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Soul Source

Candy Apple Records - Choker Campbell

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Hi

 

Just picked up the Choker Campbell - Street Scene and Albert Jones - You And Your Love on Candy Apple from a house call today (the only 2 Soul records in about 3,000!?!?).

 

Does anyone have a discography for this Canadian label?

 

Any more Soul 45's on the label worth picking up?

 

 

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I think Choker owned or co-owned the Candy Apple label when he was living in Canada but Attic Records was a general Canadian indie label that he leased some masters to.

Even when he moved back to Detroit Choker still pressed some 45s at plants in Canada, such as World Records in Ontario. Unlike the Candy Apple things, the 45s on Campo were US releases but were physically manufactured in Canada, similar to how some UK release are actually pressed at factories in Holland or France etc.

 

That's how I see it.

 

Paul

So how does the Tri-City label fit in (& Ultra City) ?

Did these labels have any Canadian connections ?

Tri-City was also a Choker Campbell run label that the likes of Albert Jones, Red Top and the Young Family ("Love Power / Barbara"), Lee Moore & 21st Generation recorded for.

In the 1970's, George Hendricks (present member of the Hesitations) was a member of Red Top and the Young Family and they toured across the US for several years. George Hendricks had started out (back in Cleveland) with the Sahibs. He was then in the Challengers / Challengers III ("Honey Honey Honey" & "Everyday" on Tri Phi -- 1962/63). He went on to serve in Viet Nam & after returning took a break from the music biz. In the late 70's, after being in Red Top & the Young Family, he joined long time friend (& former Sahib) Lou Ragland to form the Chosen Few. Later still, George was vocalist for Harvey and the Phenomenals (ex of Daywood label). As I stated above, George is currently a 'Hesitation' and in that role he played Prestatyn with the group.

Edited by Roburt

Hello

 

Choker ran the Tri-City label (and its Ultra-City and Moonville USA subsidiaries) in the early '70s before he moved to Canada for a while. He was based up in Saginaw in those days..

I did some business with Choker in the late 1980s when he was back in Detroit and I wish I could remember more but it was a long time ago. He died about twenty years ago.
 

It would be interesting to compile a list of all his productions.

 

Paul

 

Prior to joining the Motown team around early 63, Choker had been on the road with his band for many years. I believe that at one point in the 1950's, his outfit were based in Cleveland. He was touring from at least the mid 50's as he got to appear in the 1956 film "Shake, Rattle & Rock" backing up Big Joe Turner on his songs that featured in the film. Choker was already experienced in studio work by then as he (& his outfit) had been on Big Joe Turner's 1956 Atlantic album 'Lipstick, Powder & Paint'.

In Motown's early days it was was the Joe Hunter Band (including the likes of Hank Cosby, James Jamerson, Benny Benjamin, Mike Terry & more) who went out on the road behind touring Motown artists. That outfit soon formed the basis of the Funk Brothers and so had to stay behind in Detroit to play in the studio everyday. So the Choker Campbell Band took over & they featured loads of Motown greats in their line-up at times (EVD start out playing with Choker's touring outfit). 

Music folklore tells us that Earl Van Dyke (while touring with Lloyd Price) met fellow Detroiter James Jamerson (who was in Jackie Wilson's backing band at the time) in Rockville, NY, in 1959. Jamerson struck up a friendship and recommended that EVD return home to Detroit to start working in the recording studio at Motown. EVD eventually took his advice and by 1962 was a member of Motown's studio band. 
However, that tale can't be 100% right as it was Earl (as a member of the Chris Columbo Quintet) that was playing in support of Jackie Wilson; not Jamerson. Lloyd Price & his Band shared the bill at Carr's Beach (Maryland) in early September 1960 with Jackie Wilson; 'Crazy' Chris Columbo & his guys were backing up Jackie on that show. 'Crazy' Chris Columbo (aka Joseph Morris) was the famous jazz drummer who for many years led the house band at famed Atlantic City nightclub, the Club Harlem. In the mid 50's Colombo had been the drummer with Bill Doggett's group (he also held the same position for a spell with Louis Jordan's Tympany Five). By 1957, Chris had signed his own recording deal with King Records and this resulted in the 45 "Oh Yeah" (credited to Chris Columbo & the Swinging Gentlemen) being released in February 1957. At the time of that recording (early 57?), Columbo's group consisted of himself on drums plus Gil Askey (trumpet  -- another guy with Motown connections), Johnny Smith (organ), Jimmy Tyler (tenor) & Floyd Smith (guitar). In 1956, jazz guitarist Emmett Sleigh had hired Earl Van Dyke to play in his band, Emmett Sleigh and the Sleighriders. When organist Johnny 'Hammond' Smith quit Chris Columbo's band, Earl was hired to replace him (sometime around 1958 I'd guess).
It's documented by Gil Askey in 'The Jackie Wilson Story' book, that Chris Columbo's group were touring behind Jackie in the late 1950's (1958 to 1960) and Earl was part of the set up for some of that time. A big show staged at Carrs Beach starring Lloyd Price & Jackie took place in September 1960. Askey says that although Lloyd Price's band numbered 14 guys in all and Jackie's band was only 5 strong, Jackie put on such an intense show that Lloyd's performance didn't even come close with regard to crowd reaction. I guess that back then, Jamerson must have been in Lloyd Price's band. After Gil Askey & EVD had left his group, Columbo remained a force on the music scene, touring when he wasn't leading the house band back at the Club Harlem and cutting further records -- "You Can't Sit Down" for Battle in November 62, "Minerology" for Philly based Casino Records plus NY's Strand Records in 1963
By 1963, Choker was with Motown and his band were backing up the Motown Review that toured from spring through to fall 1963. He then went out behind Stevie Wonder & the Temptations in summer 64. New Yorker Billy Nichol went to Detroit in January 1964. He soon became pals with Tony Newton (bass player) and the pair auditioned as 'road musicians' for Motown. Both of them went over to West Grand Boulevard where there were around fifteen to twenty musicians waiting outside the front of the place. They were led inside by Henry 'Hank' Cosby and each of the musicians were allocated microphones and given sheet music. This was mostly music for songs cut by Motown artists. Choker Campbell then joined Hank and told everybody there that they must be able to go out on tour for at least one month. Each musician was told which song was the first they should play and the audition commenced until they had played through the full list (about 45 minutes later). Hank then selected particular guys with both Tony and Billy being chosen. Billy's first Motown job was with Martha and the Vandellas, whilst his friend Tony got a job in the Miracles band. Billy Nichol's first gig was with Choker's Band in Cleveland at the Music Box. On that show (which had a10 day engagement at the club) were the Four Tops, The Spinners, Martha & The Vandellas, The Marvelettes, The Temptations, Shorty Long and Willie Tyler + Lester. In 1965,  Billy became Marvin Gaye's band leader & his initial gig in that position was in in Bermuda. Woody, Marvin's current band leader then, had suffered an accident which left him unable to continue in the job & Marvin chose Billy as his replacement. As Marvin's band leader, Billy played gigs at the Apollo Theater (NYC), the Uptown Theater in Philadelphia, the Regal Theater in Chicago and clubs such as the Peach Tree Lounge in Atlanta.
Popcorn Wylie also toured backing Motown acts with his guys in the early 60's. Later on in the 60's it would be the likes of the (Hamilton) Bohannon's Big Band that went off with the Motown Revue shows. The Supremes had 'favoured status' after they started having No.1's and Lots of times, a smaller outfit led by Earl Van Dyke would back them on tour (other musicians in this outfit would include the likes of Ray Parker Jr., Bob Babbitt & David Walker).
Motown acts of 'lesser status' such as Edwin Starr had a number of touring bands back them up. Some of his bands in the mid 60's featured musicians Edwin had found back in Cleveland (where he had earlier lived). Edwin had to sort out his own backing band it seems and ended up with the outfit that became Rose Royce as his touring band in the 70's (they even toured the UK in this capacity).
Though Jackie Wilson wasn't a Motown artist, he was linked to the early years of the Motown guys. The Joe Hunter Band  went out on tour behind Jackie for some of the summer of 1961 (I have an ad for a show they played @ Carr's Beach). So basically, that tour must have been the closest it got to a JW@Motown situation in the 60's.
Is it known just how much time the Joe Hunter band were 'on the road' back then ? 
Jackie seemed to have his pick of backing bands back then. Chris Columbo led an outfit that backed him up in the early 60's. At the start of 1960, Willis Jackson & His Orchestra were touring with Jackie. In the summer of 1958, the band backing him up on tour had usually been Joe Morris & his Band. However in early June 58, Jackie played a gig at Carr's Beach with Earl Bostic & his Orchestra. There's no mention of a band to back Jackie up, so maybe Earl Bostic's guys took on that task. By the end of 1958, it was Arnett Cobb & Orchestra that were supporting Jackie on tour.
In mid August 1960, Earl Bostic was back at Carr's Beach and this time Barrett Strong and Marv Johnson were also on the bill. That day though, Don Gardner and Bobby Peterson was also performing on the beach. Bobby Peterson & his Band did tour as a backing band back then as in summer 61, he was touring across the States behind Dee Clark. Also, Don Gardner sometimes strengthened his outfit (to orchestra status) and backed up acts on shows that starred Chuck Jackson, the Spaniels, Buddy Lamp and the like.
 
Getting back to Choker. By 1966, he had left Motown and was working over at Magic City Records with the likes of Leah Dawson.
What was he up to between then and his work for Tri-City, Ultra City, etc. in 1970 (and their tracks picked up for national distribution by Kapp).

post-22122-0-21659300-1375426963_thumb.j

Edited by Roburt

So how does this 45 fit into his Canadian period (it's from 1973) ..........

Campbell Artists Prods label --- Choker Campbell Super Sounds  --   "The Camel Hump"

....... any other 45's on the label ? ................

 

post-22122-0-36016700-1375442688_thumb.j

... OFF THE NET ............

In January of 1955, Hollywood records purchases additional masters from the Swing Time catalog and plans to release Fulson's "Everyday I Have The Blues" and "Guitar Shuffle" on a single record. In February the Top Ten Show embarks on a national seven week tour of one nighters. Lowell's "Reconsider Baby" is a huge national top ten R & B hit and helps draw on the road. In March Checker Records releases #812 : "Loving You" and "Check Yourself". After the end of the Top Ten Show tour, Lowell joins up with Choker Campbell and his band for a tour of Texas. In July Fulson is in southern California and his new Checker release is "Lonely Hours" and "Do Me Right", even as "Reconsider" is still selling seven months after its initial release. In November Hollywood records again re-releases Fulson's "Lonesome Christmas" (parts one and two) with Lloyd Glenn on #1022. The newest Checker record is out in December - #829 : "Trouble Trouble" / "I Still Love You Baby".

 

Reconsider Baby — Lowell Fulson   --  Recorded Dallas, Texas, September 27, 1954
Lowell Fulson (vocal-guitar); Fathead Newman, Phillip Gibeaux, Julian Beasley, Choker Campbell (saxes); Fats Morris (trombone); Paul Drake (piano); Leroy Cooper (bass); Chick Booth (drums)   ..............  Checker single # 804 ............
Lowell Fulson (born in Tulsa, Oklahoma in March, 1921) cut “Reconsider Baby” in Dallas with what was then his touring band. His first Chess release, it was enormously successful, going to #3 on the R&B charts, and was partially responsible for his nearly decade-long stay at the label.

“I wrote a song, finished it, and I happened to be touring with a band down in Texas — Fathead Newman, Leroy Cooper, and the boys. I told them, ‘Man, I got a tune I’d sure like to cut, but I can’t go back to Chicago with all you guys…’ The boys said, ‘We’ll do it with you,’ and there was a recording studio there. I called the Chess brothers, and they told me, you want to cut it there, no, come to Chicago with us, I told them, ‘No, I’m not coming to Chicago. I’ll cut here, or I’ll just keep the song.’ They said, ‘All right.’ So I produced my own, ‘Reconsider Baby’ and ‘Check Yourself.’ I went down to Studio Seven in Dallas and cut it, and then Chess had Stan Lewis from Shreveport come along and pay the musicians. The masters were sent right back to Chess, and, oh, I’ll say in a couple of months, I had a record out.”    —    Lowell Fulson

 

https://www.youtube.com/watch?v=n4g_CQ9uC4E

Edited by Roburt

So how does this 45 fit into his Canadian period (it's from 1973) ..........

Campbell Artists Prods label --- Choker Campbell Super Sounds  --   "The Camel Hump"

....... any other 45's on the label ? ................

 

Seems like no-one knows anything about this recording or the period in which it was released. I'ts a shame because its a mighty fine dancer!

 

Taf

Seems that Choker & his band were still Toronto based in 1981.

I'm putting up a picture of him from that year when he was playing extended dates around the Vancouver area.

At the time (in his shows) he was playing the soprano, alto & tenor sax plus handling lead vocal duties (not all at the same time I would add).

In mid April he was doing shows at the Show Lounge, Plaza Int Hotel, North Vancouver. He then moved onto a venue on Vancouver Island before heading off for more work in Vegas.

post-22122-0-71505000-1375460982_thumb.j

Seems like no-one knows anything about this recording or the period in which it was released. I'ts a shame because its a mighty fine dancer!

 

Taf

Seems Choker was badly 'under-reported' through much of his career.

He (& his band) spent many nights backing up Joe Turner and Ruth Brown on live gigs in the 50's.

I checked through Ruth Brown's book 'Miss Rhythm' and she doesn't mention Choker once in it !!!

Another top 'black' venue that Choker played on a number of occasions back in the day .............

... the show detailed in the picture took place in February 1959 .....

........ the venue was refurbished a few years back .....

https://www.tampabay.com/news/humaninterest/historic-manhattan-casino-to-reopen-in-st-petersburg/1198509

 

https://www.youtube.com/watch?v=qET6QGwn_p4

post-22122-0-70116000-1375470470_thumb.j

Edited by Roburt

Hello again

 

He also had the Campo label, sometimes known as Campo Artists or Campo International, based in Detroit in the late 1980s.

He issued 'I Don't Just Want Your Body' by John Ellison (as "Willie John"), it was recorded in Canada and issued in the UK on my Ardent label in 1990 - credited to Willie John Ellison.

 

Paul
 

He also had the Campo label, sometimes known as Campo Artists or Campo International, based in Detroit in the late 1980s.

He issued 'I Don't Just Want Your Body' by John Ellison (as "Willie John"), it was recorded in Canada and issued in the UK on my Ardent label in 1990 - credited to Willie John Ellison.

 

Paul

 

Think I have that Ardent 45 somewhere here (along with a couple of others on the label).

Choker worked with Albert Jones from around 1970 through to the mid 70's ...........

BUT ...... was he working with Albert when he cut for the BUMPSHOP label ("Up To The Sun") ??

The label was an offshoot of GM Recording Studio on Nine Mile Rd, Detroit and was operating around 1969/70/71-ish.

The studio (+ the GM & Bumpshop labels) were owned by Guido Marasco who ran a car repair business located next door to the studio. 

By all accounts, Guido wasn't the type of guy to owe money to (for car or recording work). Back in 1969, it cost around $90 to S100 / hour to record at GM. The picture below shows the building that housed the GM studios (as it looks these days).

post-22122-0-10249900-1375627939_thumb.j

Edited by Roburt

Like you say there is a bit of a gap from the two Magic City releases he was involved in after Motown and the Saginaw labels.

However i have always thought some of these tracks definately sound earlier than 1970 or so!!!

Saginaw is some distance (NW) from Detroit.

I know the Campbell family had moved there from the south before Choker headed off to follow his long music biz career.

No doubt he returned there coz of those family ties ............  BUT ........

Did Saginaw have recording studios that he cut his label/s tracks in ..... OR ... was that the company's business address only with the tracks being cut in Detroit studios ?

I know there are studios in Saginaw now, but were there any there in 1969/70 ?

......... ANYONE KNOW ?? 

Edited by Roburt

This is a rare Albert Jones release. I have only seen promos.post-28346-0-02927800-1375639046_thumb.j

An ad for a gig Choker did in 1981 in Calgary .........

It gets down to 14 below zero at that time of the year in Calgary, so I bet the band members weren't going outside for a smoke. 

post-22122-0-46066400-1375661214_thumb.j

Edited by Roburt

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