Louise

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.

David Bursey: A Soul Journeyman. David Bursey is yet another one of soul music’s many unsung heroes, a soul journeyman who has spent a life time living the dream of recording a hit record. David Charles Bursey was born on May 23rd 1943 in the town of Ripley Tennessee. In 1952, David’s family took the well trodden path north in search of a better life eventually settling in Milwaukee Wisconsin. Upon leaving school David worked intermittently in the construction industry during which time he began performing with a street corner group known as the ‘Four Souls’ whose line up also included David’s childhood friend Eddie L. Quinn, Lee Harris and Roosevelt Morgan. No recording were ever made. In 1967 David met his partner of forty four years, Ruby White. Together Ruby and David raised a family of six daughters. Also around this time David began employment as a Butcher at the United Packing Slaughter House. An occupation that David would eventually leave behind him to pursue a career as a full time performer. During the late 1960’s and early 1970’s David would feature in the line up of several notable Milwaukee harmony groups. Photo:- James “JB” Young, Centre David Bursey, Right Robert Wardell. Front sitting down Celeste Campbell. In 1965 David was a founding member of the Candi Bars with Celeste Campbell and James ‘JB’ Young. The group later grew to four members with the addition of Robert Wardell in 1966. Wardell remained with group for a period of circa twelve months before he moved on. The Candi-Bars solitary 45 recording was released during 1968 on their own Candi-Stix label, and was recorded at Tom Gress’s Studio in Milwaukee.The record sold well locally but never broke out nationally. Two presses of the 45 can be found the yellow first issue and a second release on the silver label design. A later reissue can be found on the Gule label. Many of the silver issues can be found with reversed labels. A possible explanation for this could be that on the first yellow issue ‘I Believe In You’ is credited as the A-side (100-A) but the songs master number in the run out groove is (100-B) thus when the record was re-pressed the pressing plant thinking by putting the A-side label with A-side master were doing the right thing ? David can be found as the co-writer along with Celeste Campbell on the ‘Your The One’ side a popular track with sweet soul collectors, while the flipside‘I Believe In You’ became a popular track with the emerging crossover scene in England in the mid 1980’s and remains a current favourite to this day. The Candi -Bars eventually broke up for personal reasons although they all still live in and around Milwaukee and have remained in contact to this day. After they broke up James ‘JB’ Young continued with his day job as a truck driver until his forced retirement due to renal problems. Celeste Campbell who previously to the Candi-Bars had been a member of a three girl high school group turned her back on a performing career choosing to devote her life to raising her daughter."¨ David joined Gerry Armstead’s group known as the ‘Phases’ and feature on their 1969 release ‘Anything You Wan’na Be/Sing Your Song (Capitol 2684).The group also included Tom Burke (now deceased). Both sides of the Capitol release were composed by Gerry Armstead and Bill ‘Bunky’ Sheppard with ‘Anything You Wan’na Be’ being chosen as the all too familiar X “Bunky’s PICK”. The Phases later broke up due to an alleged contract dispute between Armstead and Sheppard with David and Tom joining Robert Gardner and Clarence ‘Sijo’ McGee to form the group known as the Brothers By Choice. It was at this point David quit his day job at United. The Brothers By Choice headed west to Los Angeles to further their career. The firstly approached Capitol records on the strength of their previous release as the Phases, but Capitol weren’t interested. After a period of three years of no success David, Robert and Clarence later returned to their native Milwaukee, with Tom remaining in L.A eventually being ordained in to the ministry. Clarence then reformed the Brothers By Choice with his brothers Boss and Larry McGee alongside Robert Gardner who went on to record “You Think That I’m A Fool/Can’t You See” for Calgar records (0002) in 1973. The Brothers By Choice circa 1970: - Tom Burke, Robert Gardner, SiJo Mcgee & David Bursey Left to right: Tom Burke, Gerry Armstead and David Bursey On his return to Milwaukee, David was invited by his old friend Gilbert Moorer to join the Esquires. During his involvement with the Esquires, David featured as the lead vocalist on the group’s “ Henry Ralph” recording and also as a backing vocalist on the release’s flipside” My Sweet Baby”. For a very long time this was thought to have been a UK only 45 release on John Abbey’s Action label. But eventually US 45 releases began to appear on Hotline records a division of Cutlass Records from Nashville, Tennessee. One would assume that this was part of the same deal that also saw former Esquire Mill Edwards (aka Mill Evans)” I Found Myself/Don’t Forget About Me” gain a Cutlass release. David continued to perform through the rest of the 1970’s and early 80’s but with a frequent back pain from a injury sustained while working at a Hotel restricting his performances. In the early 1980’s David and Eddie L. Quinn were joined by Jimmy Taylor and Alvis Moorer of the Esquires to form a group known as “Ice” no recordings were ever released. . In 1988 David recorded the self penned popular modern soul dance track “Got To Get Away/Rainy Night In Georgia” under the pseudonym of Noah a childhood nickname given to him by his mother. In 1991 David teamed up with again with former fellow Esquire Sam Pace and Eddie L. Quinn to form a group known as Fairplay. Several tracks were recorded but through lack of finances nothing was ever released. It is from these sessions that we at Soul Junction have taken the funky little dancer “ Don’t Let Our Love Go (vocal and instrumental versions ) for release (SJ517). Fairplay drifted apart for a while before reforming in circa 2006 this time with 5 members David Bursey, Eddie L. Quinn, Joe Hayes, Charles Ross and Chuck Mays. Again this was to be a short lived affair. Photo:- Sylvester Mackintosh, David Bursey and the late Reverend Eddie L. Quinn In 2010 David Bursey recorded a solo cd album entitled “If” which can still be found for sale via CD Baby. David still continues to perform as much as his health permits, as can be seen in his most recent photo taken while on stage at the Milwaukee African World Festival of African Music in 2011. Words by David Welding"¨"¨Acknowledgements to: David Bursey, Ruby White, James “JB” Young, Celeste Campbell and the late Reverend Eddie L. Quinn"¨Photographs: David Bursey & Ruby White."¨Label Scans: David Welding and the Candi-Bars on Gule courtesy of Bob Abrahamian. Listen to the forthcoming Soul junction Release, "FairPlay" with "Don't Let Our Love Go" Listen on Soundcloud.com "¨