Well! you live and learn!

I thought I had heard all the 100mph stompers, but one always jumps out at you when you are least expecting it.

So! What's the story on 'Joey Delorenzo - Wake up to the sunshine girl'?

Just heard it for the first time and I'm blown away.

Is it blue eyed Soul, or a black artist? Where did it come from? Apart from the 2002 UK release, was it released previously? Album track? 7"?.

I need to know all about this tune.

Any help appreciated please.

Steve X

One of the worst records ever. Just a few known copies. 1967 recording I think but wasn't released until '73 ish if memory serves me correctly. Big record for Dave Flynn at the Dome early 2000's.

Terrible terrible record.

The UK release you are on about is a boot.

Thanks Chalky, strokes and folks I suppose.

Also just seen a previous thread about it.

Thanks again.

Yep we all have different taste which is no bad thing. It's just one record I hate with a passion for some reason.

With a name like Joey Delorenzo, I think it would be pretty safe to assume he was from Italian roots.

Rare 7" never know of an LP issue

Big for Kenny Burrell as I remember, considered far too poppy and white sounding by all the soul snobs

Great northern,liked it when first heard it but soon found it irritating.

Edited November 4, 201212 yr by John A

nowt to do with being a soul snob, can't abide the record, irritated me upon first hearing.

Mi-Val the label btw. The press was considered dodgy by many.

Not aimed at you chalky, just this record fell foul of the same old tiresome too white/too poppy thing.

.............. this record fell foul of the same old tiresome too white/too poppy thing .......

........Yea, when you're into soul, what's not to like about a white poppy stomper (apart from everything that is !!).

........... Bring back Wigan's Ovation I say.

One of the worst records ever. Just a few known copies. 1967 recording I think but wasn't released until '73 ish if memory serves me correctly. Big record for Dave Flynn at the Dome early 2000's.

Terrible terrible record.

The UK release you are on about is a boot.

Why not be honest Chalky! LOL

I agree - it's shite. But eack to their own Steve.

Peter

Reason I asked in the first place is that a test press of the re-press went on the bay tonight for £28 with 17 bids. On the other thread it says one went for £88, and that one of the originals went for £1000?

Just wanted to know the history of it. Must admit though on instinct I just bought a 2002 repress for £11. So not too much to lose if I soon get sick of it :-).

Thanks for your replies

Steve

Wasn't Mi-Val a label owned by Mike (& the Modifiers) Valvano ??

After Motown relocated to Los Angeles in the 70's, they were looking for new talent and different sounds.

The company signed Xit, a Native American band from Albuquerque, New Mexico to a contract. So Berry Gordy sent Mike Valvano to Albuquerque to oversee the new act. The group had an LP out on Rare Earth in April 1973.

Whilst in Alberqurque, Valvano fell in love, married a local, and stayed in the city for 20 years.

So that would place the Mi-Val 45 release at around the mid 70's (so it had a real throw-back sound) -- of course it could have been cut much earlier (in Detroit?) & just released after Mike moved to Alberquque.

Was indeed big for Dave Flynn at the Dome and then picked up the niter jocks, most notably Kenny Burrell. Was it not originally a USA advert jingle for Kellogs Cornflakes, or was that an apochryphal story?

............... FROM BMI database ...................

WAKE UP TO THE SUNSHINE GIRL ..... BMI Work #6146787

Songwriters / Composers .... PAVLIK JOHN LEON & VALVANO MICHAEL

Publishers .... JET EYE MUSIC INC

Edited November 4, 201212 yr by Roburt

It had a really simple background. I don't hear any Detroit session players in it. But, if it was recorded in Albuquerque in 1973, it should sound more "modern". My guess it was recorded in Albuquerque in 1973, but that Mike tried very hard to make it have the late '60s sound (so no keyboard and not a lot of different tracks). It was published by ASCAP. If it would have been written in 1967, I'd bet it would have been published by a BMI publisher. If Valvano would have recorded that in Detroit in 1967, the BGs would have sounded more like his projects like "My World Is On Fire", and would have been recorded at Terra Shirma or United Sound, with Mike Terry arranging, and recognisable session players heard on it. Instead, it sounds like it was recorded in a garage, with high schoolers playing. The singer's voice is pretty decent. Whether he is of African-American descent, or just Italian, he sounded reasonably soulful. It's a formulaic, and thus, uninteresting song (as songwriting goes), but not all that bad.

Great record imho.

Well as I said in my second post, 'Strokes for folks', I really like it to be honest, decent voice and good dancer,

and definately better than some I've heard.

After Bert Berns died, his wife attempted to keep Shout / Bang going as viable labels.

She hired Harold Berkman to run the company in summer 68 & they set up deals for the likes of Teddy Vann, Rick Hall, Phil Walden, George Tobin & Johnny Cymbal to produce acts for the labels.

They also kept tenure at Incredible Sound Studio, (126 West 42nd St) New York.

In late summer / early fall 68, Mike Valvano was signed to work for the labels.

Maybe the Joey Delorenzo tracks date from Mike's period in New York in late 68 / 1969.

By 1970, Mike was back in Detroit working (for Motown) with the likes of Rustix (& then Stoney & Meatloaf).

By summer 69, Harold Berkman (who had been with MGM in mid 60's) had given up on Shout / Bang and was heading up Life Records (who put out the Wind 45 "Groovin With Mr. Bloe" that got NS scene plays back in the 70's -- Tony Orlando sang lead on this outfit's vocal tracks).

Edited November 5, 201212 yr by Roburt

Was indeed big for Dave Flynn at the Dome and then picked up the niter jocks, most notably Kenny Burrell. Was it not originally a USA advert jingle for Kellogs Cornflakes, or was that an apochryphal story?

I always thought that Mr Levine had his fingers in this particular pie,.

in fact there was a point where I thought it was another "Four Vandals".

Kegsy

Edited November 5, 201212 yr by Kegsy

Big for Kenny Burrell as I remember, considered far too poppy and white sounding by all the soul snobs

Great northern,liked it when first heard it but soon found it irritating.

The "soul" lover in me, tells me that I should hate it, but I don't and I think its a great tune. I've outed myself, so its no longer my guilty secret.

I always thought that Mr Levine had his fingers in this particular pie,.

in fact there was a point where I thought it was another "Four Vandals".

Kegsy

Many considered it dodgy and still do.

Many considered it dodgy and still do.

In what way is it considered dodgy, Chalky?

I dont like it for what it's worth but can see it's appeal for some.

nowt to do with being a soul snob, can't abide the record, irritated me upon first hearing.

With you on that mate. Irritates the hell out of me - Up there with The Majestics for me !!. Like you say, each to their own, be a sad and boring world if we all had the same tastes

In what way is it considered dodgy, Chalky?

I dont like it for what it's worth but can see it's appeal for some.

The fact that it is a 60's recording yet pressed later. Some thought it was pressed especially to dupe, Kegsy giving one reason of thought at the time but not necessarily by the person mentioned I might add.

The fact that it is a 60's recording yet pressed later. Some thought it was pressed especially to dupe, Kegsy giving one reason of thought at the time but not necessarily by the person mentioned I might add.

Once upon a time there was young man, who lived by the sea in a northern county; he was a keen collector/aficionado of a certain art form. The young man’s father was very rich and this allowed him to build his collection in a way many others were unable to do. The young man was able to further enhance, his already extensive collection, via contacts he made in a foreign land. These contacts had been cultivated via his early membership of the art forms’ appreciation society.

Eventually his collection became a definitive reference point for the art form. Soon our young art form pioneer was sharing his collection with likeminded individuals who shared his love of these old masterpieces. He continued to share his collection with fans exhibiting regularly, sometimes three or four times per weekend. He and His followers started to scour a great land to the west in search of even more esoteric examples of this increasingly popular phenomenon. Within 5 years galleries were evident in many areas of the country, and some of the fans had become exhibitors in their own right.

However the supply of original masters started to dry up and the young man fell from favour especially as some of his former fans were producing exhibitions that were superior to his. After a period in the wilderness, the young man decided to re-enter what he considered to be HIS original art form. He did this by contacting artists, originally involved with the art form, and commissioning new works in a more contemporary form. Unfortunately his former followers were unimpressed by his efforts as they were not in the correct format and did not fit into the originals only ethos of the art form.

The young man then decided to commission works made using the same materials, formats and styles as the much loved original art form. One of these was discovered to be a fake, not a genuine original as was claimed. This led to suspicion about the voracity of other recently discovered masterpieces.

I think that sums it up dont you Chalky ?

Without naming names or bringing any legal issues.

Edited November 5, 201212 yr by Kegsy

I actually think it's an early 70s Albequerque release, rather than 60's. And I don't think it's a Detroit recording.

Micky valvano also did the original of "For the first time in my life" from Albequerque on Jodi Pat as I recall (later done by the Contours as "We're a winner").

"Wake up" is pretty ok as a sunshine pop record, about as much relevance to soul music though as Bobby Goldsboro records had in the late 70s.

Speaks volumes that it got played

To each their own, but I can't stand it.

Aid.

I think one of the factors that made people suspicious of this 45 was that it took off just before the 4 Vandals and that female thing of Peter Hamilton fiasco and didn't Mike Valvano die just as it became popular?

Regards,

Dave

The late 90s the dark and murky days of "northern soul"

I think one of the factors that made people suspicious of this 45 was that it took off just before the 4 Vandals and that female thing of Peter Hamilton fiasco and didn't Mike Valvano die just as it became popular?

Regards,

Dave

I think Mike Valvano died in 2003.

kegsy

There was a record company / manufacturing outfit based out of Alberqurque in the early 70's -- H.I.M. Inc, Copy Rite Recording, Crown Stars Inc, H&N Contracting, H&N Tape Co, etc. of 4401 Valencia, Southeast, Albuquerque. This outfit was run by an old LA based record biz guy Herbert 'Speedy' Newman,.

Anyway, early in 1972 they found that their facilities were underused, so they started pressing up 'major label' LP's & selling them .....

.... only trouble was the 'major labels' (Warners, Atlantic, RCA, CBS, MCA, London, etc) hadn't given them permission to press up their product.

Copy Rite claimed they were entitled to press up copies as the original labels held a monopoly position thereby breaking US anti-trust laws.

It took 2/3 years but the whole outfit was prosecuted, the companies closed down & the equipment sold off to pay the fines / damages.

So if this outfit was pressing legit stuff locally plus bootlegging other records around 72/73, maybe Mike V went to them to get some 'old tracks' pressed up at a decent rate.

I once owned a copy which i just put down to being a boot so sold it on.

It was a mi-val copy, but with labels reversed. I'm sure JM's boot guide has some info on it, and that's why i assumed it to be a boot.

Just to add, this was one of the first times i started experiencing bootlegs Vs OV and making sure i only bought OV, when i was 17 (now 29).

Never seen an original, wouldn't know if i let a real one go, and to be honest, wouldn't care, cos it's krap.............Although if it was original and worth £1k then i'd be p*ssed off of course!!

Edited November 5, 201212 yr by LilJimmyCrank

I think Mike Valvano died in 2003.

kegsy

You may well be right there Mate, I just remember trying to contact him after hearing Kenny Burrel play it at one the Rarest of The Rare Nighters at the Ritz and hearing he'd died. I then moved Stateside (late '03), and he'd definitely passed by then). I still associate it for some reason with IL and the 4 Vandals etc escapades though? Seems you do too? Why is that?

Regards,

Dave

The "soul" lover in me, tells me that I should hate it, but I don't and I think its a great tune. I've outed myself, so its no longer my guilty secret.

Absolutely the same for me my friend, every bone in my body tells me no, but when first played at the Dome it was a MONSTER & within that context, as a NORTHERN soul record it great....

Best Russ

I once owned a copy which i just put down to being a boot so sold it on.

It was a mi-val copy, but with labels reversed. I'm sure JM's boot guide has some info on it, and that's why i assumed it to be a boot.

Just to add, this was one of the first times i started experiencing bootlegs Vs OV and making sure i only bought OV, when i was 17 (now 29).

Never seen an original, wouldn't know if i let a real one go, and to be honest, wouldn't care, cos it's krap.............Although if it was original and worth £1k then i'd be p*ssed off of course!!

Why? You're best shut of it.

I still associate it for some reason with IL and the 4 Vandals etc escapades though? Seems you do too? Why is that?

Regards,

Dave

Maybe because the Four Vandals was Ian, and he was definately a big advocate

of the Joey Delorenzo record at the time, wasn't he playing it at

the Rocket ?. When the Four Vandals was exposed I just

started to wonder about the other, I'm sure I wasnt the only one.

No actual proof just suspicions.

kegsy

egsy

Why? You're best shut of it.

Cos £1k buys me a lot more better records Kev! But yeah, glad i got rid.........Think it came in a pack of tunes from the states.

So if this outfit was pressing legit stuff locally plus bootlegging other records around 72/73, maybe Mike V went to them to get some 'old tracks' pressed up at a decent rate.

Roburt what makes you think it's a 60s recording?

You may well be right there Mate, I just remember trying to contact him after hearing Kenny Burrel play it at one the Rarest of The Rare Nighters at the Ritz and hearing he'd died. I then moved Stateside (late '03), and he'd definitely passed by then). I still associate it for some reason with IL and the 4 Vandals etc escapades though? Seems you do too? Why is that?

Regards,

Dave

Correction, according to Soulful Detroit Mike Valvano died on April 10 2002 of a heart attack.

This was posted a guy called Ralph after being told by Harry Balk (Twirl Records Detroit)

Not 2003 as I previously stated.

Kegsy

Edited November 5, 201212 yr by Kegsy

............... FROM BMI database ...................

WAKE UP TO THE SUNSHINE GIRL ..... BMI Work #6146787

Songwriters / Composers .... PAVLIK JOHN LEON & VALVANO MICHAEL

Publishers .... JET EYE MUSIC INC

These credits dont look too much like what

is credited on the actual record old boy.

Writers J.Della/P.Valvano

Mi-Val Music Co

ASCAP

Kegsy

Edited November 5, 201212 yr by Kegsy

The record was produced by M. Val. Prod. Co in association with Dithy Ramb, which is an anagram of Rabid Myth !

So what's teh difference between a boot and real one? And what does the UK issue look like (assuming it's a look a like and not a stardust thing ow owt)?

The record was produced by M. Val. Prod. Co in association with Dithy Ramb, which is an anagram of Rabid Myth !

The DithyRamb is some form of ancient greek choral hymn.

Kegsy

Edited November 5, 201212 yr by Kegsy

The record was produced by M. Val. Prod. Co in association with Dithy Ramb, which is an anagram of Rabid Myth !

Or

My Drab Hit

Kegsy

Just heard it for the first time and I'm blown away.

You should stick to that feeling, Steve, your genuine, untarnished, initial reaction...and don't allow anyone else's view affect your view.

It 'suffered' from universal worldwide dancefloor popularity and was ALWAYS requested no matter what country I was DJing in around those times...it was a true worldwide monster spin. Unfortunately popularity always seems to be accompanied by a backlash from some folk, as (maybe) they disliked seeing something be so popular and bring a lot of smiles to even more Soulies.

Looking back at on old thread on here about it, I may as well simply re-post my initial thoughts:

"I can understand folk not liking the vocal as it isn't exactly a gruff'n'gritty growling performance...but...it is a pure Northern Soul track worthy of scene exposure from probably 74 onwards...this really can't be denied? The chopping guitar, the strong bassline breaks...perfect for the dancer...all wrapped up with some organ work and backing chorus.

Maybe, and feel free to discuss this theory, the 'problem' nowadays is that a lot of folk first hear a track through home speakers rather than pounding out of a club PA, when it can take on a different slant? Think back to some discs in your own collections which sounded completely different when you got them home...L.Allen is another that springs to my mind...I was defo disappointed the first time it hit my home stylus!"

So, for clarity and future reference:

- It is a genuine vintage recording and press.

- Pete Lowrie got the small clutch of them from Mike Valvano, along with the Jodi-Pat label discs, before Mike sadly passed away.

- John Manship was unsure of its origin when he first logged it as he had not seen/held one at that point (he listed other discs with incomplete data), which was fair enough considering the influx of the Levine 'fake original recordings/stories' that were also breaking through at that point.

- There is no credence to the 'breakfast cereal joke myth'...born simply of the uplifting/positive/happy-go-lucky lyrics!

- Kenny Burrell deserves the credit for breaking it nationwide.

I've just played it tonight for the first time in a while and it still sounds fresh, Northern and with a whole load of mileage in it still...not to mention that it personally evokes such great memories of the Dome in its heyday. Just imagine this track echoing around the Casino any time between 74 and 81...if only...it would have been a monster, an athem, and accepted.

thats johnny powers real name under the bmi info

an email to him may show up some fresh info ? (unless someone been there already?)

Just imagine this track echoing around the Casino any time between 74 and 81...if only...it would have been a monster, an athem, and accepted.

But it is accepted by many Dave; you can play it at many soul nights up and down the country and I am sure it'd fill the floor.

Just not the brand of teabag that the rare soul crowd tastes.

Just not the brand of teabag that the rare soul crowd tastes.

And there was me thinking I was a fully paid up member of the Rare Soul crowd...guess I'm out of the incrowd, and a mere Northern Souler, then

More tea, vicar!

I like it, and I love the flip too 'Lost My Sense Of Direction'....but then I'm a sucker for blue-eyed Northern tunes.

Here's the copy I have in my box. 1973 on the label....

Edited November 5, 201212 yr by Soul-Slider