Hope Records was a Baltimore label. The Roleaks' record was Hope 556 ("Keep On Loving You (Just Loving You)" and 557 ("As Long As You Love Me"). Alphonso Higdon was the A&R man, and probably arranged and ran the recording session along with producers Belle Flowers and someone named Howard. The music publishers were Three-Letter and Belsyng Music (presumably representing rights of Howard (3-Letter) and Belle Flowers and Syng McGowan (BelSyng). Given that, the owners may have been Howard, Flowers and McGowan. I have no idea who the members of The Roleaks were, other than Barbara J. Vanlandingham, their lead singer. But I'd guess that they were all from Baltimore, as she was. She had started out in singing with her family's Gospel group. The pressing numbers show that the record was pressed in early 1966. That girls group sung this fast-tempoed Nothern Soul favourite-that can be heard on You-Tube -here:

Here is a discography of Hope Records that I've pieced together from several sources:

1846A/B Syng McGowan - Not Sympathy / How Will I Know

2052A/B Syng McGowan - Loneliness Is A Pleasure / Dear Santa

550/551 Syng McGowan - That's What I Want / Peggy Did

552/553 Syng McGowan - Loneliness Is A Pleasure / Just In The Nick Of Time

554/555 Del Thompson - The Love Waiting For Me / First And True Love

556/557 The Roleaks - Keep On Loving You / As long As You Love Me

558/559 Billy Joy - One Twenty One / When You Cry

I believe that Hope Records operated from 1965-1966 (possibly slightly into 1967?).

Does anyone know a producer from Baltimore/Washington D.C. Area named Howard? Does anyone know who the other (non-lead) members of The Roleaks were? Was Belle Flowers related to Phil Flowers? Wasn't he from the Baltimore/D.C. Area? Does anyone know who the owner/owners were? Does Syng McGowan bear any relation to Sam McGowan, who recorded for Smash in 1967-68?

Edited September 8, 201212 yr by RobbK

Here are scans of the two Roleaks sides:

I think it's also interesting that Alphonso Higdon went to prison accused of Numbers running (just for a matter of months). And Syng McGowan went to prison for 2 years (1964-66), (and recorded while incarcerated there).

Phil Flowers was DC based (... & his son -- who also sings -- now lives & performs in Vegas).

Numbers was a big thing in clubs / bars on Pennsylvannia Ave. in Baltimore in the 1960 / 70's. It seems that 4 other people were convicted (& went to prison) with Higdon in October 1966 ... HOWEVER ... there were problems with the police evidence and at least one of them (Higdon himself I think) was released on appeal in February 67.

In the 70's, I seem to recall that the guy who ran Burman Records went down for a similar offence.

Edited September 4, 201212 yr by Roburt

Alphonso co-wrote (with Mickey Stevenson) the song "WHAT GOOD AM I WITHOUT YOU" published by STONE AGATE MUSIC

......... it was recorded by Marvin Gaye & Kim Weston .....

...https://www.youtube.com/watch?v=EPWjZkNNqi0

Most likely Aphonso wrote the song & Mickey 'added bits' when MG&KW cut it in the studio; so Mickey claimed part composer rights.

Running Numbers operations was a major way that many Black businessmen got working and investment capital in the 1930s-1960s in most of the big cities in USA. Most of them laundered that money through legitimate businesses. Some of those entrepeneurs were also in the record business.

Edited September 4, 20168 yr by RobbK

Alphonso co-wrote (with Mickey Stevenson) the song "WHAT GOOD AM I WITHOUT YOU" published by STONE AGATE MUSIC

......... it was recorded by Marvin Gaye & Kim Weston .....

...https://www.youtube.com/watch?v=EPWjZkNNqi0

Most likely Aphonso wrote the song & Mickey 'added bits' when MG&KW cut it in the studio; so Mickey claimed part composer rights.

Then Higdon may have been a songwriter for Jobete music's office in New York in 1963-64, as Eddie Singleton, who ran it with Raynoma Liles Gordy, came from Washington D.C. and worked with many of the Baltimore people in the industry. As you state above, Higdon probably wrote it, and Stevenson added small changes, later in the pre-recording process.

It seems that it wasn't Phil Flowers ..........

More ............. a 1965 show in Baltimore ........

Thanks. Bella Flowers was the sole owner, Syng McGowan just shared publishing rights to the songs he wrote, with Bella Flowers (the label owner). That's fairly unusual for a non-star. But, he seemed to have a decent following, with a fan club. So, they recorded in New York, with the likes of Jesse Herring arranging. I haven't heard of Tonny Kaye as an arranger (maybe that should be "Tommy Kaye").

the roleaks are credited backing del thompson on hope 555

............ MORE INFO on Jasper 'Syng' McGowan .........

Born around 1925/26, Jasper was first jailed in 1948/49. Eventually, Jasper joined a singing 'convict' group in jail & they were dubbed the 'Wayward Sons'. This quartet started to perform, in & out of prison and became known nationally. McGowan, in conjunction with cellmate (& fellow group member) Russell Quarles also started to write songs (by the mid 60's, they had penned 450 together). Jasper must have gotten out of jail after serving much of the full term on his 1st conviction .... but was found guilty of an armed robbery offence & sent back 'inside' in 1958.

Jasper's case was taken up in 1962 by Mrs Betty Feldman. Betty Feldman was a big business woman (real estate) in Baltimore & she worked for 2 charitable Foundations that helped prisoners (B'Nai Brith & Robert Linder Foundation). She was unwell in Dec 62 and this news made it into the local papers. Seeing this, Jasper sent her a get well card and the two started to correspond. At the time, Jasper was working in the prison's woodwork shop as a cabinet maker (whilst also schooling the group and dveloping their harmony singing).

Betty took up Jasper's case & eventually managed to win him a re-trail (on the 2nd offence) in 1964. In November 64, the group (Jasper -- 39 years old & serving 15 + 5 + 5 yrs for armed robbery; Russell Quarles -- 35 years old & serving 20 years for robbery; John Madison -- 23 yrs old & serving 30 yrs for murder/ robbery; Archie Shaw -- 35 yrs old & serving 20 yrs for larceny. The 4 were accompanied on guitar by James Richardson -- serving life) performed at a big concert staged at Maryland Penitentiary. The group had already cut 2 songs with the help of Louis Mills of Record Manufacturers Inc.

When his re-trail came up, Jasper was described as a model prisoner who was leader of the singing quartet, the Wayward Sons. He won that appeal but was not released from Maryland Penitentiary as he still had some time to serve on his first offence (also a robbery for which he had received a 10 year sentence) -- he had obviously been let out of jail on parole on the 1st offence). A re-trail on the 1st robbery conviction was asked for, also granted & when the Maryland State Attorney decided not to press on with the case, Jasper was released on 21st September 1965. He patched things up with his wife, though info on her is scant (apart from her being named as Mrs. McGowan when she later attended court at his trials). The group (2 other members -- Archie Shaw, John Madison -- were out on parole) started to perform shows around the Baltimore area, including one at the Winchester St Armory on November 20th (65).

He went into the studio, together with the other guys in the Wayward Sons, and had cut at least 6 tracks for Hope Records by June 1966. The initial two songs recorded by the group were "How Will I Know" & "Not Sympathy". A 45 under his name (Syng McGowan) had escaped on Hope ("How Will I Know" & "Not Sympathy") and a 3rd 45 (again on Hope but credited just to Syng McGowan) ("Just In The Nick of Time") was released on May 5th, 1967. To celebrate the release of this record, Jasper 'borrowed' a case of beer worth $5 and so ended up in court again soon afterwards. Sent down for a further 13 months, he again emerged from jail in June 68. He still couldn't stay on the 'straight & narrow' and in November 68 took part in the armed robbery of a bar in Owings Mills, a suburb to the north-west of Baltimore city.

He was sentenced to a further term of 8 years and thus ended his recording career.

Edited September 6, 201212 yr by Roburt

Jasper's tracks ........

"Loneliness Is A Pleasure" is credited to Syng McGowan & the Fanettes (and marked as produced by Bella Flowers) ...

... wonder who the Fanettes were ???

I believe that "Not Sympathy" credited to 'Syng McGowan & the Wayward Sons' was also released on Hope ......

.... anyone confim the existence of this 45 ???

Edited September 6, 201212 yr by Roburt

Betty Sandler Feldman (who by the way was white) passed away in November1991. Mrs. Feldman, who was 83 and had lived on Clarks Lane, died of pneumonia at Sinai Hospital.

The former Betty Sandler, a native of Baltimore, was a graduate of George Washington University and the Dale Carnegie Institute of Human Relations. She also had received an honorary degree from Life Bible College. Long active in the Bahai faith, she had been a member of the Spiritual Assembly of Baltimore.

In her younger days, she performed at nursing homes and other institutions as a clown under the name BELLA FLOWERS, and she took part in productions of Ages on Stages and the Northwest Senior Center Prime Time Players. She worked with talented speakers, singers and actors among prisoners and former prisoners, helping them through her promotion company, Hope Enterprises.

Her husband, Samuel Feldman, died in 1945 while serving as an officer in the Army.

In 1969, she had been nominated for a national award from the National Council on Crime and Delinquency for her work with the Wayward Sons. Her other honors included a 1981 Baltimore mayor's citation, the James Swartz Medallion and the WBAL Radio Brotherhood Award.

The Hope 45 by Syng McGowan, "Thats What I Want", was released in early December 1966 (or late November) but even though Betty put quite a bit of money into promoting the 45, it didn't even get any plays in Baltimore itself. This setback was reported as causing her troubles ........ though as at least four other 45's escaped on the Hope label, she must have gotten over her disappointment.

Edited September 6, 201212 yr by Roburt

...... SEPTEMBER 2011 .....

Louis R. "Lou" Mills Jr., a nationally known and highly regarded recording engineer who was called "Baltimore's Godfather of Sound" and whose Cold Spring Lane studio was a destination for stars and musicians, died of a heart attack at St. Joseph Medical Center. The longtime Mount Royal Terrace, Baltimore resident was 76.

"Louis Mills was one of America's greatest recording engineers and a beloved, wonderful man who helped and inspired nearly everyone whose life he touched," said Tom D'Antoni, who had worked with Mr. Mills in Baltimore. "In all of my 35 years of broadcasting and media creation, I have never met a more talented recording engineer, or a nicer man," said Mr. D'Antoni.

Greg Novik, the owner of Greg's Bagels in Baltimore in 2011, worked as a writer and an apprentice studio musician after graduating from college at Images International, when he and Mr. Mills became friends. "Lou was a mentor to just about everyone working in this business in the city. When he was in studio, he was truly an artist. When he was producing a session, it was absolutely smooth, and when he was working the boards, he was a genius," recalled Mr. Novik. "He may have been unknown to the public, but he was a giant in the field of sound recording and production. He was a heavy hitter. He was it," he said.

The son of a Crown Central Petroleum Co. executive, Mr. Mills was born and raised in Houston. His talent for sound recording were realised early. He was 16 when he recorded his first radio commercial for a Houston radio station on an old wire recorder, which predated audiotape. After graduating from San Jacinto High School, he enrolled at Rice University and had completed his sophomore year when his father, who was treasurer of Crown Central, was transferred to Baltimore.

He finished his education at the Johns Hopkins University, where he earned a degree in 1958 in electrical engineering. "He began working in an era before there was audiotape. He was simply a genius," Mr. D'Antoni said. In 1958, Mr. Mills established Recording International, which he later changed to Flite 3 Studios, at Cold Spring Lane and The Alameda. It would become the largest movie / TV audio production facility in the city.

"The words 'audio god' have been attached to his name in more than one publication. He has, it seems, recorded everyone "” from Leopold Stowkowski to Frank Zappa, from James Earl Jones to Divine "” and everything, from the Baltimore Symphony for over 17 years to some of the city's most reverently recalled commercials," wrote Mr. D'Antoni.

Mr. Mills told Mr. D'Antoni that one of his first jobs was the iconic Parks Sausage commercial that included the line: "More Parks sausages, Mom." Other memorable commercials that showed his artistry included "Mommy, call Hampden, Belmont five-oh-six-oh-oh," "If you don't own a cow, call Cloverland now," and "Nobody has what Tate has."

In 1960, when Al Brown and the Tune Toppers came to Flite 3 to record "The Madison," which became a popular dance craze in Baltimore, it was Mr. Mills with whom they worked.

It was Lou Mills who allowed the Wayward Sons to cut their firs two tracks ("How Will I Know" & "Not Sympathy").

In a 1971 interview with The Baltimore Sun, Mr. Mills explained that for an engineer, the "most single valuable asset is an ear for music, and the atmosphere, or karma, of the studio." One of those who worked with Mr. Mills at Flite 3 was George Massenburg, who went on to win Grammy Awards and worked with such artists and bands as Linda Ronstadt, Earth, Wind and Fire, and Little Feat.

It's been said that every top recording engineer working in Hollywood or New York most likely at one time or another worked with Mr. Mills.

Edited September 6, 201212 yr by Roburt

A bit more on Syng McGowan's release from prison ......

The Billy Joy 45 on Hope ............

Eddie Daye produced this !

Edited September 6, 201212 yr by Roburt

Dunno if mentioned but either LIAP or JITNOT by Syng McGowan was released with a different flip, Dear Santa I think off top of my head.

So Lou Mills opened his Baltimore studio set-up as Recording International (at Cold Spring Lane and the Alameda in Baltimore) in 1958. Locally based Al Brown and the Tune Toppers used the studio in 1960; their Amy 45 making the US R&B Top 20 in May / June 60.

Lou's outfits then seemed to use the names Recording Inc. & Record Manufacturers Inc. (unless the newspaper got those names slightly wrong) before he later renamed his studio as Flite 3.

Syng McGowan & the Wayward Sons cut their first two tracks ("How Will I Know" & "Not Sympathy") at his studio around November 65. "Loneliness Is A Pleasure" was also laid down at the studio, as (I guess) were "That's What I Want" & "Peggy Did".

I'd say that all of Syng's tracks were laid down before the end of 1966 ........... his Xmas track on Hope ...........

I believe that "Not Sympathy" credited to 'Syng McGowan & the Wayward Sons' was also released on Hope ......

.... anyone confim the existence of this 45 ???

Theres one for sale on John Manship's web site at the moment

Theres one for sale on John Manship's web site at the moment

So there is ..........

Syng McGowan And Wayward Sons -- "Not Sympathy" (Hope 1846)

CHEERS

An attachment I posted long time ago from Echoes by Alan Senior.....

Hope 2052 Loneliness Is A Pleasure b/w Dear Santa. From 1965 and the label colour is red not orange.

Hope 2052 Loneliness Is A Pleasure b/w Dear Santa. From 1965 and the label colour is red not orange.

I doubt that this 45 was released late in 1965, it was more likely a December 67 release to cash in on the Xmas market that year .......

Before November 1965, Syng & the Wayward Sons had cut their first two songs ("How Will I Know" & "Not Sympathy") at Recording International's Cold Spring Lane studio (Baltimore). I believe the 45 containing those 2 cuts escaped as Hope 1846 near the end of 1965 or in early 66. It seems that it sold quite well. So a 2nd 45 was readied later in 1966. Thus Hope 45-550/551 "That's What I Want c/w Peggy Did" was released in the summer / fall of 66 but didn't seem to sell well (or get much of any airplay). Syng's 3rd 45 (Hope 45-552/553) "Loneliness Is A Pleasure c/w Just In The Nick of Time" was released on May 5th, 1967. A 2nd press of this last 45 from Syng must have been made as Hope 2052 and this featured the Xmas song "Dear Santa"

Why the label should keep jumping it's numbering system around for Syng & the group's releases I don't now; especially when the other 45 releases (from Del Thompson, the Roleaks & Billy Joy) used the same numbering system as Syng's 2nd & 3rd Hope 45's. I guess those 3 singles (Del Thompson, the Roleaks & Billy Joy) hit the shops between June & November 67. Maybe the "Dear Santa" 45 actually came after all those singles in December 67 (or even near Xmas in a later year) and that accounts for the different numbering system; label design & label colour.

Syng was back in prison from June 67 to June 68 and then back behind bars again from late 1968 to serve another 8 year term. It seems unlikely to me that Bella / Hope would have released a 45 on him when he was back inside.

Edited September 6, 201212 yr by Roburt

The article I put up as an attachment in Post 16 of this thread dates from November 1965 and it states that the 1st 45 by Syng & the Wayward Sons would soon be released.

So that ties in with my assumption that the 1st release on the Hope label (Hope 1846) escaped near the end of 1965 or in early 1966.

Theres one for sale on John Manship's web site at the moment

Have a copy of this, More than happy to scan it ( if some kind soul could direct me on how to do this) Not very computer savy.....Cheers for all the great backround on this label!

So Lou Mills opened his Baltimore studio set-up as Recording International (at Cold Spring Lane and the Alameda in Baltimore) in 1958. Locally based Al Brown and the Tune Toppers used the studio in 1960; their Amy 45 making the US R&B Top 20 in May / June 60.

Lou's outfits then seemed to use the names Recording Inc. & Record Manufacturers Inc. (unless the newspaper got those names slightly wrong) before he later renamed his studio as Flite 3.

Syng McGowan & the Wayward Sons cut their first two tracks ("How Will I Know" & "Not Sympathy") at his studio around November 65. "Loneliness Is A Pleasure" was also laid down at the studio, as (I guess) were "That's What I Want" & "Peggy Did".

I'd say that all of Syng's tracks were laid down before the end of 1966 ........... his Xmas track on Hope ...........

A great Christmas song that's probably never played anywhere but Baltimore. I'll have to add it to one of my Christmas tapes.

Have a copy of this, More than happy to scan it ( if some kind soul could direct me on how to do this) Not very computer savy.....Cheers for all the great backround on this label!

That would be greatly appreciated. You can go to www. Photobucket.com or www.imageshack.com (or a similar image uploading service), and sign up for a free account, and upload the scan. Then use "copy" the "for Forums" version's location code and paste it into your reply to this thread.

Edited September 7, 201212 yr by RobbK

That would be greatly appreciated. You can go to www. Photobucket.com or www.imageshack.com (or a similar image uploading service), and sign up for a free account, and upload the scan. Then use "copy" the "for Forums" version's location code and paste it into your reply to this thread.

Right, hope this works

That's a fine scan of the 1st Hope 45 release, many thanks.

So it seems that it was a 'total in-house' effort by Lou Mill's Recordings Incorporated set-up -- tracks cut at his studio & 45 manufactured for (maybe even by) him. I would assume that after this got a bit of local action (sales wise) due to all the local & out-of-town newspaper articles written about Syng & the Wayward Sons, Bella Flowers set up more of a workable record label herself (though initially still sending the guys to Lou's studio to record).

She (Bella) must also have commissioned a label logo & had the label layout designed & copies printed up to use on the next few 45 releases.

I asked around a few of my Baltimore soul contacts & nobody remembers any of the acts on the label playing local club gigs. I also scoured 100's of Baltimore club / show ads from 1966/67 and couldn't find any that featured these acts. That's not conclusive though as Bella / Betty probably had an entirely separate set of local entertainment scene contacts (her being an oldish white real estate biz lady) to the black owned clubs that usually advertised their shows in the local newspapers I have access to.

Edited September 7, 201212 yr by Roburt

I would say Dear Santa is before Dec 1967. Has anyone got a scan they can post, it is nothing like the Hope that LIAP b/w JITNOT is like or even the "first" release by Syng. Hope is plain block font across the top if memory serves me correctly.

Chalky, you can see the label at the start of the youtube clip (Post 19).

The track was almost certainly cut in 1965/66 with the rest of Syng's stuff BUT I would guess that it had to be released after his 3rd 45 (Hope 45-552/553) "Loneliness Is A Pleasure c/w Just In The Nick of Time" which came out on May 5th 1967.

So to me, that would make it either a late 67 release (when he was back in jail, so I'd go against that date) or a late 1968 release -- just before he went back into prison to serve another sentence (an 8 yr spell that time).

Edited September 7, 201212 yr by Roburt

I understand what you are saying John but I would think with the basic design of the label it was before Thats What I Want, LIAP/JITNOT and the other releases on the design that we know best. I'd like to see what the label reveals with a decent scan, its been a few years since I've seen one.

The label design on "Dear Santa" looks like those New York pressed Laurie Records-distributed labels from 1964-65. The recording sounds 1965-ish. I'd bet it was recorded in 1965. It may have been released later. But I'd be surprised if it was released as late as 1968 with that design. Even 1967 would surprise me. It seems that hope's early recordings were made in Baltimore. But, I read that at least one side of one of the 1966 releases was recorded in New York with Jesse Herring running the session (One of The Roleaks' cuts (if I remember correctly).

Syng's "Just In The Nick of Time" was cut in N.Y's Regent Studios sometime in early 1967 it seems (it was probably the last track he cut that was actually released).

It does appear though that he cut a number of tracks that remained unissued, probably coz he was sent back into prison.

I'd guess that at least a couple of these unissued numbers were also cut at that Regent Studios session (seems a long way to go just to record one track).

Syng's "Just In The Nick of Time" was cut in N.Y's Regent Studios sometime in early 1967 it seems (it was probably the last track he cut that was actually released).

It does appear though that he cut a number of tracks that remained unissued, probably coz he was sent back into prison.

I'd guess that at least a couple of these unissued numbers were also cut at that Regent Studios session (seems a long way to go just to record one track).

If you read the Alan Senior article I attached in which he met Bella it states there are unreleased items.

The label design on "Dear Santa" looks like those New York pressed Laurie Records-distributed labels from 1964-65. The recording sounds 1965-ish. I'd bet it was recorded in 1965. It may have been released later. But I'd be surprised if it was released as late as 1968 with that design. Even 1967 would surprise me. It seems that hope's early recordings were made in Baltimore. But, I read that at least one side of one of the 1966 releases was recorded in New York with Jesse Herring running the session (One of The Roleaks' cuts (if I remember correctly).

I also think the label design is too early for 67. Still want to see a scan? My guess it was recorded same time or around the same time as Peggy Did/Thats What I Want in New York.

I'd like to see a "stationary" scan - so I can read the credits. The split second on the video only allows a quick glance at the font on the word, "Hope".

Robb,

 

When sorting through some records recently I came across the Syng McGowan 45 with Loneliness is a pleasure b/w Dear Santa. Notably the 45 has a handwritten message on the label (both sides) reading : "To Estelle with love Syng McGowan The wayward son" . The date of the handwritten inscription is 12-28-65 which indicates the record was released in December 1965

I have included below a scan of side 1 and side 2. The label is indeed red and not orange  (apologies for the fotos which show the label as being orange - it's not !)

 

Regards

john

On 9/4/2012 at 01:03, RobbK said:

Hope Records was a Baltimore label. The Roleaks' record was Hope 556 ("Keep On Loving You (Just Loving You)" and 557 ("As Long As You Love Me"). Alphonso Higdon was the A&R man, and probably arranged and ran the recording session along with producers Belle Flowers and someone named Howard. The music publishers were Three-Letter and Belsyng Music (presumably representing rights of Howard (3-Letter) and Belle Flowers and Syng McGowan (BelSyng). Given that, the owners may have been Howard, Flowers and McGowan. I have no idea who the members of The Roleaks were, other than Barbara J. Vanlandingham, their lead singer. But I'd guess that they were all from Baltimore, as she was. She had started out in singing with her family's Gospel group. The pressing numbers show that the record was pressed in early 1966. That girls group sung this fast-tempoed Nothern Soul favourite-that can be heard on You-Tube -here:

 

 

 

Here is a discography of Hope Records that I've pieced together from several sources:

 

1846A/B Syng McGowan - Not Sympathy / How Will I Know

2052A/B Syng McGowan - Loneliness Is A Pleasure / Dear Santa

550/551 Syng McGowan - That's What I Want / Peggy Did

552/553 Syng McGowan - Loneliness Is A Pleasure / Just In The Nick Of Time

554/555 Del Thompson - The Love Waiting For Me / First And True Love

556/557 The Roleaks - Keep On Loving You / As long As You Love Me

558/559 Billy Joy - One Twenty One / When You Cry

 

I believe that Hope Records operated from 1965-1966 (possibly slightly into 1967?).

 

Does anyone know a producer from Baltimore/Washington D.C. Area named Howard? Does anyone know who the other (non-lead) members of The Roleaks were? Was Belle Flowers related to Phil Flowers? Wasn't he from the Baltimore/D.C. Area? Does anyone know who the owner/owners were? Does Syng McGowan bear any relation to Sam McGowan, who recorded for Smash in 1967-68?

 

On 9/4/2012 at 01:03, RobbK said:

Hope Records was a Baltimore label. The Roleaks' record was Hope 556 ("Keep On Loving You (Just Loving You)" and 557 ("As Long As You Love Me"). Alphonso Higdon was the A&R man, and probably arranged and ran the recording session along with producers Belle Flowers and someone named Howard. The music publishers were Three-Letter and Belsyng Music (presumably representing rights of Howard (3-Letter) and Belle Flowers and Syng McGowan (BelSyng). Given that, the owners may have been Howard, Flowers and McGowan. I have no idea who the members of The Roleaks were, other than Barbara J. Vanlandingham, their lead singer. But I'd guess that they were all from Baltimore, as she was. She had started out in singing with her family's Gospel group. The pressing numbers show that the record was pressed in early 1966. That girls group sung this fast-tempoed Nothern Soul favourite-that can be heard on You-Tube -here:

 

 

 

Here is a discography of Hope Records that I've pieced together from several sources:

 

1846A/B Syng McGowan - Not Sympathy / How Will I Know

2052A/B Syng McGowan - Loneliness Is A Pleasure / Dear Santa

550/551 Syng McGowan - That's What I Want / Peggy Did

552/553 Syng McGowan - Loneliness Is A Pleasure / Just In The Nick Of Time

554/555 Del Thompson - The Love Waiting For Me / First And True Love

556/557 The Roleaks - Keep On Loving You / As long As You Love Me

558/559 Billy Joy - One Twenty One / When You Cry

 

I believe that Hope Records operated from 1965-1966 (possibly slightly into 1967?).

 

Does anyone know a producer from Baltimore/Washington D.C. Area named Howard? Does anyone know who the other (non-lead) members of The Roleaks were? Was Belle Flowers related to Phil Flowers? Wasn't he from the Baltimore/D.C. Area? Does anyone know who the owner/owners were? Does Syng McGowan bear any relation to Sam McGowan, who recorded for Smash in 1967-68........There is still an old producer alive named Howard...He owned HOW FUM records here in Baltimore...I know he is still alive as I speak to the lead singer.. Bobby"Trey"Jackson of the  magic tones on occasion who recorded for that label he said Howard is alive and well but he cannot remember his last name he runs into him occasionally

On 9/4/2012 at 08:02, RobbK said:

 

 

Then Higdon may have been a songwriter for Jobete music's office in New York in 1963-64, as Eddie Singleton, who ran it with Raynoma Liles Gordy, came from Washington D.C. and worked with many of the Baltimore people in the industry. As you state above, Higdon probably wrote it, and Stevenson added small changes, later in the pre-recording process.

Eddie was from Asbury Park NJ, he only lived in Washington for the short span of Shrine.

Hi Robb...I found this link here on the net: https://articles.baltimoresun.com/2005-10-12/news/0510120326_1_cherry-hill-baltimore-coates sad to see the lead singer of the Roleaks died back in 2005 but maybe you could get in touch with a family member and ask for information about her/group? Also on Hans site there is a picture of them  https://doowopheaven.blogspot.co.uk/2014/04/the-roleaks.html

From  Record World ..

https://www.americanradiohistory.com/Archive-Record-World/60s/65/RW-1965-02-27.pdf

Prisoners Record On Hope Label

A new group called Syng McGowan and the Wayward Sons has a record out on the Hope label, "Not Sympathy" b/w "How Will I Know." The members are all in-mates at the Maryland Penitentiary and are donating the proceeds from the disk to the Maryland Penitentiary Prisoners' Fund, the Hobert Lindner Foundation and their families. The members, Russell Quarles, Archie "Artie" Shaw, John "Jelly" Madison, James Richardson and McGowan, wrote the tunes on the disk and have written 250 other songs. Recording was done at the penitentiary by Recordings, Inc