Need some clarification on the releases put out by this Chicago based label in the 60's.

The label was owned / run by Paul Glass. Glass also owned All State Record Distributors and had his own recording studio (located at 48th St & Cottage Grove in Chicago). At one time, Al Perkins ran the studio for him (1964/65 ?).

The initial releases on the label were pop stuff (1960/61) but being Chicago based, Glass soon started signing local blues artists and cutting them too. But he never gave up on the pop stuff and in 1966 signed a popular local group, the Buckinghams.

The Buckingham, like many other Chicago based white groups, seemed to include lots of soul covers in their act & the top side of their 1st USA 45 was a cover of James Brown's "I'll Go Crazy". The group knew the guys in the Mob really well and so the Mob's James Holvay gifted them a few songs he had recently written. They cut these songs and one was used to form the B side of the Buckingham's 2nd single (the plug side being a cover of a Beatles song). The B side of the group's next 45 (USA # 853) was also a Holvay song and this single did well in Chicago (making the local radio station charts around September). Holvay's status was raised on their next outing as his song ("Kind of a Drag" USA # 860) became the plug side of their follow-up release (late November 66). This track took off quite quickly, making the local charts on release before entering the national pop charts at the very end of the year. It climbed the US charts over the next few weeks, making it to No.1 in mid February.

 

So from summer 66 through to April 67 no doubt just about all of Paul Glass's (& USA Records) efforts must have gone into pressing, distributing & promoting the Buckingham's releases. Carole Waller was unfortunate that she had also signed with USA Records around the same time as the Buckinghams were 'making noise' for the label. Going by label numbers, Carole's 1st USA single was "Say Say Chicken Man" (USA # 854) which should have escaped around late September / October 66. She didn't like the song which was an answer to "Say I Am" by Tommy James (which entered the US charts in mid August 66) plus it was also in part a homage to a local radio DJ who went by the name (on air) of Chicken Man. Her 'next release' was her biggie "Stop & Get a Hold of Yourself / This Kind of Love” (USA # 863). This 45 definitely escaped in February 67 as it was reviewed as a new release in Billboard mag.

 

So Glass was probably having to largely ignore most work on other USA releases to push the Buckingham's records during the period that Carole Waller's 2 singles should have been released ...... SO IT ALL SEEMS STRAIGHT FORWARD ............ HOWEVER .........

Carole insists that "Stop & Get a Hold of Yourself (USA # 863) was her 1st release with "Chicken Man" coming afterwards.

As her "Say Say Chicken Man" song was written in answer to Tommy James' hit song (by her producer Bobby Whiteside I think), it probably wasn't written till September 66 at the earliest. So for copies of USA # 854 to have been 'in the shops' by early October 66, the recording, mixing, mastering, pressing process must have been done double quick. With all the pressure on USA to service orders for the Buckingham's hit 45 from November 66 onwards, it only leaves a very small window (October / early November 66) when Carole's 45 would have been getting serviced by Glass and USA.   

 

 

Any Chicago expert know whether its likely that some of the USA singles were released out of sequence ?.

I know artists usually have poor memories when it comes to record release details & dates BUT as one of her USA single's formed her 1st ever record release, I think her memory may not be playing tricks on her in this instance.  All help much appreciated.

Edited April 19, 201312 yr by Roburt

No response to the above, so I did more research on Paul Glass & USA Records and found this .....

......... a newspaper obit piece on him from April 4th, 1986 .........

Paul Glass, 60, a pioneer Chicago distributor of independent record labels, founded in 1955 the Allstate Record Distributing Co., one of the largest independent distributors in the country at the time. He later owned the USA label, which launched several local musical groups that became famous. A memorial service will be held at 8 p.m. Monday in All Saints Episcopal Church, 4370 Woodland Ave., Western Springs.

Mr. Glass died Saturday at his home in Oceanside, Calif. He had moved there after retiring last July.

``He started in 1955, just before Motown Records,`` said Cy Gold, who worked for him for 25 years. ``He really made a lot of records. He could smell a hit. He could pick the winner and consequently became one of the biggest independent record distributorships in the country.``

Mr. Glass, a native of Iowa, was a bombardier in World War II. After the war, he moved to Texas, where he worked for a record company for seven years. His Chicago-based Allstate firm, in addition to Motown, handled such independent labels as Atlantic, Chess and Checkers and Roulette.

``He was known then as the `boy wonder of the record industry,` `` Gold said. ``He won many awards. The distributorship extended as far as Milwaukee and Indianapolis.``

Mr. Glass then formed Token Distributors, which was the parent company for Look-N-Hear Electronic Stores, which had outlets in several suburbs. He also initiated USA Records, a label that gave a start to such local groups as the Buckinghams and the Crying Shames.

``He helped a lot of people get started, both recording stars and people who worked for him,`` his daughter, Marilyn Kroc, said. ``He loved everyone and would take a person out of reform school to work for him. He was an entrepreneur, a high-energy person who always had time for other people.``

Survivors, besides his daughter, include his wife, Nicole; 2 other daughters, Penelope & Candice; 2 sons, Michael & Tobin; 2

grandchildren; his mother, Irene Ramagos; and a sister, Helen Farrell.

According to family records (I'm Paul Glass's granddaughter) they were released in sequence. There was a process. Not sure if she's misremembering. He was a particularly organized man. Doesnt seem like he rushed much of anything, ever. I'd be inclined to disagree that he would rush any release. Hope this helps! 

On 4/19/2013 at 09:17, Roburt said:

Need some clarification on the releases put out by this Chicago based label in the 60's.  The label was owned / run by Paul Glass. Glass also owned All State Record Distributors and had his own recording studio (located at 48th St & Cottage Grove in Chicago).

Glass was probably having to largely ignore most work on other USA releases to push the Buckingham's records during the period that Carole Waller's 2 singles should have been released ...... SO IT ALL SEEMS STRAIGHT FORWARD ............ HOWEVER .........

Carole insists that "Stop & Get a Hold of Yourself (USA # 863) was her 1st release with "Chicken Man" coming afterwards.

Any Chicago expert know whether its likely that some of the USA singles were released out of sequence ?.

I know artists usually have poor memories when it comes to record release details & dates BUT as one of her USA single's formed her 1st ever record release, I think her memory may not be playing tricks on her in this instance.  All help much appreciated.

I have about 35 USA records, almost all Black artists (other than Mike Tomesetti).  So, I don't have enough to find out which records were released out of sequence.  But, I've worked enough with Motown, and my own Airwave Records, and researched enough on many R&B and Soul indie labels to know that if a record company label has 20+ issues, there is BOUND to be at least one or two instances when a record was assigned a catalogue number, and given a tentative release date, and that some problems came up later to delay that release, and release other issues before it.  So, if you're asking if THAT release could potentially have come out in an order different from the assigned catalogue numbers, then I'd answer in a resounding YES.  If you ask me if that record definitely was released out of order of the assigned USA catalogue numbers, then I'd have to say "I don't know".  I don't have the official release dates of USA 854, 862, 863 and 864.  And, unfortunately, I couldn't tell you where to go to find out that information.

 

I would take Carole's word for the order that she remembers them being released (at least when the real effort and marketing push occurred).  Artists are not often told about aborted releases that are cut off before any significant sales action occurs.  So, there could have been an early, aborted release, and later pressings that came using the same label design, stampers, and even pressing numbers as the aborted run, so records from the 2 runs can't be distinguished.  We know that in the cases of aborted releases, when the real, pushed release came later, as well as aborted releases, about which the artist was never informed, and when a later, real pushed release never occurred, the artist never knew their record was even pressed up, or had DJ copies, issued and distributed, or even a few sales of store-stockers from stores. 

So, Carole could be remembering correctly.  But there could be 2 or 3 different possible scenarios, even assuming her memory is correct.

Edited August 2, 20177 yr by RobbK

I can tell you that I saw "Say, Say, Chicken Man" (USA 854) in decent numbers some months BEFORE I saw "Stop and Get Ahold of Myself" (USA 863).  But, that doesn't mean for sure, that there wasn't an aborted release of 854, pulled back and it was released for the real sales run afterwards.  Maybe 863 was hurriedly bumped up to get some sales in when Gladys Knight and The Pips' version was peaking in sales in a re-issue, that was done by Maxx to piggyback on Gladys Knight and The Pips' new notoriety and popularity from joining Motown?   The only potential flaw in that scenario might be USA having slated releases that far ahead (9-10 numbers).  But, maybe that WAS the case, as Glass had to plan for the next Buckingham's release, and so, might have to also line up all the rest of the tentative releases for the coming 6 month period.

Very interesting thread, sorry I can't add anything to the Roburt"s  original question, but I would like to find out what folk know about Tut Sutton and his one release on the label?

I can feel the tears / No appreciation/ USA 852

Mal

Edited August 1, 20177 yr by Mal C

Are there any promo photos or images of Carole Waller the artist ?

Any biographical info ?

Was she white or black?

On 8/1/2017 at 10:37, Jillian Kelton said:

According to family records (I'm Paul Glass's granddaughter) they were released in sequence. There was a process. Not sure if she's misremembering. He was a particularly organized man. Doesnt seem like he rushed much of anything, ever. I'd be inclined to disagree that he would rush any release. Hope this helps! 

I'm sure your grandfather was very organised.  But he still may have decided to rush "Gotta Get a Hold of Myself" out, and to stop pressing Carole Waller's first release, because Maxx records unexpectedly re-issued that same song by Gladys Knight & The Pips because of their new popularity because of their moving to Motown.  Carole's song would then get more plays in record shops when people would ask for the song by name but not mention the artist.  A good record shop clerk would mention that there are 2 versions out, and perhaps play both for the customer.  As Carole's was the more modern and more "danceable for that time (e.g. for the dance steps going on at that time, Waller's version would likely have picked up extra sales.  I'm not saying that my theory actually DID occur.  But it's a possible explanation for Carole's remembering  that "Gotta Get a Hold of Myself" "came out first.  And I'd vote for THAT as being just as likely as Carole having remembered incorrectly.  Artists usually remember a LOT about their first record release.

We'd need to hear from someone who's seen ALL pressings of BOTH USA 854 and 863, and have a pressing plant expert make that determination, after reading about all the numbers, codes and markings on those different pressings.

Edited August 2, 20177 yr by RobbK

You might have something there Robb except that on the Carole Waller disc, the "This Love of Mind" side has number TM1905 whereas the "Stop And Get A Hold" side has TM1906 which might suggest that This Love was the Plug Side to begin with, not Stop And Get A Hold.

And, who knows, the mis-pelling of "Mind" rather than "Mine" may also have had something to do with the order or possible re- scheduling of the release.

Also (legitimate) demos appear to outnumber issues  ...

1 hour ago, sunnysoul said:

You might have something there Robb except that on the Carole Waller disc, the "This Love of Mind" side has number TM1905 whereas the "Stop And Get A Hold" side has TM1906 which might suggest that This Love was the Plug Side to begin with, not Stop And Get A Hold.

And, who knows, the mis-spelling of "Mind" rather than "Mine" may also have had something to do with the order or possible re- scheduling of the release.

Also (legitimate) demos appear to outnumber issues  ...

Interesting!  So, her so-called first release didn't get much of a release after all.  I don't remember it being played on WVON, but, then, I wasn't in Chicago in early 1967.  But, it certainly didn't chart, and I never saw it on any WVON play list.  So, I wonder why Carole referred to it being "released" in the first place.  I guess Paul Glass told her when the DJ copies were pressed and handed out, and informed her when the store stockers' press run was made, so she thought of that as her first release.  USA 854 was also quite rare, and I also don't know if it got any play on WVON, as I was in L.A. in late 1966.  But, I also know that didn't chart, and never saw it on a WVON play list.  Too bad that USA was concentrating on The Buckinghams, as BOTH Wallers' fast sides were excellent Soul dance cuts, and could easily have charted well with decent marketing push.

Edited August 2, 20177 yr by RobbK

12 hours ago, sunnysoul said:

Are there any promo photos or images of Carole Waller the artist ?

Any biographical info ?

Was she white or black?

She looked to be of "mixed race" as far as I remember (but aren't we all?").  She sang with an accent pronunciation and voice tone which "sounds to me like a Black person" (e.g. sounds like a person who was raised in "The Black Community".  There are many so-called "Blue-eyed Soul Singers" who tried to sound like a Black singer.  For me, almost every single one fail.  The only few I've ever heard where I couldn't tell, were Caucasians that grew up "in The Black Community" (e.g. raised in a predominantly/mostly/almost totally Afro-American neighbourhood, and were accepted there and almost all their friends were Black. Therefore, I always assumed she came from The Black Community. 

I never saw any professional artist/profile photos of her, but, you can see some photographs of her on her own website.  It appears that she may have been a "Caucasian" based on they way people classified the so-called "races" back then, - based on her website's photos:

https://littlecarolewaller.com/Through_the_years..html

However, I still think she has a mixed race background, and may have been raised in The Black Community. 

I had thought that she was also local from Chicago.  But, learned on this website that she was born in Chatanooga, Tennessee, and toured through the South before her agent got her the USA Records deal in Chicago.  It was then, that she moved there.  So, my memory of her having been a local was partly true.

She was still singing through the 1970s and well into the 1980s.  She sang with The Bob Young Band, so she may sing on some of their record releases.  She was appearing at Rupert`s Club 33 in The Continental Towers on 1701 Golf Rd in the Chicago suburb of Rolling Meadows in 1986.  That seemed to have been a mixed race band, mostly composed of Black musicians based on the photos.  I don't remember seeing any records by her on later labels, and, I'd have bet she did have a release or two in the 1970s.  But, perhaps tellingly, the only records shown on her website are the two USA 45s.  So, maybe it's possible that she never had any other record releases?

Edited August 2, 20177 yr by RobbK