated out of a two story building on 54th Street (between Broadway and 8th Avenue). On the second floor of the building was his recording studio, which was 8 track at the time. It was there that Billy got to meet Inez & Charlie Fox, Baby Washington, the Soul Sisters, Jimmy McGriff and many others. Juggy gave him the chance to write songs and also taught him how to produce records. During the day, they would work in his office and around 7pm they would head up to the studio and would work there right through the night. They got to record many songs, with Billy usually playing his guitar on them (sessions with Tina Britt, the Soul Sisters & Joe Ponds being some he recalls). Billy also got to lay down some tracks of his own; "Shake A Leg" and "Can't Fool The Fool" being two of these cuts.

Billy's confidence had been bolstered by all this work and this helped enhance his song writing efforts. He moved on, commencing recording work for other companies and submitting his compositions for consideration by other recording artists. Towards the very end of the 1960's, he wrote & recorded a song titled "Treat Your Neighbour” and this was picked up for release by Mercury Records. Coupled with the old Soul Survivors hit "Expressway To Your Heart" (which Billy picked and arranged himself), "Treat Your Neighbor” was issued by Mercury on 45 in February 1970 (credited to Billy Nichols & Funk).

Around the same time, he wrote "A Little Bit Of Something" and it was recorded by Millie Jackson for MGM Records. On one of his recording sessions Galt MacDermot approached Billy. Galt, the composer and writer of the hit musical 'Hair', asked Billy if he would be interested in working with him on a new musical being produced by Joseph Papp. It was to be staged at the Shakespeare Theatre in Central Park and was titled 'Two Gentlemen of Verona'. Having no experience in musical theatre (or any other theatre for that matter), Billy took the job. His task was to rehearse the fledgling actors and to get them accustomed to singing to the sound of an electric guitar instead of a piano. The actors involved were Clifton Davis, Raul Julia, Jonelle Allen, Diana Davila plus a cast and ensemble of singers and dancers, which included such people as the then unknown Jeff Goldblum. To this day Billy has no idea why Galt entrusted him with the job, but he will be eternally grateful for the opportunity that he was given. The play opened in Central Park in the summer of 1971, from there it went on to Broadway in the fall and it won the 'Tony' in 1972 for best music in a play. Billy played guitar on the show and during the run, he developed a strong friendship with Louie Risbrook (a/k/a Jamal Rasool) who was also involved (playing bass). In 1971, he also got to play with a number of well-respected jazz musicians; Pretty Purdie and John Hammond being amongst these.

Even while 'Two Gentlemen of Verona' was running, Billy continued writing songs. He got to enjoy his first hit song in 1972; “Ask Me What You Want”. Recorded by Millie Jackson, this reached the Top 10 soul and Top 30 pop charts in March 1972. Not one to ignore a talent that had brought her a big hit, Millie was soon cutting more of Billy's songs. She had already cut “I Just Can't Stand It” and this was followed by “Good To The Very Last Drop”, “Close My Eyes” and in 1976 “I Can't Say Goodbye”. Billy joined a local group, the Invaders that played cover songs in clubs around the New York area. Willie Collins was the lead vocalist with the group which stayed together for a couple of years. During that time they were signed to Brunswick Records and changed their name to B.W. & The Next Addition. They cut "Stay With Me Baby” & “Peace Of Mind” and these tracks were released back to back on a Dakar 45 in 1973. “Work, Work, Work” (which Billy also arranged) followed on Dakar in 1974. Billy & Willie would continue to work together on & off through to the mid 1980’s, after which they drifted apart.

Billy’s friend from the play, Louie Risbrook was a member of a similar group; the King Davis House Rockers (they had earlier cut for Verve). Both groups played on the same local circuit and were even on the same bill one night at a show held in a local ballroom. Billy hadn't given up on his own recording career and he cut the song "Do It (Till You're Satisfied)" and shopped this around but was unable to land a record deal. Early in 1974, Louie called Billy to ask if he had any songs available because a doctor (Abie Bay) had offered to put up some money to record the House Rockers. Louie lived in Brooklyn at the time, whilst Billy lived in Manhattan. Billy confirmed he did have some songs, so Louie came over and Billy played him four of them; "That's What I Want For You Baby", "If I Don't Turn On", "Do It" and “Turn On”. Louie loved the songs but he thought that "Do It" didn't have enough lyrics. Billy explained that the song originally had more lyrics but that he had taken some out. Billy told him the song's full lyrics and Louie was suitably impressed. He performed the songs and they were recorded onto a cassette. About a week later, Louie called Billy and told him that the doctor loved "Do It". Next, he got a call from the doctor himself and the guy was really excited. He said that he was convinced "Do It" was a hit song and that he was going pay for studio time to allow the King Davis House Rockers to record it.

Everyone, including Billy, Allan Williams (who co-wrote songs with Billy), the group's manager King Davis & the doctor, went into the studio (in Hemstead, Long Island) in 1974 and two songs were recorded; "Do It" and "Everything Good To You".

Billy got to meet Jeff Lane (the group's producer) and he played lead & fuzz guitar on the session. Group members involved that night included Barbara Joyce (who played the tambourine), Dennis Rowe (conga) and their keyboard player Michael Jones (later to be better known as Kashif), everyone in attendance being called upon to provide hand claps. The tracks were shopped around and Scepter picked them up for release. For the record's release, the group were re-named B. T. Express and the 45 did really well from day one. The single entered the national soul charts in August 1974 and it rose to reach No.1 on 19th October. It also made No.2 on the US pop charts and the success of the 45 resulted in more tracks being cut and an album getting released. Billy was upset to see that his name was only mentioned on the album as a song writer and that his efforts on some of the actual tracks hadn't been acknowledged

A big party was given to celebrate the group's success but both Billy and the doctor found themselves left standing outside as their names hadn't been put on the invite list. Though never actually a member of the group, Billy had contributed in a major way to their success. Chastened by the experience, he had no input at all on the tracks laid down for the group's second LP. He got on with his life and by 1976 (with the success of lots of his songs) he had been appointed a staff writer with Blackwood Music. That year, B.T. Express got back in touch with him. Putting past events behind him, Billy let the group cut (at Ultra-Sonic Recordings Studios, Hempstead) his song "Can't Stop Groovin Right Now". He again played lead guitar on the track which was released on 45 and also included on the group's 'Energy To Burn' LP.

In 1977, Billy got a call from Fred Frank, the owner of Road Show Records (the label B.T. Express had always been signed to). The group’s records (& the Road Show label) were now being distributed by Columbia Records and the group needed an album asap. By then Billy had become an accomplished producer and as the group knew all about his capabilities , Fred asked him if he was available to work on the new album. Billy had some songs that he thought would prove suitable and so was invited down to the record label’s office where Fred listened to his songs. He liked the songs and so Billy was appointed producer and work on the album commenced straight away. Studio time was booked at O.D.O. Recording Studio on West 54th. St in NYC and the first song to be recorded was "Shout It Out". Five other songs were quickly written as collaborative efforts and three further songs were sourced from the group itself. With everything in place, the album project was soon finished. Titled ‘Shout It Out’, the LP was released in the fall of 1977 but received little promotion.

Fred and Billy were in dispute anyway; cash advances for Billy's work had proved a big problem and publishing percentages on the songs Billy had penned was also a big issue. "Shout It Out" was however released on a 45 and this track sold well enough to take the group back into the US soul singles Top 20.

With the success Millie Jackson was having with Billy’s songs in the early to mid 70's, Spring records had also been cutting other artists on his songs. Act 1 had cut “Party Hardy People” which escaped on both 45 & LP in 1974 and Garland Green recorded “You And I Go Good Together”. Other labels had also followed Spring’s example; “I Don't Know What's On Your Mind” was used by Spiders Web in 1976. 1977 proved to be a productive year for him; “Out Of Work” was cut by Jesse Gould & “Do Bad” by Donny Burks (Billy producing & arranging both of these), “It's In Your Blood” was done by Linda Hopkins and “So Far Away” by Willy Bridges. Billy also produced Reality who cut his songs “Standing Beside You” & “Make Love, Not War”. JuggyJones came back into his life and recorded “Come On Do It Some More” along with ”I'll See You Through” (1978). Billy also worked again with Flame N King & the Bold Ones. He produced “Ho Happy Day”for them, the track being coupled with his composition “Ain't Nobody Jivin” on release. Billy was also reunited with Willie Collins in 1976. They collaborated on “Don’t Fight The Feelin” (also produced by Billy) which escaped on Mercury credited to Will Collins & Willpower. Ten years later (1986) the partnership was renewed yet again when Billy produced 6 tracks that were included on Willie’s Capitol LP ‘Where You Gonna Be Tonight’ (Willie was singing gospel last Billy heard).

Billy also worked with a number of other artists, one of these being Eddie McLoyd. Eddie and Billy had known each other for many years. In the 1950's, they had attended the same junior high school; Buckingham Junior High in Springfield. At that time, they were both in a do-wop group called the Satellites. Eddie didn’t only sing, he also played the piano. Billy produced his “It’s Good To Me” (a song he also wrote) that was issued on the Panic label. He also wrote and produced Eddie’s “Baby Get Down” released by Spring. The partnership continued and in 1975 Brunswick picked up “Once You Fall In Love” which Billy again had written and produced (they are still good friends today and talk on a regular basis). Billy also produced some tracks on L J Waiters & the Electrifiers. “If You Ain’t Getting Your Thing” was initially released on La Shawn before being picked up by Phi-La-of-Soul. “Can You Deal With It” came next, this again being issued by Phi-La-of-Soul. In 1977, Billy produced “Chase Your Blues Away” by Funkhouse Express which was issued on Roxbury. Disco was now in full swing and Billy decided to return to the recording studio himself to see if he could get some personal success in this field. His first outing was “Give Your Body Up To The Music" which West End Records put out in 1979. The track, which was was also released in Italy, enjoyed a good degree of club success (making it onto the Top 50 of the US disco chart that August). West End wanted a follow-up and so in 1980, “Diamond Ring” was released on 7” & 12” singles, Billy having played bass and guitar on both the songs.

“Diamond Ring” didn't prove as popular with US club goers but it was played on the UK Modern Soul scene.

Sensing a change in the music field, Billy moved on. He produced two rap records that have gone on to be recognised as hip-hop classics. “The Adventures of Super Rhymes” by Jimmy Spicer and “Rhythm Rap Rock” by Count Coolout (issued on Billy’s own Boss Records before being picked up by WMOT) are now acknowledged as being pioneering rap tracks. Other artists he worked with in the 1980’s included Full Force (“Turn You On”), Mary Clark, Mel Sheppard, Rena Romano, Jesse Gee (Gould), Paul Ives, P.C. Crew, Fantasy Force and Charles T Hudson. His musical talents, experience and knowledge of the music industry helped keep him busy through those years. Billy next re-embarked on his own solo recording career. In the middle of the decade he re-activated his Boss Record label and issued the 12” “Whip Your Body / "Never Get Enough"

The business had changed by then and the record got no radio play but was promoted via the clubs. Again, as well as singing, Billy played on the cuts which were recorded at Right Track Recording Studio in New York. Things went quiet for a few years before he released a CD album entitled ‘Love Stuff’ in 2003. For this 13 track album, Billy reworked “Never Get Enough”. A second CD album followed on Boss Records in 2007; ‘Same, Same Game’. This also contained 13 tracks; “Take Back Your Life”, “Sho Nuff Man” & “Step To The Jam” being amongst these (all the songs on both the CD's were self-penned by Billy). Today, he is still writing, singing and recording. He has recently been working on tracks to go on a proposed new CD release; the man certainly has got staying power.

J.Roburt.S. -- September 2012

artists

By Roburt in Articles · September 23, 201212 yr

Further to the two articles I've previously posted about the early Blues & Soul Magazine I've dug out my copy of the Jazz Scene Magazine from August 1962, I was a sprightly 15 year old at that time. It cost me one shilling and sixpence!

I bought it because Ray Charles was on the cover. I've recently re-read the Alexis Korner article ‘Tin Pan Alleleujah’ and I thought it was interesting because he was clearly trying to come up with a word for the fusion of Gospel & R&B that became known as ‘Soul’ and came up with ‘Gospop’!

Thankfully it didn't last and ‘Soul’ stuck!

I think the article is a good example of how the birth of Soul was being delivered in the media. I was buying Record Mirror at the time and Norman Jopling in particular was championing the ‘new sound’ in the mainstream press and highlighting artists such as The Isley Bros & James Brown in his articles.

Record Mirror used to have an annual poll of favourite artists and the winners of the Best Female Group in 1962/3 was The Miracles! At least people were listening to their records.

Anyway I hope you enjoy reading about the early beginnings of this scene we love so much.

Cheers, John

By slimharpo in Articles · September 22, 201212 yr

Just seen this in the local press. If anyone in Essex is not busy Vajazzling the cat and short of something to do on Fri 12th Oct it could be worth a butchers.

During the mid-1960s, Street performed with a Motown act called The Monitors, who had only one minor hit, 1966's "Greetings (This is Uncle Sam)", to its name."¨ Street knew the Temptations and Otis Williams, in particular, having worked for Motown in quality control and through his vocal work with the Distants and the Monitors. By the late-1960s, Street was being called upon to travel with The Temptations and sing Paul Williams' parts from off-stage, while Paul Williams, who suffered from both alcoholism and sickle-cell disease, danced and lip-synchedonstage. Street officially replaced Paul Williams in mid-1971, after both he and Eddie Kendricks left the group."¨"¨

Taff

http://www.towngatet...?articleid=4265

http://www.richardstreet.net

http://www.richardst...early_years.asp

During the mid-1960s, Street performed with a Motown act called The Monitors, who had only one minor hit, 1966's "Greetings (This is Uncle Sam)", to its name."¨Street knew the Temptations and Otis Williams, in particular, having worked for Motown in quality control and through his vocal work with the Distants and the Monitors. By the late-1960s, Street was being called upon to travel with The Temptations and sing Paul Williams' parts from off-stage, while Paul Williams, who suffered from both alcoholism and sickle-cell disease, danced and lip-synchedonstage. Street officially replaced Paul Williams in mid-1971, after both he and Eddie Kendricks left the group."¨"¨Taff

Born and raised in Motor City, Detroit, Richard Street began his musical career at the tender age of 12, playing piano and singing with his mother's encouragement and support. Since then he has been a professional entertainer for over 47 years.
Well known as an incredible vocalist, in the early days of Motown Richard lent his tenor to sweeten vocal tracks, but stayed away from the public eye. This placed him in the unique setting of being the voice behind many of the leads in The Temptations; although, no one saw him in the group. He was on the microphone in the wings as the vocalist on stage lip-synched to his vocals, frequently receiving a standing ovation.
In 1971, through the orchestration of God's hand, Richard assumed his rightful place with The Temptations as a full time member.

The group undertook a notable shift in direction and within a few years The Temptations were tracking topical subjects such as the Vietnam War and urban poverty. Richard delighted television, stage, radio and record-buying audiences with his leads on songs like 'Heavenly', 'The First Time Ever I Saw Your Face', 'Firefly', 'Hey Girl', 'Masterpiece', 'Every Time I Close My Eyes', 'I'll Keep My Light In My Window', 'Super Star', 'Show Me Your Love', 'Bare Back', 'Standing On the Top', 'Love and many more.

Among the awards Richard has received are three Grammy Awards, two American Music Awards, and an NAACP Award. He was also there when The Temptations were inducted into the Rock and Roll Hall of Fame in 1989.
For over 22 years as a member of The Temptations Richard performed hundreds of shows and along with other members past and present, they visited over 40 countries worldwide. Now, with all but one of the original members of the original Temptations having passed on, Richard presents the music of The Temptations in its original 5 man group format with a group lineup consisting of Lawrence Jones (originally from Detroit now resident in Las Vegas), together with current Detroit native Eddie Watkins, Larry Johnson and Bob Henley 111. Presenting all of The Temptations best-loved hits.

Richard and his group are a "must see" musical journey in time ... the way it used to be!

By Saxafone in Event News · September 21, 201212 yr

Native Detroiter Ivy Jo Hunter was born Ivy George Hunter on August 28th 1940. As a child his parents sent him to music classes where he learned to play the Trumpet and Euphonium. Which pre-teens saw him perform with the Detroit City Youth Orchestra. Ivy’s mother told her son that being a professional musician was a very unsecure future and persuaded him to take up art at High School. Upon leaving High School Ivy also realized the life of an artist was tough going so he joined the army as an electrical engineer. "¨"¨After four years in the service Ivy returned to civilian life and decided to follow his first love and become a full time musician. After a stint of working several different clubs Ivy eventually wound up at one of Detroit’s most renowned clubs, The Phelps Lounge. It was a chance meeting there one afternoon that changed Ivy’s life around. Ivy was rehearsing with the clubs resident band and giving them their instructions as he had done many times before, when a guy who was just having an afternoon drink stepped out the audience and introduced himself as Hank Cosby."¨"¨Cosby liked what he saw Ivy doing and invited him down to the Motown studios. So in 1963 Ivy Jo Hunter signed four contracts as a writer, producer, artist and artist manager with Motown Records. Cosby was also responsible for introducing Ivy to William “Mickey” Stevenson and thus forming one of Motown’s most accomplished song writing and producing teams of the 60’s."¨"¨Ivy’s song writing credits can be found on a multitude of songs that achieved top 100 status both in the USA and throughout the world. Some of the highlights being such timeless classics as the Four Tops “Just Ask The Lonely”, The Spinners “I’ll Always Love You”, The Marvelettes “ I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”.

“Dancing In The Street” was initially composed as a ballad but Ivy and Mickey struggled to come up with a suitable title. That was until Marvin Gaye intervened, Marvin was chilling out smoking a cigarette in the studio at the time and was listening in to what the guys were doing. He then made the suggestion to call the song “Dancing In The Street” and to make it a up tempo dance number. Thus in doing so earned himself 25% of the song writing royalties."¨"¨While “Dancing In The Street” was recorded as a innocent dance record it also became an unofficial civil rights anthem with many young disillusioned black activists claiming the title was a call to riot. This was vehemently denied by both Martha Reeves and Berry Gordy. Although “Dancing In The Street” is regarded as Martha & The Vandellas signature tune, other Ivy Jo compositions on the Vandellas included the sublime “My Baby Loves Me” and the driving “You’ve Been In Love To Long” (later covered by Barbara Acklin)."¨"¨Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. The V.I.P logo had the reputation of being somewhat of a graveyard label for artists and writers who had fallen out of favour with Berry Gordy (even though some of Motown’s finest releases can be found on the label). Here Ivy recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain” (V.I.P 25063). An album release was also planned although given a release number (V.I.P.S 406) and a title Ivy Jo’s “In This Bag” no release ever materialized. Ivy was to eventually leave Motown in late 1970."¨"¨After leaving Motown Ivy later joined forces with his brother John Maxey (who’s day job was that of a special needs teacher) to form the Independent Detroit based Probe 1 Production Company in 1972. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many local Detroit groups, The Citations (five former pupils of John’s) Empulse and North By Northeast amongst others. Most would appear on the labels that Ivy and John operated through Probe1 Productions, Redline, Probe 1 and Midwest International etc

Ivy himself recorded solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and “ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living / Slave Of Society” (Probe 1)."¨"¨Probe 1 Productions did manage to achieve some limited national attention. Firstly with the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20th Century’s buy out of Buddah records and the record failed to make any major impact. Other releases on Gadson (whom Ivy and John actually discovered) included “In The Middle OF The Night” (Midwest International 8150) and the heavily synthesised “Fire It Up” which they released in conjunction with fellow Detroit entrepreneur Ernest Kelley. This was later followed by the song “Hold On To Your Dreams” that Ivy Jo co-wrote with Vernon Bullock. “Hold on To Your Dreams” was recorded on former Dramatics vocalist the late William Howard and was released on the local Detroit Ju-Par label, based on Eight Mile Road. Howard recorded the song under his High School nickname of “Weegee”. The song became a big local hit, and through Ernest Kelley’s long time association with Henry Allen the song was soon picked up by Atlantic records and released on their subsidiary Cottilion label. The deal also included an album release using “Hold On To Your Dreams” as the title track. The album was recorded at the Sound Suite in Detroit under Vernon Bullock’s direction. (“Hold On To Your Dreams” was also later covered by The Staple Singers)."¨"¨A further collaboration between Probe1 and Ernest Kelley in 1981 produced the disco influenced “Coast To Coast” (MT 9710) which was recorded on a local Detroit act by the name of Solid State. This release came out on the Independent Music Town label. A previous Music Town release by Solid State “I’m Gonna Make You Mine”(MT9709) had no production connections with Probe 1."¨"¨1981 also saw the release of the Ivy Jo penned “Love Won’t You Hurry / Open Up Your Mind (To My Mind)” and was recorded by three male singers known as “Suade” this was released on Red Line (101042).

Released back in May this 45 is well worth another shout as it is simply so good.

Ivy Jo Hunter in collaboration with William “Mickey” Stevenson formed one of the most formidable song writing teams of the Motown stable during the 1960’s. Ivy’s writer’s credits can be found on a multitude of songs that achieved a top 100 status both in the USA as well as around the world."¨"¨Towards the end of his tenure with Motown Ivy was placed with the company’s V.I.P subsidiary. Here he recorded two 45’s “I Remember When (Dedicated To Beverley) / Sorry Is A Sorry Word (V.I.P 25055) and “I’d Still Love You / I Can Feel The Pain” (V.I.P 25063). An album release was also planned and although given a release number (V.I.P.S 406) with the title of Ivy Jo’s “In This Bag” no release ever materialized."¨"¨Some of the highlights from his eight year association with Motown include such timeless classic’s as The Four Tops “Just Ask The Lonely”, The Spinners “I’ll Always Love You”, The Marvelettes “I’ll Keep Holding On” and the Martha Reeves & The Vandellas seminal anthem “Dancing In The Street”."¨"¨After leaving Motown Ivy joined forces with his brother John Maxey to form the Independent Detroit based Probe 1 Production Company. Throughout the 70’s and into the 80’s the brothers continued to produce and record releases on many Detroit groups and solo artists which appeared on several of their labels. Ivy himself recorded several solo outings such as “Ain’t No Black & White In Music / When Does The Loving Start” (Red Line PRL-01) and “ Everytime I See You It’s Hello / Anthem (Midwest 011087) as well as singing lead vocals on North By Northeast’s “Pain Of City Living/Slave Of Society (Probe 1)."¨"¨Their only releases to break out of Detroit nationally were the mellifluous “Two On A Cloud / Grown Up Fairy Tale” (Buddah 556) recorded by Curt Darin (a.k.a Curtis Gadson) but this release coincided with 20th Century’s buy out of Buddah records and the record failed to make any major impact. Followed by ex Dramatic Willie “Weegee” Howards local Detroit hit for Ju-Par Records “Hold On To Your Dreams” which was later picked up by the major Cottilion label. Ivy eventually hit paydirt when in 1985 David Bowie and Mick Jagger covered “Dancing In The Street” as their contribution to the Live Aid Appeal. "¨"¨And so to the present, for this release Soul Junction have selected two previously unissued tracks from circa 1979 that Ivy Jo cut for Probe 1 productions. The excellent mid paced dancer “See You Around” b/w the sublime ballad “Yea, Yea, Yea” which showcases Ivy’s vocal talents to perfection.

By Louise in Articles · September 21, 201212 yr

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